How to Make a Living Writing One Book a Year with Jami Albright

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How to Make a Living Writing One Book a Year with Jami Albright

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My Year in Review: The Self Publishing Show with Mark Dawson

 

 

IT’S TELEVISION TUESDAY

 

 

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My Year in Review (The Self Publishing Show, episode 211)

 

 

 

 

The Self Publishing Show Patreon Page

The Self Publishing Show Podcast

 

 

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The Fifty-Thousand Dollar Mistake SPF Episode 210 with Mark Dawson

IT’S TELEVISION TUESDAY

 

 

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The Fifty-Thousand Dollar Mistake (The Self Publishing Show, episode 210)

 

 

 

 

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Self-Publishing Formula Patreon Page

 

 

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The Obsolescence Trilogy: Book #2 UPGRADE by Chris Muhlenfeld

 

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Billions are dead. The World is still smoldering. A terrifying new threat has emerged from the ashes. 

 

 

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About Audiobook #2

Author: Chris Muhlenfeld

Narrator: Price Waldman

Length: 8 hours 44 minutes

Publisher: Chris Muhlenfeld⎮2018

Genre: Science Fiction

Series: The Obsolescence Trilogy, Book 2

Release date: March 5, 2019

 

 

 

 

 

Synopsis: Billions are dead. The world is still smoldering. A terrifying new threat has emerged from the ashes.

Returning safely from their expedition, James and Alexa deliver the weird news to the survivors at Winona Station. Everyone still alive is now faced with an impossible decision: betray their very humanity to survive, or watch the human race regress into a new stone age.

The stakes could not be higher.

Will they choose wisely?

Make time now because once you start listening to UPGRADE, you’ll be instantly hooked. Get it now! 

UPGRADE is the second thrilling audiobook in The Obsolescence Trilogy. This audiobook is plausible, near-future sci-fi that’s full of rich, insightful characters, and compelling ideas.

 

Buy Links for Audiobook #2

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A solid follow up from book one, Upgrade has several fascinating story developments.  A mysterious Artificial Intelligence with unknown motives, intriguing technology, good characters, and a good dose of humor made this an entertaining book. The ending was a bit confusing, but I’m assuming that will be explained in the next book, RESET.

 

 

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About the Author: Chris Muhlenfeld

Chris has been reading and writing science fiction since he was a teenager. After roaming all over the world,  he finally settled down in the beautiful mountains of western Montana where he publishes Distinctly Montana magazine with his wife. When he’s not hiking, biking or camping in the Montana wilderness, he and his wife are traveling the world. 

 

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About the Narrator: Price Waldman

Price Waldman is an actor and singer, born and raised in NYC. Classically trained, and working professionally in the theater for over 20 years he is new to the world of audiobooks. As an actor he has performed multiple times on Broadway, toured nationally and internationally and appeared on film and television.

 

 

 

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Interview with Peter Riva, Author of Kidnapped on Safari: A Thriller

 

 

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The third book in the Mbuno & Pero series pulls terror from headlines to create a gripping international thriller for readers of John le Carré, Daniel Silva, and Iris Johansen.

Expert safari guide Mbuno and wildlife television producer Pero Baltazar are filming on Lake Rudolf in Northern Kenya, East Africa, when they receive news that Mbuno’s son, himself an expert guide, has been kidnapped while on a safari five hundred miles away in Tanzania. After gathering the clues and resources needed to trek through the wilderness, they trace the kidnappers back to an illegal logging operation clear-cutting national park forests, manned by sinister Boko Haram mercenaries. There, they find not only Mbuno’s son but also a shocking revelation that has terrifying and far-reaching consequences.

Relying on Mbuno’s legendary bush skills, the pair must overcome the danger both from inside and outside the camp to bring Mbuno’s son out alive. In doing so, Mbuno and Pero discover that kidnapping and deforestation are only the beginning of the terrorist group’s aspirations, and they realize a threat that would herald an even more dangerous outcome for Tanzania—a coup. A rescue might just risk the entire stability of the region.

