Tag: Books

Writing a book in 365 days – 342

Day 342

The Power of Language: Unleashing the Imagination

Anthony Burgess, the renowned English writer and critic, once said, “Language exists less to record the actual than to liberate the imagination.” These profound words highlight the dual nature of language, which not only serves as a tool for communication but also as a catalyst for creativity and imagination. In this blog post, we will delve into the concept of language as a liberator of the imagination, exploring its implications and significance in our daily lives.

The Limitations of Recording the Actual

Language is often seen as a means of recording and conveying information about the world around us. We use words to describe people, places, objects, and events, attempting to capture their essence and characteristics. However, as Burgess notes, language is not merely a passive recorder of reality. If it were, it would be limited to simply documenting facts and figures, without any room for interpretation, creativity, or innovation.

Liberating the Imagination

The true power of language lies in its ability to transcend the mundane and ordinary, to tap into our imagination and creativity. Through language, we can conjure up worlds, characters, and scenarios that are entirely fictional, yet eerily relatable. We can use words to evoke emotions, to paint vivid pictures, and to convey complex ideas and concepts. Language becomes a tool for self-expression, allowing us to channel our thoughts, feelings, and experiences into something tangible and meaningful.

The Role of Metaphor and Symbolism

One of the key ways in which language liberates the imagination is through the use of metaphor and symbolism. By comparing two seemingly unrelated things, we can create new meanings and associations, revealing hidden connections and patterns. Metaphors and symbols can transport us to new realms of understanding, enabling us to see the world from fresh perspectives. For example, when we describe a person as a “ray of sunshine,” we are not merely recording a fact, but rather using language to evoke a sense of warmth, happiness, and optimism.

The Importance of Imagination in Human Experience

Imagination is a fundamental aspect of the human experience, enabling us to dream, to innovate, and to create. It is through imagination that we can envision new possibilities, challenge existing norms, and push the boundaries of what is thought possible. Language, as a liberator of the imagination, plays a vital role in this process, providing us with the tools to express ourselves, to communicate our ideas, and to bring our visions to life.

Conclusion

Anthony Burgess’s statement reminds us that language is not just a utilitarian tool but a powerful catalyst for creativity and imagination. By recognising the dual nature of language, we can harness its potential to liberate our imagination, to express ourselves authentically, and to create new worlds, characters, and scenarios. As we continue to navigate the complexities of the human experience, we must prioritise the imagination, using language as a tool to inspire, innovate, and bring our most fantastical ideas to life. In doing so, we can unlock the full potential of language and unleash the imagination that lies within us all.

Third son of a Duke – The research behind the story – 24

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

There are historical records and evidence that the RMS Orontes did leave Australian ports carrying passengers in April 1915. While the ship was later formally requisitioned as a troopship, it continued to operate on the Australia-UK mail and passenger service during the early part of the war, though under significantly changed conditions. 

The April 1915 voyage of the RMS Orontes 

  • Brisbane departure: The Orontes left Brisbane on April 4, 1915.
  • Adelaide stop: On April 16, 1915, the ship stopped in the Outer Harbour at Port Adelaide. An article in the newspaper The Advertiser reports that after a few hours’ stay to take on mail and some passengers, the ship continued its “homeward” voyage.
  • Passengers and purpose: The Adelaide newspaper also noted that among the passengers on this specific sailing were 22 medical men and 29 nurses headed for England, highlighting the wartime nature of the travel. 

An itinerary for the April 1915 voyage

Based on the available records, here is a likely itinerary for the RMS Orontes on its April 1915 voyage from Australia to London:

  • Early April 1915: The ship likely originated its journey in the eastern states of Australia.
  • April 4, 1915: Departed Brisbane.
  • Mid-April 1915 (before April 16): Departed from Sydney and Melbourne.
  • April 16, 1915: Made a brief stop at Adelaide’s Outer Harbour to take on mail and some passengers before continuing on.
  • Late April 1915: Called at Fremantle, as was standard for the UK-Australia route. In March 1915, the Orontes had stopped at Fremantle, suggesting it was part of its regular route.
  • En route via Port Said: The Orient Line’s Australia route, which the Orontes served, travelled via the Suez Canal and Port Said. A stop here was standard for fueling and logistics, and it also put the vessel in the heart of a war zone, increasing the danger of the journey.
  • Mid-May 1915: The ship would have continued its journey through the Mediterranean and around the Iberian Peninsula to its final destination in London. 

