J D Davies - Historian and Author

The website and blog of naval historian and bestselling author J D Davies

Gentleman Captain

The Art of Male Multi-Tasking

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It’s a very odd and hectic time at the moment. I’m simultaneously completing the final edits of ‘Quinton 3’, The Blast That Tears The Skies, ahead of its UK publication on 17 April, while also writing number 4, The Lion of Midnight, keeping a weather eye on the US publication of The Mountain of Gold on 17 February, and continuing the research for Britannia’s Dragon. (In fact, when this post goes ‘live’ I hope to be in the new Caird Library at the National Maritime Museum, getting on with work for the latter). Then there’s a book review, a conference paper, two talks, and the imminent arrival of the proofs of my essay in the latest Transactions of the Naval Dockyards Society, all to be done within the next few weeks. Fortunately I’ve never found it particularly difficult to juggle a lot of things simultaneously and can work very quickly, but all of the above has caused me to make a few fairly random reflections on my working methods and on the nature of what authors do.

The first lesson- Don’t say ‘yes’ to so many commitments. Something that seemed like a good idea six months ago invariably comes back and bites one on assorted parts of the anatomy. And double-check the deadline: misreading ‘2 February’ as ’28 February’ several months ago has caused not a little angst here in the Lair over the last couple of weeks.

The second lesson – Don’t assume a project is completed until the hard copies of it turn up on one’s doorstep. I’d blithely assumed that all of the edits on Blast had been put to bed; the same thing happened on The Mountain of Gold. The consequence of this is…

The third lesson – Always factor in time for the unexpected that’s bound to crop up.  If it doesn’t, great, take a few days off and congratulate yourself on the brilliance of your time management. But if it does…

The fourth lesson – I suppose I’d always assumed that writing was an entirely solitary profession, where one delivered one’s inherently perfect manuscript to a grateful publisher with a heavenly choir singing in the background. Well, it’s true that it’s largely solitary up until the time when the first draft is completed. From then on, though, the author becomes simply part of a team, all of whom are working towards the same goal, the success of the book, and it’s essential to flick an internal switch and go into ‘team player mode’. The critical readers, the agent, the publisher’s editor, the other publisher’s editor…everybody will have their say, and it’s important to react to this input positively. Apparently Patrick O’Brian reacted badly to any criticism whatsoever, so his editor, Richard Ollard, had to handle him with kid gloves; and much as I love O’Brian’s work, one of the biggest influences on my own, it has to be said that some of the books in the series could have done with rather more rigorous editing. In my case, I still remember the horror I felt when the major edits of Gentleman Captain arrived with suggestions to delete whole swathes of treasured text and to add new passages. But that editor’s input was undoubtedly wholly well-founded, and her changes made the book vastly better than it might have been. Which leads into…

The fifth lesson – A book is therefore a product of compromise, but that doesn’t mean surrender (on the basis that ‘these people have been doing this sort of thing much longer than me, they must be right’). With The Mountain of Gold, one of my editors wanted the deletion of three scenes. I was prepared to go to the wall over one of them, and in the end we compromised: I got to keep the scene I was prepared to spill blood for, while the other two went (to be replaced by newly-written scenes that, again, tightened the narrative and thus made it a much better book). So honour was satisfied.

The sixth lesson –  Not even ‘the team’ has a monopoly of wisdom. At dinner last night, a friend who’d read Mountain of Gold said that it would have been really useful to include a map of the River Gambia, and that he’d only realised the ship was sailing east when he read my description of Matthew Quinton watching the sun sinking through the windows of his stern cabin. I suddenly thought: yes, now I come to think about it, I really wish I’d included a map. Other readers have balked at some of the nautical language that I take for granted, although I hope not to quite the same extent as O’Brian did, so there’s a running debate on whether or not to include glossaries in the Quinton books. I’ve resisted thus far, hearing my previous incarnation as a History teacher of 30+ years say countless times ‘If you don’t know what something means, go away and look it up!’. But I can see the counter argument, too, and would welcome readers’ thoughts on whether such an addition would be useful.

Anyway, that’s enough reflection for now. After all, writing a weekly blog is another commitment to add to those I listed at the beginning, and I really must get back to the ‘day job’ proper!

Vanished Empires

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‘The Journals of Matthew Quinton’ are set principally during what are known as ‘the Anglo-Dutch wars’, but like most generalisations used to describe historical periods, that label actually conceals a much more complex picture. For one thing, the wars were not exclusively Anglo-Dutch: the second, from 1665 to 1667, also involved France, Denmark-Norway and even the Prince-Bishop of Munster, while the third, from 1672-4, was part of a much larger conflict that the Dutch regard as effectively their second war of independence, fought overwhelmingly against the French.