Exciting and expertly plotted using facts ripped from news’ headlines, Kidnapped on Safari is a gripping, edge-of-your-seat thriller set in deepest, darkest, Machiavellian, East Africa.

 

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Interview with Peter Riva,
Author of Kidnapped on Safari: A Thriller

 

Have you always wanted to be a writer?

As an adult? No. However, as a child I was always writing and making up stories based on real events, machines, animals. My mother, of course, loved these, as did my much younger brothers. Then school took that hedonistic pleasure away. It was only in later years, post-40, that I found that pleasure of writing for fun again. It’s a slightly guilty feeling to allow myself the pleasure…

Have you ever written a screenplay?

Yes, at UCLA film school 1969-70. Those years were interrupted by the anti-military riots and it went nowhere. I did critique other young TV/filmmakers—like Steven Spielberg (at USC- he used to come to see original films at UCLA)—with my opinion of films and their perspective. My advice to Steven was useless. He always had a steel-trap memory, remembered every credit of every film he had seen. Steven, who worked with my brother Michael, is a storyteller at heart. We have that in common.

How did you become a literary agent?

As a gopher on Monty Python’s Flying Circus for BBC TV—and I mean a gopher, I had, for example, to fetch two ladies of the night willing to dress as nuns for the penguin tennis sketch… and bare their chests (BBC 2 allowed that, it was aired, but never in video). When the TV season was over they asked my help in getting a book published. My father was a toy agent and he was able to steer me in the right direction. Things went on from there…

How did you develop a love for wildlife in Africa?

I first went to Africa age 16 and then returned –this time to East Africa with a client Peter Beard. There I met some wonderful people, real people, people of the land and adventure, who showed me their connection with nature. Three times I walked solo across the Maasai plain to the Ngong Hills and back, eight miles each way. Lions let me pass, hyenas paid me no heed. I walked through herds of gazelles. There I also met Mbuno who, as you can see in my stories, had a profound impact on me. The stories of his exploits and those of his father (who guided Teddy Roosevelt) are awe inspiring.

What are your favorite animals?

Let’s start with those I hold in my heart… a succession of wonderful companions since I was 18, dogs, currently Lil Lady and Tay, both Golden Retrievers. Except for those dog friends who I consider much like family members (I do not own them, we share life), I have always admired, studied, and been fascinated by animals. I had a farm back east with a rescued pulling horse, Big Jim, 1500 pounds of muscle, along with cows, ducks, chickens and wonderful goats. Where I live now on a ranch in NM we have Pinzgauer cattle that I hand feed when they turn up early morning. 

How did your writing process develop? Or has it always been the same?

I am afraid as a writer I binge. In work I read 100k to 150k words a week, write maybe 10k words at least. I have written for the past 20+ years a weekly op-ed piece, 800 words, for the Millerton News and often the Lakeville Journal. It all adds up. But writing a story? I sit down, pluck events I know about out of the thin air, write them down and let the characters construct events. Sometimes that means I’m still typing at 3am… sometimes I need to stop and mull it over for a day or more.

Do you always write what you know? And if not, would you write something outside your direct knowledge base?

Yes, I rely on what I know, have studied, learned about or—and this is the fun part—connect the dots on. Take two separate events, especially when everyone assumes that there is one event and that’s final—and there is another event and that too is final, self-contained. If you then find the link between them, if you can find that thread that mysteriously (plot twist) connects them, then you have great fun allowing the threads to be woven into a good story. If I reach a point where my personal knowledge fails me, I have resources, people I can talk to of course. Quite often that gap not found on Google until you get to the 20th or more page down. I often prefer my 1956 Encyclopedia Britannica. Research is never frustrating, it is always illuminating.

Write something outside my direct knowledge base? Yes, sure, insofar as data and facts are concerned. That’s fun. My SciFi stories fit that bill, tons of learning (all fun).  Write something outside of my personal emotions and experiences as a character or those of characters I have known? Not sure I can make up a human out of whole cloth. Can anyone?