Key takeaway

While the voyage was not under a formal military requisition like later in the war, the circumstances were profoundly shaped by World War I. Travel was far from routine, with a heavy emphasis on essential service and mail delivery. The presence of medical personnel bound for England highlights the military undertones of even seemingly “civilian” voyages during this period. 

Writing a book in 365 days – 341/342

Days 341 and 342

The Ultimate Test: Reading Your Own Work as a Reader

As writers, we’ve all been there – pouring our hearts and souls into a project, painstakingly crafting each sentence, and meticulously editing every detail. But once we’ve finally completed our masterpiece, there’s a crucial step that many of us often overlook: reading it as a reader, not as a writer.

This concept may seem simple, but it’s a game-changer. By setting aside our writer’s hat and donning the reader’s cap, we can gain a fresh perspective on our work and determine whether it truly resonates with our target audience. The idea is straightforward: if we, as writers, find our own work enjoyable and engaging, then it’s likely that our readers will too. But if we struggle to get through our own content, then it’s back to the drawing board.

Why Reading as a Reader Matters

When we read our own work as writers, we’re often too close to the material. We’re familiar with the plot twists, character arcs, and themes, and we know exactly what we’re trying to convey. But readers don’t have this insider knowledge. They’re approaching our work with a blank slate, and it’s our job to draw them in and keep them engaged.

By reading our work as a reader, we can experience it in the same way that our audience will. We can identify areas where the pacing is slow, the dialogue is clunky, or the exposition is too dense. We can pinpoint moments where we’re confused, bored, or disconnected from the story. And we can make adjustments accordingly.

The Benefits of Reading as a Reader

So, what can we gain from reading our own work as a reader? Here are just a few benefits:

  1. Improved pacing: By reading our work from a reader’s perspective, we can identify areas where the story drags or feels rushed. We can make adjustments to the pacing to keep our readers engaged.
  2. Tighter writing: Reading our work as a reader helps us to eliminate unnecessary words, phrases, and scenes. We can streamline our writing and make every sentence count.
  3. Increased tension and suspense: By experiencing our story as a reader, we can identify moments where the tension and suspense are lacking. We can add twists and turns to keep our readers on the edge of their seats.
  4. Better character development: Reading our work as a reader helps us to see our characters through fresh eyes. We can add depth, nuance, and complexity to our characters, making them more relatable and believable.

The Ugly Truth: When It’s Not Enjoyable

But what happens when we read our work as a reader and it’s just not enjoyable? What if we find ourselves skipping sentences, zoning out, or worse, falling asleep? Well, that’s when the real work begins.

It’s time to take a step back, reassess our project, and make significant changes. This might involve rewriting entire sections, reworking our plot, or even scrapping our manuscript altogether. It’s a tough pill to swallow, but it’s better to face the music now than to publish a subpar work that fails to resonate with our readers.

Conclusion

Reading our own work as a reader is a crucial step in the writing process. It allows us to experience our story in a new way, identify areas for improvement, and make adjustments to create a more engaging and enjoyable read. So, take the time to sit down, read your work as a reader, and be honest with yourself. If it’s enjoyable, then you’re on the right track. But if not, don’t be afraid to go back to the drawing board and try again. Your readers will thank you.

Writing a book in 365 days – 341/342

Days 341 and 342

The Ultimate Test: Reading Your Own Work as a Reader

As writers, we’ve all been there – pouring our hearts and souls into a project, painstakingly crafting each sentence, and meticulously editing every detail. But once we’ve finally completed our masterpiece, there’s a crucial step that many of us often overlook: reading it as a reader, not as a writer.

This concept may seem simple, but it’s a game-changer. By setting aside our writer’s hat and donning the reader’s cap, we can gain a fresh perspective on our work and determine whether it truly resonates with our target audience. The idea is straightforward: if we, as writers, find our own work enjoyable and engaging, then it’s likely that our readers will too. But if we struggle to get through our own content, then it’s back to the drawing board.

Why Reading as a Reader Matters

When we read our own work as writers, we’re often too close to the material. We’re familiar with the plot twists, character arcs, and themes, and we know exactly what we’re trying to convey. But readers don’t have this insider knowledge. They’re approaching our work with a blank slate, and it’s our job to draw them in and keep them engaged.

