Ouija Boards in the post-WW1 period

The plot of The Quid Pro Quo features a Ouija Board session that causes stuff to happen. I thought I knew all about them, but when I came to do a bit of research into what my 1920s characters would have known and thought about them, it turns out I didn’t know as much as I thought.

Vintage Ouija Boards (downloadable from etsy)

Ouija boards are an ancient way of contacting spirits, appropriated and twisted by the western world from another culture that uses them responsibly as part of their spiritual practice, right?

(Imagine a gong ringing here, if you would)

Wrong! Wrong in all the ways!

The roots of the Ouija Board lie in the mid-Western state of Ohio in the 1880s. Their use wasn’t at all incompatible with Christianity and grew out of the interest in Spiritualism that swept across the US after the Fox Sisters in New York State became a national sensation in the 1840s. After the Civil War, the US was in collective mourning for a long time. Having an easier way to talk to the spirits of loved ones rather than being dependent on a medium was presumably how the concept of a board and planchette arrangement originally came about.

In the 1890s the idea was picked up by a couple of smart businessmen, who set up the Kennard Novelty Company in Maryland to manufacture a ‘talking board’ as a parlour game. The name Ouija came from the sister-in-law of one of them, Helen Peters. She was a medium and the name came to her during a session with the ‘talking board’ itself. The spirit she was speaking with told her it meant ‘good luck’. However…at the time of the communication, Peters said she was wearing a locket with the picture and name of the novelist Ouida*. Make of that what you will!

Interest in both Spiritualism and the Ouija waxed and waned over the next two or three decades. Then in short order the world was hit by 1914-1918 world war and the 1918 influenza pandemic. Millions of people died and there was an explosion of interest in the ostensible comforts offered by talking to the dead.

So, at the time my story is set, talking to dead people and to a lesser extent communicating with spirits and angels and entities was a perfectly respectable occupation. Arthur Conan Doyle was a great believer in Spiritualism and Queen Victoria is said to have held several seances to attempt to contact Prince Albert. The Ouija Board even featured in this 1920 Norman Rockwell picture on the front of The Saturday Evening Post. The ladies in The Quid Pro Quo are divided between being fully invested in the process as a method of contacting their beloved dead; and finding it all rather inappropriate and ridiculous. But no-one is really worried about it in the sense that we are now, when we tend to associate Ouija Boards with demonic forces.

So…what changed? Well, in 1973, The Exorcist was released. It completely shifted the way the Ouija was perceived and they are now viewed in pop culture as something that can really harm people, either psychologically or by summoning evil spirits, depending on ones viewpoint.

You can read more about the history of the Ouija Board here at The Smithsonian Magazine . The Quid Pro Quo is coming out on 20th November.

quid pro quo banner

*I hadn’t come across Ouida before. She’s amazing!

Announcing The Quid Pro Quo

So, here’s some news! The Quid Pro Quo will be out on the 20th November and here’s the cover and an excerpt!

It’s the second in the Bradfield trilogy following The Fog of War and stars Walter, Sylvia’s nurse-friend; and Simon, a local detective who visits Bradfield to investigate a murder.

The Quid Pro Quo

The Quid Pro Quo cover, A. L. Lester

Village nurse Walter Kennett is content with his makeshift found-family in tiny Bradfield. However one midsummer morning a body is found floating in the village duck pond, dead by magical means.
Detective Simon Frost arrives in Bradfield to investigate a inexplicable murder. The evidence seems to point to Lucille Hall-Bridges, who lives with doctor Sylvia Marks and nurse Walter Kennett at Courtfield House. Simon isn’t happy—he doesn’t believe Lucy is a murderer but  he’s sure the three of them are hiding something. In the meantime, the draw he feels toward Walter takes him by surprise.

Walter is in a dilemma, concealing Sylvia and Lucy’s relationship and not knowing how much to tell Frost about the paranormal possibilities of the murder. He isn’t interested in going to bed with anyone—he’s got a complicated life and has to know someone really well before he falls between the sheets. He’s taken aback by his own attraction to Detective Frost and angry when Frost appears to twist the spark between them to something transactional in nature.

Will Walter be satisfied to stay on the periphery of Lucy and Sylvia’s love affair, a welcome friend but never quite included? Or is it time for him to strike out and embark on  a relationship of his own?

The second in the Bradfield trilogy, set in the Border Magic universe. With a transm/m couple. Read The Fog of War first and/or add The Quid Pro Quo to Goodreads.

Walter Kennett, The Quid Pro Quo.
As Simon was replacing the device on the telephone table a pretty young woman put her head out of a door at toward the end of the hall. “Sylv!” she said, “Do you want tea? I’ve boiled the kettle.” and then when she realised he wasn’t who she thought he was, “Oh, I do beg your pardon! I thought you were Dr Marks!”.

“She’s still in the surgery,” Simon nodded across the hall.

