Problems and Bumps. Do They Never End?.

Now that the story worthy problem is set and main character introduced, our hero, François, sets out to accomplish the goal of helping his pirate mentor-friend rescue his wife and child. No journey is without problems which builds tension, and provides an avenue in which to develop his and others' character. However, a problem is added which our hero will know nothing about until returning—if he returns. That's right, the hero will resolve the story worthy problem, but may not survive the trek. This side story is destined to become a story within the story, relating to something his wife, Mariah, encounters during his absence that must be resolved at home, either by whoever returns.

Returning to the main story, in steps the angel of death from Mariah's dream, the hint that someone may die. François has difficulty deciding to leave his family to embark on this adventure, but his family also has trouble letting him go. Mariah puts up resistance as does his eldest son, Jean-Paul, but where she angrily acquiesces, we only assume Jean-Paul goes along quietly with his father's departure. Wrong.

Because of our hero's past, François has sought to provide a lot of love and stability within his family. In an unusual stance his wife wanted her husband to be present at the birth of their first born (and subsequent children) because of the strength and reassurance he could provide. Except for the two years away being a pirate, he is very close to his children, but especially to Jean-Paul who is so named to honor the privateer who raised and adopted François. As most parents will eventually admit, there comes a time when they find it difficult adjusting to the fact that their little child has grown up. During this time period becoming an adult occurs within the teenage years. At this point Jean-Paul is fifteen, a burgeoning teenager, but for all intent in this era, truly a young adult.

Modern science has confirmed what parents already know, teens don't act normal from the time puberty drops on them until they are in their 20's. This is only a guess, but I believe that was the case in the early 1600's when this story takes place, too. Francois' son is very attached to his father and determines not to be separated. He and a close friend swim out and climb aboard as the ship begins to leave. Problem #1: Throw them overboard to swim back to land (not that far), or take them along.

The issue addressed here is how a parent views their child and when is the child no longer a child. This is as something Francois must reconcile in very little time as the swim becomes longer with each minute. The decision must be done within context of the period. He is helped by the one man responsible for his transformation, friend and fellow pirate Hogshead Shaver, for whom this journey is undertaken. Angry, Francois relents, but determines that his son shall make the final transition into the adult world without special treatment. This is done with the help of certain crew who keep the secret of who the boy really is, and with the stipulation that the boy will be kept from harms way if at all possible. Of course, this portends difficulties in the future. Also revealed is why Francois is so protective. During the first voyage a young orphan joined his crew aboard the Raven with whom he became very close. The lad's death in battle affected him more than had been revealed. Problem #2: How do you keep one's son from suffering the same fate when your ship is obviously going into a fight, not to mention that sailing the ocean in those days was inherently dangerous anyway?

At the outset of this series I determined that some historical accuracy should be a major part of the story. That means some wide ranging research into culture, customs, and history. While the story takes place in the early 1600's, I found a necessity to go back further in time, as early as 1492, as events occurring then shaped beliefs and actions in the story. As with characters, a storyteller needs to know more than he relates, and avoid overwhelming the reader by determining how much tho relate.

This is a sea tale, so things like types of vessels, how they were operated, what went on aboard when sailing, and when not (either becalmed or in port), navigation, dealing with weather, seasickness, social problems (and there were some when cramming a hundred men into a tiny space), sea lore, fears, superstition, a whole barrel of fun things.

A story should never be without some comical relief to give the reader a break in the rising tension. This is achieved by considering what goes on in the crows nest, that little, bitty platform 100 or so feet in the air that sways back and forth, back and forth, back and . . .

(Jeremiah, nicknamed Bones, is Jean-Pauls' companion who also came aboard. He receives his first assignment from a young Irish sailor, Mr. Cochran, who becomes the boys' close friend and mentor)

“Now then, Bones, see that platform up there?" he said, indicating the crow's nest. "Yourself’ll take the watch. Climb up and have a seat. Be sure and tie yourself to the mast. Don’t want to see yourself makin’ a quick trip to the deck. And when yourself has to puke, put it o'r the side and not on deck, or ye'll answer to those below."