I believe storytelling originates out of some kind of appreciation. What do you appreciate about Mbuno?

Mbuno embodies—both the real man and the character I write which is an amalgam of Mbuno, his father and stories of pre-colonial East Africa—that which is most honorable, most deliberate, least constrained by false values levied in modern society. I’m not talking about PC here, but let’s take an example. The real Mbuno was asked to help the British powers during the Mau Mau revolution. This was a terrorist faction of the Kikuyu tribe, set on upending British rule. Mbuno didn’t care who wanted to rule the country. Like ownership of land which he believed to be nonsense—“Only the gods own the land they created.”—ruling a country didn’t interest him. However, Mbuno could not stand by and watch Mau Mau butchers hacking up women and children in the dead of night. He had no hesitation in tracking those killers down. Nothing to do with sides, just moral right from wrong, nothing PC about his thinking.

What do appreciate most about the setting in your book?

It is so hard to convey the true majesty of real nature. I live in New Mexico, abutting the Gila Wilderness, 3.5 million acres set aside as wilderness. To be here, to inhale unspoiled air, revel in the scenery, watch the wild animals (bears, coyote, fox, javelina, snakes, and 1/3 of all the bird species in N. America come through here)—it’s like a meal for the senses. The difference between here and East Africa’s wild places? On foot, almost nothing, but Africa has that primordial connection to a part of your brain that you cannot escape. The senses can be overwhelmed with the beauty and majesty. In a zebra-painted tourist minivan, your TV is better.

Is everything in Kidnapped on Safari real?

Oh, of course, real yes and actual fact? No. Times, events, places are moved about. A similar coup in Tanzania was a real possibility until it was stopped in the ‘70s. Boko Haram kidnapped girls (news events). Transporting the girls to Tanzania as a means to effect the coup? My imagination and that connection thread no one expects. The trains, the places, the parks, the animals, all real, researched or experienced first-hand. Mbuno’s ability to communicate with elephant? As told by him true and, in his old age (approaching 80 when I knew him), no longer fully possible—but the prowess of his father to do so—taught to him—always astounded me and even him. He used to explain, “You need the beat of the land, of nature. Without that, they will not listen.” Mbuno was the real deal.

 

 

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ABOUT THE AUTHOR:

Peter Riva is the author of Kidnapped on Safari. He has spent many months over thirty years traveling throughout Africa and Europe. Much of this time was spent with the legendary guides for East African hunters and adventurers. He created a TV series in 1995 called Wild Things for Paramount. Passing on the fables, true tales, and insider knowledge of these last reserves of true wildlife is his passion. Nonetheless, his job for over forty years has been working as a literary agent. In his spare time, Riva writes science fiction and African adventure books, including the previous two titles in the Mbuno and Pero Adventures series, Murder on Safari and The Berlin Package. He lives in Gila, New Mexico. For more information, please visit https://peterriva.com

 

 

 

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The Obsolescence Blog Tour: Crash by Chris Muhlenfeld

 

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The global power and communications outage arrives without warning…

 

 

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About Audiobook #1

Author: Chris Muhlenfeld

Narrator: Price Waldman

Length: 9 hours 46 minutes

Publisher: Chris Muhlenfeld⎮2018

Genre: Science Fiction

Series: The Obsolescence Trilogy, Book 1

Release date: Nov. 14, 2018

 

 

 

 

Synopsis: And then it went dark…the world’s electrical grid was gone. 

Who would survive the chaos? 

For James and Alexa, they saw it unfold from their ranch, which was a blessing. They were away

from the chaos, and they thought they were safe. They thought wrong. 

What will they do? 

All across the country cities are in crisis. 

Logan and his family look out from their Manhattan penthouse. The world is crumbling before their eyes. Unprepared, he’s got to do something. They can’t stay. But how can they leave and where will they go? 

Someone has a solution. 

It’s Logan’s domestic android. 

Can he believe a machine? 

You won’t believe the twists and turns, but you’ll love the adventure.  

Get it now.  

 

 

Ruins of the city.