The woman emerged into the hall. “Lucille Hall-Bridges,” she said, extending a hand. “I’m a friend of Sylvia’s. I help with the house.”

Simon took her hand in his. Her grip was sure and warm. “Detective Frost,” he replied. “Nice to meet you, Miss Hall-Bridges. She had a recent bruise running from her jaw to just below her eye, entering the black-and-purple stage.

“I’ve made a pot of tea,” she was saying. “I don’t know whether anyone will want any, but I do like to feel useful and tea is so…normal-making, isn’t it?”

He nodded, slightly bemused at her chatter. “Yes, indeed,” he said. “Very normal.”

She gave a perfunctory tap on the surgery door, opened it and disappeared inside without waiting for a response. “Sylv, Walter, I’ve made tea. Would you and your detective like to come into the drawing room?” Her voice faded, presumably as she joined them in the examination room.

There was a pause. Then, “Oh!” he heard her say. “Oh.” She sounded a little shocked. “What’s happened to her hands?” she asked.

“Scraped on the bottom on the pond I think,” Simon heard Dr Marks say. “She was face-down in the water.”

“Oh.” Miss Hall-Bridges’ voice was small. “Sylvia…there’s…she’s…I can feel…do you think…?” Her voice trailed off and Dr Marks spoke over her, clearly away they might be overhead.

“Let’s not worry about that now, shall we? The policeman is sending her down to Taunton to a postmortem. You go and take the tea-things into the drawing room. We’ll just cover her up.”
The Quid Pro Quo by A. L. Lester. Trans MC, historical, paranormal, 1920s England.

Killing your pretties

crop unrecognizable person with bright eye and rare eyelashes
Photo by lilartsy on Pexels.com

Content warning for this whole post: I’m talking about writing about death, bodies and the dead. There are no photos here, but there are disturbing photos in some of the articles I link to at the bottom of the post. I detail this after each link so you can exercise your own judgement.


The Fog of War by A. L. Lester, First in the Bradfield Trilogy, part of the Border Magic Universe

I’ve sent the manuscript of the sequel to The Fog of War this week…The Quid Pro Quo will be out on the 20th of November. So now it’s time to blog about all those interesting things I found out whilst I was writing it. And I’m starting with rigor mortis. Yay!

The book begins with the discovery of a body in the village duckpond and the characters need the time of death in order to work out people’s alibis. I’ve never written a body for which I’ve needed time of death before, so I went googling. The number of writers who do this must be extraordinary–presumably we’re all on some sort of watch-list somewhere.

When it came down to it, there’s only a page or two at most about it in the actual book, but I felt that I needed to know a lot more about the subject before I could move on with the story. This is standard for me. One of the things I find most frustrating about my own creative process is that I need to find out a lot more about subjects like this than I put in the book. To illustrate how easily I over-research, I always use the example from The Flowers of Time where I made my own butter, then clarified it to make a butter-lamp as a light source.

I didn’t go that far this time. I’m not so dedicated to my art that I’m prepared to create a corpse and observe the stages of decomposition in order to write about it properly. For both moral, practical and legal reasons. I did do a lot more reading that I probably needed to though, and squicked myself out thoroughly in the process.

Up until that point, my body, Charlotte Fortescue, had been a narrative tool–she gets offed very early in the book and she wasn’t a terribly nice person. We’re not really supposed to spend much time feeling sorry for her, she’s just the doorway for us to get into the actual plot. However, after I read all these truly gruesome accounts of what happens to a body after death, I began to feel very sorry for her indeed.

It was most uncomfortable. I didn’t want to feel pity for her…and I didn’t want reader not to feel for her, exactly, but I didn’t want people to feel they had to waste their emotions on her when she’s effectively a means to an end. I’m now stressing slightly whether I’ve struck the right balance, but it’s too late now, it’s gone off for edits and that’s that.

Here are the resources I found most helpful, whether you’re a writer looking for information, or just an interested bystander. I’ve given additional info about how distressing they are, so please do take heed. I felt wonky for a few days after reading the final one.

  • For an overall summary, I recommend the lovely Ofelia Grand’s blogpost, For when the poor sod needs to die. No gruesome pictures, respectful approach with a light touch, very helpful.
  • I then moved on to the Wiki article about rigor mortis (which has one photo of bodies in rigor, exercise care) and has a broad overview of technical stuff–also links to articles to all the other stages a body goes through after death. It’s very well-referenced.
  • For the forensics part of the story, I read Methods of estimation of time since death (no pictures) from this very in depth NCBI* article. Interesting, mentions maggots, don’t read at lunchtime.
  • However, I needed to know about bodies found in water. So I ended up at Decomposition changes in bodies recovered from water also at NCBI*. This comes with a very serious content warning, I’m not kidding people. There are photos of people who died in very unpleasant circumstances and I found it very upsetting.

*National Center for Biotechnology Information

Next time I plot something out like this I’m going to try and avoid needing forensics as a time of death because I really don’t want to have to read all these again!