The same is true of the colonial conflicts that form the backdrop of The Mountain of Gold, the second book in the series. Anglocentric sources have sometimes seen the colonial conflicts of the early 1660s as being primarily between the English and the Dutch, especially in West Africa, but in reality many European powers, including some pretty unlikely ones, were scrabbling desperately to get their hands on slices of colonial action. Much of the action of The Mountain of Gold is set on the River Gambia, but there are allusions to the larger expedition undertaken by Major (later Sir) Robert Holmes in 1663-4 against the Dutch forts on Cape Coast and the Gold Coast. But several of these had only very recently become Dutch; until 1663 several of them had been Swedish and bore Swedish names like Carolusborg. There were a number of Danish outposts, too, and the French had already established Fort St Louis, later Dakar, which features in The Mountain of Gold. Perhaps most bizarrely, the Duchy of Courland – which occupies part of the land area of modern Latvia – held St Andrew’s Island in the Gambia River, although this was sold to the Dutch shortly before the Holmes expedition arrived and conquered it, turning it into James Fort (which later became an important centre of the slave trade). Having made a few slight tweaks to the chronology, I’ve used the Courland element in the book; indeed, the climactic battle takes place on St Andrew’s Island. But this was not the sole extent of Courland’s imperial ambitions: Duke Jakob, a godson of King James VI & I, also acquired the island of Tobago, although this was abandoned to the Dutch in 1666.

Of course the larger nations had also established themselves in north America, not always successfully. New Sweden, established in 1638, was a quite extensive colony along the River Delaware, including parts of the modern states of Delaware, New Jersey and Pennsylvania. But during the Northern War of the 1650s, the Dutch moved against this colony and overran it in 1655. Their triumph was brief: in 1664 ‘New Netherland’ was conquered in turn by the British, and part of the former Swedish colony was sold to Sir George Carteret, a colleague of Pepys on the Navy Board (and who appears as a minor character in The Mountain of Gold), who named his territory after the Channel Island which he called home, thus establishing New Jersey. Meanwhile Colonel Richard Nicholls had led an expedition to annex the small Dutch settlement of New Amsterdam, which was duly renamed New York after Nicholls’ patron, the Lord High Admiral and brother of King Charles II. The Nicholls expedition is recreated in Broadside, an excellent but regrettably little seen documentary in which I participated.

By coincidence, the two effective ‘creators’ of New Jersey and New York both lie buried about five miles apart, just a short distance from where I live in Bedfordshire. Carteret lies in a fairly bland family vault at Haynes church (right), but Nicholls’ memorial (below), in St Andrew’s Church, Ampthill, is spectacular. A florid Latin inscription describing how he removed the Dutch from New York (‘belgis expulsit’) is surmounted by the Union flag and the stars and stripes flanking the actual cannonball that killed him while he was attending upon the Duke of York during the first naval battle of the misnamed third Anglo-Dutch war, the battle of Solebay on 28 May 1672. My geographical proximity to these two memorials to the colonial conflicts of the 1660s was one of the factors that inspired the plot of The Mountain of Gold.

The Real Tarpaulins, Part 2

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This week, a couple more ‘tarpaulin’ officers whose lives provided inspiration for the character of Kit Farrell in ‘the journals of Matthew Quinton’. I’ll conclude the series next week with a look at probably the most famous tarpaulins of the age – the closely interconnected Norfolk admirals Christopher Myngs, John Narbrough and Cloudesley Shovell.

The Munden brothers – The careers of Sir Richard and Sir John Munden were particularly remarkable in two respects. First, they were particularly low-born, even for ‘tarpaulin’ officers; their father was the ferryman at Chelsea, although this was actually quite a lucrative employment, given the absence of bridges on that stretch of the Thames. Secondly, they rose to prominence at a time when opportunities for promotion for their kind were becoming ever more limited because of the increasing dominance of the ‘gentlemen captains’. That they were able to achieve what they did can only be a tribute to their own abilities.

Richard was born in about 1640, which would effectively make him an exact contemporary of both Kit Farrell and Matthew Quinton. He served in merchant ships prior to the second Anglo-Dutch war, entering the navy in 1666 as captain of the Swallow Ketch. He commanded a sloop in 1668 and then became master attendant at Deptford dockyard before commanding the Fourth Rate Princess in 1672. In the following year he took command of the Assistance, tasked with escorting outward bound East Indiamen as far as St Helena. Unknown to Munden, the Dutch had captured the island before he got there. He immediately launched an attack, and in addition to recapturing the island he snapped up three homeward-bound Dutch East Indiamen. His success led to a knighthood  and later to another plum command, the large Fourth Rate St David, employed on convoy work in the Mediterranean. Munden died shortly after the ship returned to England in 1680. He was buried in Bromley church, where his monument states ‘having been (what upon public duty, and what upon merchants’ accounts) successfully engaged in fourteen sea-fights … he died in the prime of his youth and strength, in the 40th year of his age’. The post-mortem inventory of his house in Bromley (where there is still a block of flats called ‘Munden House’) revealed an estate worth almost £6000, including shares in four merchant ships, chairs and carpets from Turkey, other materials from India, and a ‘Japan cabinet’. Munden left five daughters and a son, Richard, who later became a general in the army.

