When discussing guides for writers, one often thinks of resources that assist with the development of different aspects of a book, rather than historical reference guides. What prompted the creation of WWII FRANCE, A Writer’s Guide?

When I am not writing, I read historical fiction, and I am aware of the growing popularity of novels set against the backdrop of World War Two, especially the Nazi occupation of France. Well-written and researched novels are occasionally marred by historical and cultural inaccuracies. Prominent is the unconscious imposition of modern cultural norms onto the country in which the novel is set. I recognize that it is difficult for an author in the twenty-first century to fully appreciate that in the nineteen thirties and forties, the culture and customs of a country like France were quite different. Language has evolved, and the speech patterns and vocabulary of their wartime characters have to be free of terminology and idioms only adopted later. This is before we get to historical inaccuracies. I appreciate the difficulties faced by non-French-speaking authors in attempting to do thorough research into the period. Much of the source material is in French only. The idea to put it all together in one handy volume had been simmering for several years. It took me three more years of research to complete the book and select what was most relevant to my goal.

What draws you to France’s history during this period and motivates you to ensure accurate and accessible information for other writers?

My interest in this period was sparked when I discovered resistance newspapers and other documentation at home and decided to learn everything I could about the tumultuous events that influenced my early life in occupied Paris. In essence, what happened was one highly developed and cultivated country – admittedly sidelined by Nazi ideology – attempted to impose itself on another highly developed and cultivated country, France. Trying to unravel the complex psychology at work and understand the interesting dynamic is what drives me and, I believe, is what attracts authors to this fascinating episode in French history. I became a researcher, especially in published and unpublished diaries. As mentioned above, a huge amount of information is only in the French language and found in museums, archives, and antiquarian bookstores, sometimes difficult to access, especially for a non-French speaker.

Did you find anything in your research of this book that surprised you?

Certainly. My research led me to realize that events were much more nuanced and interconnected than previously presented by historians. Admittedly many histories were written before archived material became fully available. As archives were opened and vital documents released, it threw a different light on accepted facts and verities. What did surprise me was that most non-French speaking historians fail in one aspect of the war and Occupation in France, and that is culture, thought processes, and values, which are the soul of French people, l’esprit gaulois – the Gallic spirit. Instead, the emphasis is on the political aspect of wars. They often appear biased when it comes to causes and consequences, as historians focus much more on the political aspect of wars than on the lives of ordinary people, yet it is because of the masses that governments take certain actions.

What were some goals you set for yourself as a writer in this book?

My goal was twofold. First, to avoid being boring, as so much history can be dry. I wanted to include some trivia that could possibly encourage an author to do further research. Secondly, I strove for accuracy. I cross-referenced my statements and facts many times. Keenly aware that eye-witness accounts can vary widely, I took pains to sift through conflicting evidence to get to the truth. Wartime France had a different administrative status to other occupied countries and it is no easy task for a writer to unravel its intricacies. My overarching goal was to make WWII France, A Writer’s Guide a manageable compendium which a writer could use as a starting point for further research.

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