 

 

Buy Links for Audiobook #1

Buy on Audible

 

 

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This was a very fascinating book. The premise was great and it only gets better towards the end. Although it provides good suspense, I thought the author could’ve filled in, or sprinkled, more information in the first and second acts. That’s the only reason I believe that weakened the story. However, everything is tied together quite nicely towards the conclusion of the book. Having this book as the foundation for the rest of the trilogy makes me wonder how the remaining books play out.  Looking forward to seeing what happens next!

Narrator Price Waldman does an excellent job with a variety of accents. From British English, to American southern accents, Waldman does a good job of characterization and breathing life into the story.

 

 

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About the Author: Chris Muhlenfeld

Chris has been reading and writing science fiction since he was a teenager. After roaming all over the world,  he finally settled down in the beautiful mountains of western Montana where he publishes Distinctly Montana magazine with his wife. When he’s not hiking, biking or camping in the Montana wilderness, he and his wife are traveling the world. 

 

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narrator Price_waldman

 

About the Narrator: Price Waldman

Price Waldman is an actor and singer, born and raised in NYC. Classically trained, and working professionally in the theater for over 20 years he is new to the world of audiobooks. As an actor he has performed multiple times on Broadway, toured nationally and internationally and appeared on film and television.

 

 

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A Self-Care Checklist for the Sandwich Generation by Dr. Ken Druck

 

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A Self-Care Checklist for the Sandwich Generation

By Dr. Ken Druck

Regardless of whether adult children are distant or close, the pressure to get involved in a parent’s life increases over time. Parents who are beginning to look and feel older, slow down, unplug from a career, face a new season of life—and whose needs are changing—may look to their adult children for greater support. The parent who once gave care is now in need of care. For many adult children, meeting the needs of an aging parent comes at a time when they’re raising their own children and immersed in their career. “The Sandwich Generation,” a term officially added by Merriam Webster to its dictionary in 2006: is defined as “a generation of people (usually in their forties to seventies) who care for their aging parents while supporting their own children.” I refer to them as “SanGen’s.” Adult “SanGen” sons and daughters are called into action no matter how overwhelmingly busy they are with their own lives, necessitating a new self-care OS (Operating System).

A Self-Care Checklist for the Sandwich Generation

To repeat something very important: the only way to survive the squeeze of SanGen stress is to upgrade your operating system for self-care. When we feel exhausted and pulled in a million directions, self-management is the key. SanGen survival requires upping your self-care game. At the end of the day, each of us is our own primary care physician. We are responsible for ourselves.

Here is a blueprint for taking exceptionally good care of yourself—that you can tailor to meet your particular needs—taken from my new book, Raising an Aging Parent: Guidelines for Families in the Second Half of Life.

 

1. Exercise and move

2. Balance stress and activity with rest and relaxation

 

3. Eat right and hydrate

 

4. Say “No” and avoid putting anything more on your plate

 

5. Find healthy/constructive outlets for emotions like fear, sorrow and anger 

6. Maintain a positive outlook to the best of your ability

7. Stay engaged with other parts of your life (friends, neighbors, community, etc.)

8. Make a plan to do things that lighten and lift your heart

9. Work smarter, not harder and waste not

 

 

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A self-care checklist can be more powerful than it might look at first glance. At its core, taking good care of ourselves is about balancing rest and activity, getting in game shape to play at our life, restoring and rejuvenating our souls, and investing wisely in our best possible futures. For perhaps as long as we can remember, we may have been running around doing everything for everyone else, leaving ourselves with crumbs and leftovers. It’s time for a change.

 

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About: Dr. Ken Druck is an international authority on healthy aging and author of the new book “Raising an Aging Parent.” He has spent four decades helping people grow into the more courageous, compassionate, and resilient version of themselves by transforming adversities and losses of every kind into opportunities. Learn more at www.kendruck.com.

