Friday, November 8, 2019

Interview with Georgie Blalock

Last night, for the first time, I watched the Netflix TV series The Crown, which explores the reign of Britain’s Queen Elizabeth II, starting with her marriage to Prince Philip in 1947. Although the third season doesn’t start for a couple of weeks, word has it that it will pay particularly close attention to the queen’s fraying relationship with her sister, Princess Margaret. But Margaret and her scandalous involvement with Group Captain Peter Townsend, a divorced former RAF pilot who served as her father’s equerry, is already on-screen in season 1. (Note that the scandal had as much to do with his divorce as his romance with the princess—times were different then, especially for British royalty.)

All this brings me to the subject of this week’s blog post, my Q&A with Georgie Blalock, whose historical novel, The Other Windsor Girl—based on Princess Margaret’s tumultuous teenage years, including her infatuation with Peter Townsend—came out just this week. On Guy Fawkes Day, no less, which the English celebrate as Americans do Halloween, but with fireworks and parties instead of Trick or Treat. And although Princess Margaret had no plans to blow up Parliament, at the emotional level her activities were at times just as incendiary where Britain’s rather staid royal family was concerned.

That said, I turn over the mike to Georgie Blalock, with many thanks to her for answering my questions. 

Until now, you’ve been writing historical romance under the name Georgie Lee. What made you decide to switch gears, to a degree, and write about Britain’s Princess Margaret?
 

I love history and there are so many different time periods to explore. I switched gears because I wanted to bring to life a new era in a different way than I’ve done in my past novels. Although there is a romance in The Other Windsor Girl, it isn’t a romance novel. It was fun new challenge for me to write in another genre.

Despite that wonderful and evocative title, your protagonist is actually Vera Strathmore, not Princess Margaret. Who is Vera, and how does she get involved in the princess’s Set?  

Vera is a young woman whose life was irrevocably changed when her fiancĂ© was killed in World War II. In the years since the end of the war, Vera has tried and failed to find a new purpose and future. Through her wit and honesty, she catches Princess Margaret’s notice and is invited into the princess’ inner circle and a life she’d never dreamed possible. Her position as second lady-in-waiting to Princess Margaret gives Vera a taste of glamour and respect but it comes at the price of great personal sacrifice, and insight into the less regal side of royalty. In the end, the once overlooked Vera must decide whether she wants fame by association or a life of her own making.

One of the interesting elements for me was to realize how traditionally “royal” the Windsors still were at the time of your novel. People can’t leave the party before the princess chooses to leave, for example. They have to call her “Ma’am” even when they’re acting like her drinking buddies. How did you research that culture? Is it still the case, and we just don’t realize it because of the tabloids?
 

I did a lot of research for The Other Windsor Girl. I read books about Princess Margaret, the queen, life in Buckingham Palace, firsthand accounts written by former ladies-in-waiting and equerries and anyone who was an intimate part of the day to day running of Clarence House and the royal households. In 1949, when the novel opens, the royals are still very set in the old ways of doing things. I can’t say whether that’s the way it is now. My research kept me firmly planted in the past, but I have to imagine that with Catherine and Meghan that things are not as formal as they used to be.

Yet despite the generally upper-crust/aristocratic atmosphere, Princess Margaret also surrounds herself with Americans, including a doctor who catches Vera’s eye. Who is he? What’s his role in the story?
 

Dominic, the doctor, is a fictional addition to the princess’s story. He’s a man who understands lineage and family tradition because he comes from a line of doctors. However, his lack of awe at the glamour of royalty provides Vera with a more grounded sense of the world. He challenges Vera to see herself as more than a lady-in-waiting, as a woman who could create a life and future through her own determination and talents.

Vera’s “job” in the story includes observing firsthand Princess Margaret’s love for Lord Peter Townsend and later Anthony Armstrong-Jones. What made you decide to use Vera as your point-of-view character on these events, which are well documented?
 

I decided to use Vera as the point-of-view character because she is close to Margaret but not so close as to see all the very intimate aspects of the princess’s relationships. Her slight distance allows the readers to watch with Vera as the two tragedies unfold and feel her frustration at being unable to stop the princess from being her own worst enemy. Through Vera, I offer readers a new take on how the events of Princess Margaret’s life played out.

What did the Royal Family/household know, if anything, about the novel while you were researching and writing it? What was their reaction? Did you have access to official records?
 