“You’re asking me to climb all the way up there?”

“No, I not be askin’ yourself to climb all the way up there, I’m tellin’ ye to climb all the way up there. Now, unless it be me boot yourself wants planted in your arse, be off.”

Jeremiah wasn’t too sure about this, but quickly figured he didn’t have much choice. “What should I be watching for?”

“It be rocks, other sails, somethin’ that might be a problem to navigatin’. If’n ye see somethin’ shout us down the word, “Ahoy on deck,” and says whatever it be. Now, look lively.” (My sense of humor is not going to let this scene slip away without having a bit more fun. More on that in a moment.)

Meanwhile, Jean-Paul, nicknamed Curly, is introduced to the ship and his chores which includes what every seagoing person needs to know—where's the bathroom? And if unable to make it, there's a bucket which Curly and Bones are expected to empty or the contents end up in the bilge (the very bottom of the ship) to stew, and that will require a periodic cleaning. Oh, the joy of sailing tall ships. anyway, Curly also gets his turn in the nest.

Just before calling Bones down to acquaint him with the ship layout, (he knows next to nothing about a ship other than it floats and can sink) the young man sees something and makes his report. As the reader may have noticed, his initial instructions were a bit vague so it is natural this happens.

As he (Mr. Cochran) was about to call Bones down the lad cried out, “Ahoy below. Gray thing ahead shooting steam.”

“What in Neptune’s name do you mean by a gray thing?” Parker answered. (The Sailing Master)

“A small island, or rock, or something.”

“Or something! Good grief, what have we got up there? No steaming islands around here.” He grabbed a telescope and climbed up to take a look. “Where is it?”

“Kinda right of the pointy thing at the front of the boat,” Bones said while pointing forward.

Parker rolled his eyes and mumbled, “What kind of lunatic have I got here?” He looked, but couldn’t see anything, then peering through the telescope he saw it clearly. Looking again without it, he couldn’t make it out, and his eyes were still sharp. The young man's eyesight was impressive. “Well, my apologies, lad. That be a whale and she be blowin’.”

Not all officers were cruel, mean, scallywags. Many were fathers and treated the boys under their command accordingly—firm, but with a degree of caring. In any event, the reader is introduced or re-introduced to some historical details of sailing and a ship's layout while enjoying a bit of humor.

Once the issue of Jean-Paul is more or less resolved for the time being, there is Problem #3, recovery of Francois' pirate ship, Raven. It has come to rest at the mysterious ghost island of San Borondon. This is a fascinating legend from at least the time of Ptolemy (AD 90 – 168) that tends to persist today. Then, El Hierro was considered the furthest western point of civilization, except for this island frequently seen in the distance. There are not only maps of San Borondon, but also pictures, and this being a novel resting on an historical foundation, inclusion of the story is natural. Through dialog and narrative, the history of San Borondon is presented along with some superstitions. Of course, the recovery and rescue is not an easy task, somewhat reminiscent of what Herakles encountered in Homer's The Odyssey.

From old maps in Museo Canario, Las Palmas, Gran Canaria

To this point, more characters important to the story are added, and the backdrop further colored in, which brought me to an editorial decision. I have read a few stories in which the author went into considerable detail about sailing and the description of a ship using lots of terminology. I have a book published in 1754 (thank you Google) giving a lengthy description of every nautical term used. How much detail to include is something an author must consider. Jules Verne went into great detail to explain the science used in his works. Sir Arthur Doyle did likewise. I did not wish to inundate the reader and loose them completely by using more nautical terms than needed to move characters around. Just something to consider.

Bumps along the trail are necessary and realistic to any adventure. Some are easily resolved, some not so easily resolved, and some not at all. With the recovery of the Raven the journey continues, but not without Problem #4—sailing  open waters in something not much longer than a large yatch that leaks.

110' Brigantine, Raven