Richard’s prominence in the 1670s meant that he was able to promote the career of his younger brother John, who had been born in about 1645 but whose first thirty years of life are shrouded in obscurity. From 1677-80, though, John was his brother’s lieutenant in the St David, subsequently gaining several more lieutenancies before obtaining the command of a fireship in 1688. In 1689 he became flag captain to Lord Berkeley, Rear-Admiral of the Red squadron, and held the same post under Berkeley’s successor Sir Ralph Delaval aboard the Coronation, in which he fought at the disastrous Battle of Beachy Head (1690). From 1691 to 1693 he commanded the Lenox (the subject of Restoration Warship, a superb book by my good friend Richard Endsor, the cover artist of Gentleman Captain), fighting in her at the Battle of Barfleur in May 1692. He commanded various large ships in the latter stages of the Nine Years War and was promoted Rear-Admiral in 1701, when William III knighted him.

In January 1702 Munden took command of a squadron tasked with intercepting a powerful French force expected to sail from Rochelle to Corunna, then on to the West Indies. He cruised off Corunna but the French evaded him during the night and got safely into port. He considered the harbour too well defended and narrow to contemplate an attack. He was court-martialled for negligence on 13 July but acquitted, and returned to his command. However, public opinion had been highly critical of him for not pursuing the French into Corunna harbour, and the privy council was dissatisfied with his acquittal. Queen Anne and her ministers yielded to the public pressure and dismissed him. This is an excellent example of how public opinion had become an important factor in naval policy by about 1700; it had certainly not been so to the same degree in Charles II’s reign, and its increasing importance during the eighteenth century would ultimately lead to such dramas as the execution of Admiral Byng and the Keppel-Palliser court-martial in 1778. Meanwhile Sir John Munden retired to Chelsea, where he was described in his old age as ‘a very plain man in his conversation and dress, of a fair complexion’. He died on 13 March 1719.

Gentleman in the First Person

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A few weeks ago, Susan Keogh, author of the Jack Mallory chronicles, posted a pretty positive and particularly thoughtful review of Gentleman Captain, in which she raised a couple of interesting and important critical points. I’ve been meaning to post about these for some time, but a combination of holidays and the completion of the revised draft of the third Quinton novel, The Blast That Tears The Skies, means that I’ve not had a chance to do so until now.

First of all, Susan clearly doesn’t like first person narration, finding it too limiting. In terms of my own reading, I’d largely agree with her – and the use of the first person has caused me a few interesting plot construction issues in Blast, where it’s been essential for me to have more than one viewpoint character. (Having said that, I think the device I’ve adopted to get round the problem works very well, and fortunately, so far and touching a lot of wood, my critical readers agree!) But the reason why I adopted a first person narrative goes back to the very origins of the ‘Journals of Matthew Quinton’. In the early days of writing Gentleman Captain, I experimented with an alternative version of the first few chapters which used third person narration. Somehow, though, it didn’t feel quite as immediate or dramatic, particularly during the shipwreck scene at the very start of the book; and the more I thought about it, the more I realised that this experiment confirmed my original instinct. One of my key objectives with the series is to tell the whole story of the Royal Navy from the 1580s, the era of the Spanish Armada, to the 1720s, when something that was much more recognisably the navy of Horatio Nelson was taking shape. Telling the story through the eyes of ‘old Matthew’, and giving him a grandfather who had been one of Drake’s contemporaries and rivals, achieved this purpose admirably as far as I was concerned, and would have been much harder to do from third person viewpoints; moreover, it presented plenty of opportunities for humour, with an archetypal ‘grumpy old man’ comparing the dog days of his youth with the supposedly ‘improved’ world around him.

Susan’s other point is that surely Matthew wouldn’t have been as ignorant of the sea as I’ve made him. Well, the short answer to this is – yes, he would. This was one of the key points about the commissioning of young aristocrats and gentlemen by King Charles II and his brother James; many of them literally were entirely ignorant of the sea, particularly in the early years after the Restoration (the setting of Gentleman Captain). Moreover, many of them actually believed that it was important to remain ‘ignorant’ – seamanship being regarded as a ‘rude, mechanical’ art, and thus beneath the honour and dignity of men of their social status. It’s true that some went against this belief, and I’ve based Matthew on the likes of Captain Francis Digby, a real historical figure of the 1660s whose manuscript journals reveal that he gradually – but only gradually – became a highly competent navigator and seaman. But there were others who held to the older philosophy that a captain was essentially in charge of the military aspects of a ship’s operations alone, and in The Mountain of Gold (and then much more extensively in Blast) I’ve introduced the character of Matthew’s friend Captain Beau Harris, who is again based on several real people and who actually revels in his determination to learn nothing of the seaman’s art, in order to provide a sharper counterpoint to Matthew’s determination to improve. One of the key themes of the series of ‘Journals of Matthew Quinton’ will be the way in which ‘gentlemen captains’ like Matthew Quinton gradually won out, thus preparing the ground for the Jack Aubreys and their real-life equivalents in the future. But it wasn’t an overnight process, and during the 1660s many a young captain like Matthew Quinton might well have struggled with an inner conflict between received opinions of what should be beneath the honour of a gentleman and their own recognition of the qualities necessary for a successful ship’s captain.