By reading our work as a reader, we can experience it in the same way that our audience will. We can identify areas where the pacing is slow, the dialogue is clunky, or the exposition is too dense. We can pinpoint moments where we’re confused, bored, or disconnected from the story. And we can make adjustments accordingly.

The Benefits of Reading as a Reader

So, what can we gain from reading our own work as a reader? Here are just a few benefits:

  1. Improved pacing: By reading our work from a reader’s perspective, we can identify areas where the story drags or feels rushed. We can make adjustments to the pacing to keep our readers engaged.
  2. Tighter writing: Reading our work as a reader helps us to eliminate unnecessary words, phrases, and scenes. We can streamline our writing and make every sentence count.
  3. Increased tension and suspense: By experiencing our story as a reader, we can identify moments where the tension and suspense are lacking. We can add twists and turns to keep our readers on the edge of their seats.
  4. Better character development: Reading our work as a reader helps us to see our characters through fresh eyes. We can add depth, nuance, and complexity to our characters, making them more relatable and believable.

The Ugly Truth: When It’s Not Enjoyable

But what happens when we read our work as a reader and it’s just not enjoyable? What if we find ourselves skipping sentences, zoning out, or worse, falling asleep? Well, that’s when the real work begins.

It’s time to take a step back, reassess our project, and make significant changes. This might involve rewriting entire sections, reworking our plot, or even scrapping our manuscript altogether. It’s a tough pill to swallow, but it’s better to face the music now than to publish a subpar work that fails to resonate with our readers.

Conclusion

Reading our own work as a reader is a crucial step in the writing process. It allows us to experience our story in a new way, identify areas for improvement, and make adjustments to create a more engaging and enjoyable read. So, take the time to sit down, read your work as a reader, and be honest with yourself. If it’s enjoyable, then you’re on the right track. But if not, don’t be afraid to go back to the drawing board and try again. Your readers will thank you.

Harry Walthenson, Private Detective – the second case – A case of finding the “Flying Dutchman”

…

What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.

…

It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.

The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.

At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.

It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …

… by our intrepid, newly minted private detective, Harry Walthenson …

… and it would have remained buried.

Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.

Even if it almost costs him his life.  Again.

Third son of a Duke – The research behind the story – 23

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

WWI Troop Arrival and Orders in Egypt (April 1915)

The journey of an Englishman returning from Australia to enlist, travelling through the Suez Canal in April 1915, places him squarely within the initial stages of the British Empire’s military buildup in Egypt.

1. Nearest Port and Ship Delivery

The most likely final disembarkation port for troop transport ships arriving in Egypt via the Suez Canal in April 1915 was Alexandria.

  • Suez Canal Route: The ship would pass through the Suez Canal and enter the Mediterranean Sea via Port Said. While Port Said was a vital coaling and resupply station at the northern entrance of the Canal, it was primarily a commercial port and a critical point for Canal defence.
  • The Main Base: Alexandria was the primary, large-capacity deep-water port on the Mediterranean coast and served as the main base and logistic hub for the British, Australian, and New Zealand (ANZAC) forces in Egypt. Troops destined for the extensive training camps in the Cairo area (like Mena Camp near the Pyramids) were routinely disembarked at Alexandria due to its superior facilities for handling large numbers of men, horses, and materiel.

In short, the ship would transit the Canal at Port Said, but the soldier would be delivered to Alexandria.

2. Travel to Cairo and Training Camps

Yes, he would almost certainly need to go to Cairo first, or at least pass through the major military transit points near it, before reaching the training camps near the Pyramids (Mena Camp).

  • From Alexandria to Cairo: Upon disembarking at Alexandria, soldiers were typically immediately loaded onto troop trains for the several-hour journey inland. The main line ran directly to Cairo, where the primary base hospitals, advanced supply depots, and major military command were located.
  • Mena Camp: The famous Mena Camp, situated right next to the Giza Pyramids, was the principal training ground for incoming forces. Transportation from the Cairo railway station or a nearby transit point would be organised to move him to his specific unit in the camp.

3. Reporting with Special Orders

If the enlisted Englishman had “special orders,” his reporting procedure would be immediately elevated and separated from the standard mass of recruits.

