Underrated primary sources for authors

Just as a reminder for everyone who was asleep at school – a primary source is a contemporary object or piece of writing. Stuff from Ye Olden Days of Yore. The Treasurer of the Chamber’s Accounts (Henry VIII’s soft furnishings bill–here if you’re interested) is a superb primary source. As is his foot combat armour at the Royal Armouries in Leeds.

A secondary source, by contrast, is something created after the event. Stuff written down by historians to give their interpretation of events. For example, Henry VIII by Alison Weir is a secondary source. As is the enthusiastic Henry VIII reenactor at Hever Castle on a bank holiday.

This article is geared towards helping you discover some off-the-beaten-path primary sources to aid in your writing. Secondary sources are fantastic veins of information, but without primary sources as part of your research, you restrict your writing to interpretations of the interpretations of others- viewing the past through two misted windows instead of one. Also, by looking at more obscure primary sources you can give your writing something new to help it stand out in a crowded marketplace.

Household Accounts

Like the above example, household accounts give us an insight into what people spent money on. Writing stuff like this down really starts to get trendy in the medieval period, especially from around 1200 CE. Most accounts were kept by the women of the household, dealing with daily expenditures. Although, in bigger estates this was often dealt with by a steward or other high-ranking servant.

For your writing, look beyond people complaining about the price of things. Although having someone comment about the three shillings and threepence spent on King’s maundy gives a nice little detail, it’s much more interesting to write about the bigger purchases.

Look at this extract:

To Ric. Gresham, upon a warrant dated 5 Nov. 20 Hen. VIII., for ten pieces of arras wrought with gold of the story of King David, containing in the whole 743 Flemish ells, at 41s. 8d. an ell; also for 12 pieces of tapestry of the Twelve Months, containing 345 ells Flemish, at 2s. an ell. This stuff was delivered by Gresham to Will. Rugeley, yeoman of the Wardrobe, 27 Oct.

So, Henry VIII has brought some beautiful tapestries. What do your characters think about them? How do them look in the hall?

Look at the wider context. Continuing our example, in October 1528 Henry is sleeping around with his then mistress, future wife Anne Boleyn. Lorenzo Campeggio is at court holding discussions with Henry and Cardinal Wolsey. So, despite everything else that’s going on (including being at war with the Holy Roman Empire!) Henry is still splashing the cash on luxurious furnishing. For your writing, whether your characters are real people or fictional creations, think how they react to these big purchases and how they would impact their day-to-day lives.

Advertisements

All advertisements play off of desires, fears, or insecurities. Promising something good, or promising to prevent something bad. Advertising isn’t a new thing. By the 17th century, newspapers in London began to carry adverts, and by the 18th century, advertising was really taking off.

Advertising can produce massive shifts in generational attitudes. For example, the legendary diamond marketing campaign by De Beers.

In the 40’s, the New York-based ad agency N.W. Ayer ran some incredible campaigns, showing diamonds as a symbol of eternal love. An up-and-coming copywriter called Frances Gerety came up with the legendary slogan “A diamond is forever”. Previous to this, a diamond ring was neither required nor expected with a proposal. In 1940, 10% of first-time brides had diamond engagement rings. 50 years later in 1990, that number had risen to 80%.

As well as being an interesting anecdote, the De Beers campaign shows just how powerful advertising can be in shaping perceptions and desires. A quick Google will bring up relevant adverts from your story’s period. You can use these to gain a greater insight into what your characters find desirable, or social expectations.

Cook Books

As I mentioned in a previous article What’s Cooking?, food is extremely important in understanding a historical period. The Boke of Cokery by Richard Pynson is the first English cookery book, and it dates from 1500.

Mrs. Beeton’s Book of Household Management, aka Mrs. Beeton’s Cookery Book is another treasure trove of recipes and firsthand insight into the meals that kept families fed and the accounts in the black.

Contemporary recipes are not just useful in helping you avoid blunders- like a 15th-century merchant happily chomping on a tomato before Columbus’ voyages brought them to Europe. Rather they help give an authentic perspective. By looking at actual menus and recipes from your period, you can get a clearer idea about the day-to-day reality your characters live in.

Satire and Cartoons

Satire is as old as humanity. And taking-the-mick is an inherent part of the human condition. Even the rough, tough Vikings had jokes in their sagas. My personal favourites being the adventures of Hali the porridge eater at the court of Harald Hardrada.

These sources can tell us what people in the past found funny, or insulting- or in the case of Hali the porridge eater, and his not-so-gentle-ribbing, both.

The Romans used allegations of sexual misconduct and degenerate behaviour to smear their political enemies. We have tons of primary sources of this (including everything from tablets to graffiti), and it gives us a clear idea of what this society would consider abhorrent or dishonourable in their political elite.

Political cartoons, which take off in the 18th century, give us more of a general overview of feelings at the time. Obviously, there is going to be a bias from that individual cartoonist, but most of them have their finger on the pulse of the nation’s mood at any given time. These little snapshots can tell us how people are feeling and therefore what your character’s reaction might be to macro historical events taking place around them. Or if you’re writing about the great and the good, how they feel about being satirised.

Everyday Objects

A quick trip to the British Museum or the Met will give you access to objects from across the planet and every possible period of time. Or failing that, any number of historic properties, armories or other collections of historical artifacts can give you firsthand experience.

Adding a touch of realism by being able to describe a piece of jewellery, a hair comb, or a dagger accurately is just the surface benefit of looking at (or if you’re extremely lucky, handling!) historical artifacts. The real bonus it gives you as a writer is giving you added empathy, which will come through in your writing as you get ‘in touch’ with your historical period.

Yes, this does sound a bit hippy. But please do trust me. Being able to see say, a 17th-century chair, means you can see your characters sitting there in your mind’s eye while you write a scene. The vibrancy and the colour will shine through in your writing.

Finally, although the temptation is there to rely heavily, or almost exclusively on secondary sources, I would urge you not to. But why reinvent the wheel? I hear you cry. Well, here’s the thing. By utilising primary sources, you build your own connection to the past. You establish your own internal narrative about that point in time, and you grow your empathy for the people who lived there. Also, don’t sell yourself short! Even with the most well-trod paths of history, there is always something new to discover. And you may very well be the one to do it, or at least the first to put it in a novel.