 

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Cops on the Story Beat: How to Write About Law Enforcement with Mark Dawson & Patrick 0’Donnell

 

IT’S TELEVISION TUESDAY

 

 

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Cops on the Story Beat: How to Write About Law Enforcement (The Self Publishing Show, episode 205)

 

 

 

WEBSITE: Patrick’s website, www.copsandwriters.com with links to his Facebook group, which includes writers and law-enforcement professionals

 

 

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HOW TO ORGANIZE YOUR CREATIVE PROJECTS WITH KRISTEN MARTIN

 

IT’S TELEVISION TUESDAY

 

 

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HOW TO ORGANIZE YOUR CREATIVE PROJECTS

 

 

VALIANCE COACHING PROGRAM

 

 

 

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An Excerpt of Hymns Of The Republic by S.C. Gwynne

 

 

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From the New York Times bestselling, celebrated, and award-winning author of Empire of the Summer Moon and Rebel Yell comes the spellbinding, epic account of the dramatic conclusion of the Civil War.

The fourth and final year of the Civil War offers one of that era’s most compelling narratives, defining the nation and one of history’s great turning points. Now, S.C. Gwynne’s Hymns of the Republic addresses the time Ulysses S. Grant arrives to take command of all Union armies in March 1864 to the surrender of Robert E. Lee at Appomattox a year later. Gwynne breathes new life into the epic battle between Lee and Grant; the advent of 180,000 black soldiers in the Union army; William Tecumseh Sherman’s March to the Sea; the rise of Clara Barton; the election of 1864 (which Lincoln nearly lost); the wild and violent guerrilla war in Missouri; and the dramatic final events of the war, including the surrender at Appomattox and the murder of Abraham Lincoln.

Hymns of the Republic offers angles and insights on the war that will surprise many readers. Robert E. Lee, known as a great general and southern hero, is presented here as a man dealing with frustration, failure, and loss. Ulysses S. Grant is known for his prowess as a field commander, but in the final year of the war he largely fails at that. His most amazing accomplishments actually began the moment he stopped fighting. William Tecumseh Sherman, Gwynne argues, was a lousy general, but probably the single most brilliant man in the war. We also meet a different Clara Barton, one of the greatest and most compelling characters, who redefined the idea of medical care in wartime. And proper attention is paid to the role played by large numbers of black union soldiers—most of them former slaves. They changed the war and forced the South to come up with a plan to use its own black soldiers.

Popular history at its best, from Pulitzer Prize finalist S.C. Gwynne, Hymns of the Republic reveals the creation that arose from destruction in this thrilling read.

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CHAPTER ONE: The End Begins

Excerpted from HYMNS OF THE REPUBLIC: The Story of the Final Year of the American Civil War, by S.C. Gwynne. Copyright © 2019 by Samuel C. Gwynne.  Excerpted with permission by Scribner, a Division of Simon & Schuster, Inc.

 

Washington, DC, had never, in its brief and undistinguished history, known a social season like this one. The winter of 1863–64 had been bitterly cold, but its frozen rains and swirling snows had dampened no spirits. Instead a feeling, almost palpable, of optimism hung in the air, a swelling sense that, after three years of brutal war and humiliating defeats at the hands of rebel armies, God was perhaps in his heaven, after all. The inexplicably lethal Robert E. Lee had finally been beaten at Gettysburg. Vicksburg had fallen, completing the Union conquest of the Mississippi River. A large rebel army had been chased from Chattanooga. Something like hope—or maybe just its shadow—had finally loomed into view.

 

The season had begun as always with a New Year’s reception at the Executive Mansion, hosted by the Lincolns, then had launched itself into a frenzy whose outward manifestation was the city’s newest obsession: dancing. Washingtonians were crazy about it. They were seen spinning through quadrilles, waltzes, and polkas at the great US Patent Office Ball, the Enlistment Fund Ball, and at “monster hops” at Willard’s hotel and the National. At these affairs, moreover, everyone danced. No bored squires or sad-eyed spinsters lingered in the shadows of cut glass and gaslight. No one could sit still, and together all improvised a wildly moving tapestry of color: ladies in lace and silk and crinolines, in crimson velvet and purple moire, their cascading curls flecked with roses and lilies, their bell-shaped forms whirled by men in black swallowtails and colored cravats.