  • Standard Procedure: A typical enlisted man would report to the Adjutant or a Regimental Sergeant Major (RSM) of the unit he was assigned to, who would be waiting at the port or the reception depot in Cairo.
  • Special Orders Procedure: A soldier with special orders would likely be carrying them in a sealed document intended for high-level staff. He would report to:
    1. The Base Commandant or Staff Officer on Arrival: The first stop would be the Base Commandant or the senior Staff Officer of the disembarkation port (Alexandria). He would present his orders and be immediately directed to the appropriate authority.
    2. General Officer Commanding (G.O.C.)’s Headquarters: His orders would likely route him directly to the General Officer Commanding, Egypt (G.O.C. Egypt), or the Staff Officer representing the GOC at GHQ (General Headquarters) in Cairo. In April 1915, the overall command in Egypt was likely under the purview of General Sir John Maxwell, who was responsible for the troops and defenses of Egypt. If the special orders related to the imminent Gallipoli campaign, he might be directed to the headquarters of the Australian and New Zealand Army Corps (ANZAC) or the Mediterranean Expeditionary Force (MEF), both of which had Staff Officers operating out of the Cairo command structure.

In summary, his path would be: Australia → Suez Canal → Disembark at Alexandria → Troop Train to Cairo → Report to GHQ Staff (or his unit in the Mena Camp area).

Research for the writing of a thriller – 4

Background material used in creating a location, an explosive situation, and characters to bring it alive – the story – A Score to Settle

…

A Cover story that just might work

…

The Art of the Enduring Cover: Hiding in Plain Sight Among the Press

In the shadowy world of espionage, where every move is calculated and every word weighed, what’s the ultimate weapon? It’s not always a silenced pistol or a high-tech gadget. Often, it’s something far more subtle, more pervasive, and infinitely more powerful: the perfect cover.

Forget the trench coats and dark alleys. Our consummate spy understands that true invisibility isn’t about disappearing; it’s about blending in so seamlessly that you become part of the background noise. And what better place to be both seen and simultaneously overlooked than amidst a burgeoning press corps at a high-stakes international conference?

The Brilliance of the Verifiable Narrative

Our operative isn’t just carrying a fake ID; they possess an enduring cover, a meticulously crafted persona so robust it can withstand scrutiny. This isn’t a flimsy backstory; it’s solid, researchable, and verifiable. Think about it: a legitimate journalist, working for a credible (perhaps even slightly obscure but real) publication, with a publication history, a social media presence, and a genuine reason to be asking questions.

Their reason for being in the country and at this specific conference isn’t suspicious; it’s expected. They are here to cover the proceedings, to report on the speeches, to interview delegates – all legitimate journalistic pursuits. This isn’t just a disguise; it’s an entire, living, breathing narrative, allowing them to move freely, to probe, to listen, and to observe with an air of professional legitimacy. They are, quite literally, hiding in plain sight.

A Sea of Familiar Faces

The beauty of this particular cover is amplified by the environment. A major international conference attracts a swarm of media. A cacophony of camera clicks, flashing lights, and whispered interviews creates a perfect smokescreen. Our spy isn’t just a journalist; they are one of many.

And within this bustling throng, there are familiar faces. Some are undoubtedly genuine journalists, passionate about their craft. But others? Perhaps they are like our operative, wearing their press credentials as a cloak. Or perhaps they are simply career conference-hoppers, their faces known from one event to the next, adding another layer of visual camouflage. The sheer volume of press personnel makes it easier to track targets, pass messages, or simply observe without drawing undue attention. Who is genuinely chasing a story, and who is chasing something else entirely? The lines are deliciously blurred.

Bypassing Bureaucracy

Another significant advantage of this carefully constructed media persona is its utility in navigating local challenges. A legitimate press pass and a verifiable mission can be a powerful diplomatic tool. Dealing with local police, security forces, or even just navigating restricted zones becomes less difficult. A simple flash of the press badge often smooths over minor inconveniences, allowing access where others might be questioned, or providing a believable excuse for being in a particular area at an unusual hour. “Just chasing a late-breaking story, officer,” carries more weight when backed by a plausible cover.

The Unseen Gaze

But even the most pristine cover isn’t a cloak of invisibility. Our spy, for all their cleverness, operates with an acute awareness of an ever-present reality: there is surveillance.