The Royal Family was not aware of my novel and I did not request access to official records. Although the novel is based on real people, places, and events, it is a work of fiction and I wanted the freedom to manipulate the facts to create the story I wanted to tell.

Do you already have another novel in the pipeline?  

My next novel is tentatively titled The Last Debutante. It centers on Valerie de Vere Cole, daughter of the famous prankster Horace de Vere Cole and the niece of Neville Chamberlain. It follows her during her 1939 London debutante season, the last glittering one before the start of World War II. Her unique position as a deb and a resident of No. 10 Downing Street gives her a distinctive view of the world at that moment in time and the coming war. 

 


Georgie Blalock is an amateur historian and movie buff who loves combining her different passions through historical fiction, and a healthy dose of period piece films. When not writing, she can be found prowling the nonfiction history section of the library or the British film listings on Netflix. Georgie writes historical romance under the name Georgie Lee. Find out more about her at http://www.georgieblalock.com.

Friday, November 1, 2019

Long Shadows

I’ve talked before about how World War I was, for almost a century, the “forgotten war.” The combination of sheer bloody-mindedness and posturing that landed the great powers of Europe in the conflict; the horrific loss of life, limbs, and sanity among those who fought; and the sense of pointlessness heightened by the even greater explosion twenty years later left little sense of triumph among survivors. If World War II was perceived as an epic struggle to defeat evil, its predecessor seemed more like a colossal act of miscalculation and folly.

The centennial of 2014–18 has gone a long way to restoring the balance of interest between the great wars, and in fiction many good works have appeared in the last five years. I’ve covered several of them on this blog, including Jessica Brockmole’s Letters from Skye, Cat Winters’ The Uninvited, the story collection Fall of Poppies, Hazel Gaynor’s Dancing at the Savoy,  Gaynor's and Heather Webb's Last Christmas in Paris, and Joan Schweighardt’s Gifts for the Dead. Tracy Chevalier’s latest novel, A Single Thread, also examines the aftermath of the war.

Charles Todd, however, occupies a special place in this literary arena. Long before most people paid much attention to the Great War, as it was then known, this mother/son team decided to focus on the experience and effects of the war in two beautifully written mystery series (and a pair of related stand-alone novels). One, featuring Ian Rutledge, examines the long-term effects on the combatants, most notably shell shock. You can find out more about these novels in my post, “The Black Ascot.” I’ll be revisiting Ian in his next adventure when A Divided Loyalty releases in February 2020.

The other set of books, through the persona of Bess Crawford, looks at the ways in which women’s lives and positions were fundamentally altered by the combat. Just as in World War II, women poured into factories, served as nurses, supported the troops in every way open to them—only to be thrown back into lives constricted by marriage, motherhood, and dependency when the fighting ended. As a result, women’s perceptions—and eventually men’s as well—about the capacities of the “fair sex” changed. The loss of an entire generation of young men only accelerated the trend. It’s not easy to stuff the genie back into the bottle, and that was as true in 1918 as it is now. Modern women owe a great deal to their intrepid great-grandmothers, of whom Bess Crawford offers such a good example.

Charles Todd and I talk about all these things and more—including the challenges of collaborating on thirty or more novels—in my latest interview for New Books in Historical Fiction. And as usual, the rest of this post comes from there.


Writing novels—never mind entire series—takes determination, persistence, imagination, and craft. Charles Todd has added to those natural challenges the joys and complications of creating a single persona from a mother/son team. In A Cruel Deception (William Morrow, 2019), the eleventh in their beloved Bess Crawford series, the strengths of their long collaboration are on full display.

Bess, a British nurse, worked with the wounded throughout the First World War. In A Cruel Deception, the war has ended, and Bess faces the future with some trepidation. So it comes almost as a relief when her former matron requests help finding Lawrence Minton, the matron’s son, missing from the peace talks in Paris.

The search goes well, and Bess tracks Minton to a rural farmhouse, where she confronts him with his addiction to laudanum. He wants nothing to do with her efforts to cure him. Despite his refusal to heal, she soldiers on, aided by a young Frenchwoman who loves him. Bess soon realizes that the root of Minton’s troubles lies in the past, but where?

Only then does it become clear that Minton has an enemy, one who will stop at nothing to settle old scores.