The great public parties were merely the most visible part of the social scene. That winter had seen an explosion of private parties as well. Limits were pushed here, too, budgets broken, meals set forth of quail, partridge, lobster, terrapin, and acreages of confections. Politicians such as Secretary of State William Seward and Congressman Schuyler “Smiler” Colfax threw musical soirees. The spirit of the season was evident in the wedding of the imperially lovely Kate Chase—daughter of Treasury Secretary Salmon P. Chase—to Senator William Sprague. Sprague’s gift to Kate was a $50,000 tiara of matched pearls and diamonds. When the bride appeared, the US Marine Band struck up “The Kate Chase March,” a song written by a prominent composer for the occasion.

What was most interesting about these evenings, however, was less their showy proceedings than the profoundly threatened world in which they took place. It was less like a world than a child’s snow globe: a small glittering space enclosed by an impenetrable barrier. For in the winter of 1863–64, Washington was the most heavily defended city on earth. Beyond its houses and public buildings stood thirty-seven miles of elaborate trenches and fortifications that included sixty separate forts, manned by fifty thousand soldiers. Along this armored front bristled some nine hundred cannons, many of large caliber, enough to blast entire armies from the face of the earth. There was something distinctly medieval about the fear that drove such engineering.

The danger was quite real. Since the Civil War had begun, Washington had been threatened three times by large armies under Robert E. Lee’s command. After the Union defeat at the Second Battle of Bull Run in August 1862, a rebel force under Lee’s lieutenant Stonewall Jackson had come within twenty miles of the capital while driving the entire sixty-thousand-man Union army back inside its fortifications, where the bluecoats cowered and licked their wounds and thanked heaven for all those earthworks and cannons.

A year and a half later, the same fundamental truth informed those lively parties. Without that cordon militaire, they could not have existed. Washington’s elaborate social scene was a brocaded illusion: what the capital’s denizens desperately wanted the place to be, not what it actually was.

This garishly defended capital was still a smallish, grubby, corrupt, malodorous, and oddly pretentious municipality whose principal product, along with legislation and war making, was biblical sin in its many varieties. Much of the city had been destroyed in the War of 1812. What had replaced the old settlement was both humble and grandiose. Vast quantities of money had been spent to build the city’s precious handful of public buildings: the Capitol itself (finished in December 1863), the Post Office Building, the Smithsonian Institution, the US Patent Office, the US Treasury, and the Executive Mansion. (The Washington Monument, whose construction had been suspended in 1854 for lack of funds, was an abandoned and forlorn-looking stump.)

But those structures stood as though on a barren plain. The Corinthian columns of the Post Office Building may have been worthy of the high Renaissance, but little else in the neighborhood was. The effect was jarring, as though pieces of the Champs-Élysées had been dropped into a swamp. Everything about the place, from its bloody and never-ending war to the faux grandiosity of its windswept plazas, suggested incompleteness. Like the Washington Monument, it all seemed half-finished. The wartime city held only about eighty thousand permanent residents, a pathetic fraction of the populations of New York (800,000) and Philadelphia (500,000), let alone London (2.6 million) or Paris (1.7 million). Foreign travelers, if they came to the national capital at all, found it hollow, showy, and vainglorious. British writer Anthony Trollope, who visited the city during the war and thought it a colossal disappointment, wrote:

Washington is but a ragged, unfinished collection of unbuilt broad streets.… Of all the places I know it is the most ungainly and most unsatisfactory; I fear I must also say the most presumptuous in its pretensions. Taking [a] map with him… a man may lose himself in the streets, not as one loses oneself in London between Shoreditch and Russell Square, but as one does so in the deserts of the Holy Land… There is much unsettled land within the United States of America, but I think none so desolate as three-fourths of the ground on which is supposed to stand the city of Washington.