From the moment they cleared customs to every elevator ride, every whispered conversation in a hotel lobby, and every seemingly innocuous stroll through the conference hall, eyes and ears are active. Cameras pan, microphones hum, and specialists observe. The challenge isn’t just to avoid detection, but to operate knowing detection is a constant threat. The enduring cover isn’t about eliminating surveillance; it’s about making sure that what surveillance sees is exactly what you want it to see – a diligent, though perhaps slightly eccentric, member of the press.

In the intricate dance of international intrigue, the journalist’s notebook becomes a shield, the camera lens a silent observer, and the bustling press corps, the ultimate sanctuary. For the consummate spy, the greatest deception often lies in simply being exactly where they’re expected to be, doing exactly what they’re expected to do, while pursuing a truth far deeper than any headline could ever capture.

The story behind the story – Echoes from the Past

The novel ‘Echoes from the past’ started out as a short story I wrote about 30 years ago, titled ‘The birthday’.

My idea was to take a normal person out of their comfort zone and led on a short but very frightening journey to a place where a surprise birthday party had been arranged.

Thus the very large man with a scar and a red tie was created.

So was the friend with the limousine who worked as a pilot.

So were the two women, Wendy and Angelina, who were Flight Attendants that the pilot friend asked to join the conspiracy.

I was going to rework the short story, then about ten pages long, into something a little more.

And like all re-writes, especially those I have anything to do with, it turned into a novel.

There was motivation.  I had told some colleagues at the place where I worked at the time that I liked writing, and they wanted a sample.  I was going to give them the re-worked short story.  Instead, I gave them ‘Echoes from the past’

Originally it was not set anywhere in particular.

But when considering a location, I had, at the time, recently been to New York in December, and visited Brooklyn and Queens, as well as a lot of New York itself.  We were there for New Years, and it was an experience I’ll never forget.

One evening we were out late, and finished up in Brooklyn Heights, near the waterfront, and there was rain and snow, it was cold and wet, and there were apartment buildings shimmering in the street light, and I thought, this is the place where my main character will live.

It had a very spooky atmosphere, the sort where ghosts would not be unexpected.  I felt more than one shiver go up and down my spine in the few minutes I was there.

I had taken notes, as I always do, of everywhere we went so I had a ready supply of locations I could use, changing the names in some cases.

Fifth Avenue near the Rockefeller center is amazing at first light, and late at night with the Seasonal decorations and lights.

The original main character was a shy and man of few friends, hence not expecting the surprise party.  I enhanced that shyness into purposely lonely because of an issue from his past that leaves him always looking over his shoulder and ready to move on at the slightest hint of trouble.  No friends, no relationships, just a very low profile.

Then I thought, what if he breaks the cardinal rule, and begins a relationship?

But it is also as much an exploration of a damaged soul, as it is the search for a normal life, without having any idea what normal was, and how the understanding of one person can sometimes make all the difference in what we may think or feel.

And, of course, I wanted a happy ending.

Except for the bad guys.

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

Research for the writing of a thriller – 4

Background material used in creating a location, an explosive situation, and characters to bring it alive – the story – A Score to Settle

…

A Cover story that just might work

…

The Art of the Enduring Cover: Hiding in Plain Sight Among the Press

In the shadowy world of espionage, where every move is calculated and every word weighed, what’s the ultimate weapon? It’s not always a silenced pistol or a high-tech gadget. Often, it’s something far more subtle, more pervasive, and infinitely more powerful: the perfect cover.

Forget the trench coats and dark alleys. Our consummate spy understands that true invisibility isn’t about disappearing; it’s about blending in so seamlessly that you become part of the background noise. And what better place to be both seen and simultaneously overlooked than amidst a burgeoning press corps at a high-stakes international conference?

The Brilliance of the Verifiable Narrative

Our operative isn’t just carrying a fake ID; they possess an enduring cover, a meticulously crafted persona so robust it can withstand scrutiny. This isn’t a flimsy backstory; it’s solid, researchable, and verifiable. Think about it: a legitimate journalist, working for a credible (perhaps even slightly obscure but real) publication, with a publication history, a social media presence, and a genuine reason to be asking questions.

Their reason for being in the country and at this specific conference isn’t suspicious; it’s expected. They are here to cover the proceedings, to report on the speeches, to interview delegates – all legitimate journalistic pursuits. This isn’t just a disguise; it’s an entire, living, breathing narrative, allowing them to move freely, to probe, to listen, and to observe with an air of professional legitimacy. They are, quite literally, hiding in plain sight.