He might have added that the place smelled, too. Its canals were still repositories of sewage; tidal flats along the Potomac reeked at low tide. Pigs and cows still roamed the frozen streets. Dead horses, rotting in the winter sun, were common sights. At the War Department, one reporter noted, “The gutter [was] heaped up full of black, rotten mud, a foot deep, and worth fifty cents a car load for manure.” The unfinished mall where the unfinished Washington Monument stood held a grazing area and slaughterhouse for the cattle used to feed the capital’s defenders. The city was both a haven and a dumping ground for the sort of human chaff that collected at the ragged edges of the war zone: deserters from both armies, sutlers (civilians who sold provisions to soldiers), spies, confidence men, hustlers, and the like.

Washington had also become the nation’s single largest refuge for escaped slaves, who now streamed through the capital’s rutted streets by the thousands. When Congress freed the city’s thirty-three hundred slaves in 1862, it had triggered an enormous inflow of refugees, mostly from Virginia and Maryland. By 1864 fifty thousand of them had moved within Washington’s ring of forts. Many were housed in “contraband camps,” and many suffered in disease-ridden squalor in a world that often seemed scarcely less prejudiced than the one they had left. But they were never going back. They were never going to be slaves again. This was the migration’s central truth, and you could see it on any street corner in the city. Many would make their way into the Union army, which at the end of 1863 had already enlisted fifty thousand from around the country, most of them former slaves.

But the most common sights of all on those streets were soldiers. A war was being fought, one that had a sharp and unappeasable appetite for young men. Several hundred thousand of them had tramped through the city since April 1861, wearing their blue uniforms, slouch hats, and knapsacks. They had lingered on its street corners, camped on its outskirts. Tens of thousands more languished in wartime hospitals. Mostly they were just passing through, on their way to a battlefield or someone’s grand campaign or, if they were lucky, home. Many were on their way to death or dismemberment. In their wake came the seemingly endless supply trains with their shouting teamsters, rumbling wagon wheels, snorting horses, and creaking tack.

Because of these soldiers—unattached young men, isolated, and far from home—a booming industry had arisen that was more than a match for its European counterparts: prostitution. This was no minor side effect of war. Ten percent or more of the adult population were inhabitants of Washington’s demimonde. In 1863, the Washington Evening Star had determined that the capital had more than five thousand prostitutes, with an additional twenty-five hundred in neighboring Georgetown, and twenty-five hundred more across the river in Alexandria, Virginia. That did not count the concubines or courtesans who were simply kept in apartments by the officer corps. The year before, an army survey had revealed 450 houses of ill repute. All served drinks and sex. In a district called Murder Bay, passersby could see nearly naked women in the windows and doors of the houses. For the less affluent—laborers, teamsters, and army riffraff—Nigger Hill and Tin Cup Alley had sleazier establishments, where men were routinely robbed, stabbed, shot, and poisoned with moonshine whiskey. The Star could not help wondering how astonished the sisters and mothers of these soldiers would be to see how their noble young men spent their time at the capital. Many of these establishments were in the heart of the city, a few blocks from the president’s house and the fashionable streets where the capital’s smart set whirled in gaslit dances.

This was Washington, DC, in that manic, unsettled winter of 1863–64, in the grip of a lengthening war whose end no one could clearly see.

 

Excerpted from HYMNS OF THE REPUBLIC: The Story of the Final Year of the American Civil War, by S.C. Gwynne. Copyright © 2019 by Samuel C. Gwynne.  Excerpted with permission by Scribner, a Division of Simon & Schuster, Inc.

 

 

SC Gwynee Head shot iamge

 

About the Author:

S.C. Gwynne is the author of Hymns of the Republic: The Story of the Final Year of the American Civil War and the New York Times bestsellers Rebel Yell and Empire of the Summer Moon, which was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. He spent most of his career as a journalist, including stints with Time as bureau chief, national correspondent, and senior editor, and with Texas Monthly as executive editor. He lives in Austin, Texas, with his wife. For more information, please visit https://scgwynne.com

 

 

Vintage Steam Train Crossing a River in Colorado