A Sea of Familiar Faces

The beauty of this particular cover is amplified by the environment. A major international conference attracts a swarm of media. A cacophony of camera clicks, flashing lights, and whispered interviews creates a perfect smokescreen. Our spy isn’t just a journalist; they are one of many.

And within this bustling throng, there are familiar faces. Some are undoubtedly genuine journalists, passionate about their craft. But others? Perhaps they are like our operative, wearing their press credentials as a cloak. Or perhaps they are simply career conference-hoppers, their faces known from one event to the next, adding another layer of visual camouflage. The sheer volume of press personnel makes it easier to track targets, pass messages, or simply observe without drawing undue attention. Who is genuinely chasing a story, and who is chasing something else entirely? The lines are deliciously blurred.

Bypassing Bureaucracy

Another significant advantage of this carefully constructed media persona is its utility in navigating local challenges. A legitimate press pass and a verifiable mission can be a powerful diplomatic tool. Dealing with local police, security forces, or even just navigating restricted zones becomes less difficult. A simple flash of the press badge often smooths over minor inconveniences, allowing access where others might be questioned, or providing a believable excuse for being in a particular area at an unusual hour. “Just chasing a late-breaking story, officer,” carries more weight when backed by a plausible cover.

The Unseen Gaze

But even the most pristine cover isn’t a cloak of invisibility. Our spy, for all their cleverness, operates with an acute awareness of an ever-present reality: there is surveillance.

From the moment they cleared customs to every elevator ride, every whispered conversation in a hotel lobby, and every seemingly innocuous stroll through the conference hall, eyes and ears are active. Cameras pan, microphones hum, and specialists observe. The challenge isn’t just to avoid detection, but to operate knowing detection is a constant threat. The enduring cover isn’t about eliminating surveillance; it’s about making sure that what surveillance sees is exactly what you want it to see – a diligent, though perhaps slightly eccentric, member of the press.

In the intricate dance of international intrigue, the journalist’s notebook becomes a shield, the camera lens a silent observer, and the bustling press corps, the ultimate sanctuary. For the consummate spy, the greatest deception often lies in simply being exactly where they’re expected to be, doing exactly what they’re expected to do, while pursuing a truth far deeper than any headline could ever capture.

Third son of a Duke – The research behind the story – 22

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

There are historical records and evidence that the RMS Orontes did leave Australian ports carrying passengers in April 1915. While the ship was later formally requisitioned as a troopship, it continued to operate on the Australia-UK mail and passenger service during the early part of the war, though under significantly changed conditions. 

The April 1915 voyage of the RMS Orontes 

  • Brisbane departure: The Orontes left Brisbane on April 4, 1915.
  • Adelaide stop: On April 16, 1915, the ship stopped in the Outer Harbor at Port Adelaide. An article in the newspaper The Advertiser reports that after a few hours’ stay to take on mail and some passengers, the ship continued its “homeward” voyage.
  • Passengers and purpose: The Adelaide newspaper also noted that among the passengers on this specific sailing were 22 medical men and 29 nurses headed for England, highlighting the wartime nature of the travel. 

An itinerary for the April 1915 voyage

Based on the available records, here is a likely itinerary for the RMS Orontes on its April 1915 voyage from Australia to London:

  • Early April 1915: The ship likely originated its journey in the eastern states of Australia.
  • April 4, 1915: Departed Brisbane.
  • Mid-April 1915 (before April 16): Departed from Sydney and Melbourne.
  • April 16, 1915: Made a brief stop at Adelaide’s Outer Harbor to take on mail and some passengers before continuing on.
  • Late April 1915: Called at Fremantle, as was standard for the UK-Australia route. In March 1915, the Orontes had stopped at Fremantle, suggesting it was part of its regular route.
  • En route via Port Said: The Orient Line’s Australia route, which the Orontes served, traveled via the Suez Canal and Port Said. A stop here was standard for fueling and logistics, and it also put the vessel in the heart of a war zone, increasing the danger of the journey.
  • Mid-May 1915: The ship would have continued its journey through the Mediterranean and around the Iberian Peninsula to its final destination in London. 

Key takeaway

While the voyage was not under a formal military requisition like later in the war, the circumstances were profoundly shaped by World War I. Travel was far from routine, with a heavy emphasis on essential service and mail delivery. The presence of medical personnel bound for England highlights the military undertones of even seemingly “civilian” voyages during this period.