PHOTO: Award-Winning Authors Marshall Highet and Bird Jones, bringing history to life through captivating stories and exceptional research.
Blending Mystery, Memory, and Meticulous Research Across Generations
Marshall And Bird craft immersive historical fiction, reviving forgotten voices through detailed research, cultural insight, and dynamic narratives that span centuries—from naval adventures and literacy resistance to Prohibition-era intrigue.
Marshall Highet and Bird Jones are two authors whose works captivate readers with their seamless blending of history, imagination, and meticulous research. Together, they craft stories that not only transport us to distant eras but also reflect universal truths that resonate across generations. Marshall Highet, a talented writer and professor, has a body of work as rich as it is diverse, spanning young adult science fiction with Spare Parts, swashbuckling historical adventures in Hold Fast, and the riveting historical narrative of Blue-Eyed Slave. Her ability to construct compelling and ingenious narratives is nothing short of remarkable.
Bird Jones, a professor emerita and seasoned ethnographer, brings a deeply authentic and thoughtful perspective to her storytelling. Her roots in oral history and documentary studies fuel her passion for capturing the voices of the past. From her popular work, And That’s the Way of It: Life in a Maine Village, to her fascinating collaborations with Highet, Jones’s deft ability to illuminate the human experience is unparalleled. Her knack for unearthing overlooked stories and cultural threads infuses her work with richness, insight, and heart.
Together, their collaborations, including Hold Fast and the poignant Blue-Eyed Slave, carve a unique niche in historical fiction, offering tales that pulse with humanity, complexity, and relevance. Their upcoming novel, The Washashore, a masterful blend of coming-of-age drama, mystery, and historical fiction set in 1929 Martha’s Vineyard, promises once again to enthral and inspire. Highet and Jones are authors who not only write with precision and passion but also share an infectious curiosity for the intricacies of history. Their thoughtful, collaborative approach to storytelling is a testament to the power of research and imagination united, making history come alive for the modern reader. In the following interview, they share insights about their creative partnership, their inspirations, and the stories behind their distinctive and unforgettable works.
Their collaborative novels are vibrant, thoughtful, and historically rich—bridging past and present with unforgettable characters and profound emotional depth.
In ‘The Washashore’, set in the 1920s on Martha’s Vineyard, what inspired you to blend mystery, coming-of-age, and historical fiction elements?
MH – It all fell together nicely. I was interested, creatively, in writing a murder mystery because it most resembles an intricate contraption, like a Rube Goldberg machine, in that the plot must be tense and taut until exactly the right moment. As to Martha’s Vineyard in the 1920’s, what’s not to love?
BJ – The Vineyard, an island seven miles off of Massachusetts, was only accessible by boat during 1920’s Prohibition. The Vineyard’s mariners were some of the best boat handlers in New England, which also made them the best rumrunners. Island life in the twenties by definition was close-knit, affiliative, and diverse. Because of its isolation and the nature of Prohibition, it provides a perfect setting for this story.
“Island life in the twenties… provides a perfect setting for this story.” – Bird Jones
‘Blue-Eyed Slave’ portrays the complexities of 1761 Charles Town. How did you approach depicting the intersection of Jewish and African cultures during this period?
MH – I was astounded at the juxtaposition of all the different cultures. One of the draws of the South Carolina colony was that it afforded most of its residents’ religious freedom and sanctuary from persecution, so many Sephardic Jews came to Charles Town escaping the Inquisition. That in itself blew my mind. People were still running from the Inquisitors in the 18th century? Wow.
BJ – Blue-Eyed Slave is based on two little-known narratives. One is the story of Harry, an enslaved man who ran a literacy school for enslaved children (oddly funded by some of Charles Town’s wealthiest citizens) at a time when teaching enslaved people to read and write was against the law. The second story offers a glimpse into the Sephardic community that lived in Charles Town (Charleston’s pre-Revolutionary name) because religious freedom was guaranteed in the charter. We used the intersection of these two unconventional perspectives to think about history differently.
“People were still running from the Inquisitors in the 18th century? Wow.” – Marshall Highet
‘Hold Fast’ follows two boys impressed into the British Navy in 1761. What challenges did you face in authentically portraying naval life of that era?
MH – The main challenge for everyone on board was survival; for me, it was language. I had the unenviable task of writing a story, in English, about two native Italian speakers afloat in a sea of English words without a tutor in sight. It was a challenge; italics helped. And if you look closely, there is one page, one paragraph, where I flip from Italian to English for good.
BJ – Researching Hold Fast was an athletic as well as an intellectual endeavor. In order to fully understand life at sea, I had to climb the ratlines of a tall ship, scour diaries and primary sources of ship board life, plot accurate courses for navigation, and memorize sail and rig names. It also required a deep dive into naval ships at war, especially at the Battle of Havana. Her Majesty’s Navy was a tough life, filled with starvation, lack of sanitation, and endless days at sea.
Marshall, your YA sci-fi novel ‘Spare Parts’ incorporates educational elements. How do you balance scientific accuracy with engaging storytelling?
MH- Some references are surface, like Pavlov, the robo-dog, who glitches when he hears a bell. Other scientific elements are built into the plot. For example, I used cuttlefish skin’s color- and texture-changing capabilities (which are incredible) for the cuttle-camo suits, and my main character is named after my favorite scientist.
Bird, your ethnographic background has taken you from Appalachia to Central Asia. How have these experiences influenced your storytelling approach?
BJ – I was fortunate to do a stint at Duke’s Center for Documentary Studies. The best advice I ever got was that my job was to wake the dead and get the living to listen. This is what ethnographers, oral historians, and creative nonfiction writers do.
Storytelling is about memory that lives in people, places, and events which, in turn organize and illuminate the human experience. It is mercurial and interpretative, but the story line, if you listen, stays true to the teller.
Your collaborative writing process involves meticulous research and imaginative storytelling. Can you describe how you integrate these aspects to create compelling narratives?
MH – Seamlessly and effortlessly, always! Kidding. Bird does a lot of heavy lifting in the beginning. She usually finds the spark or thread of the story and starts digging, unearthing primary sources and context. Then we spend time together, her explaining and me asking questions, mapping out the plot. Then I go into writing mode, and feed her each chapter for accuracy checks and consistency. And then—BAM! —it’s a book.
BJ – I like to think of history as a giant story full of bonkers characters, impossible events, romance, daring, and surprises at every turn. The joy of writing collaboratively is that I get to pick the starting point and ferret out unsuspecting events and people which Marshall brings alive. It is a total blast.
‘The Washashore’ is scheduled for publication on June 10, 2025. What themes do you hope readers will connect with in this upcoming novel?
MH – I hope they come for the murder mystery clues and stay for the historical details. It’s a marvelous ride through 1929 Martha’s Vineyard. Bird has outdone herself finding odd, real details, like Thankful Downs, the MV telephone operator, Dreamland, and the first barn owl sighting on the island.
BJ – I hope readers will find the twenties generally and Prohibition specifically as fascinating as I do. The lives of fishermen turned rumrunners, the poignancy of rural island life, the unintended consequences of political ideas gone astray, and the sheer grit of so many islanders resonate with both Marshall and me, and, I hope, with readers too.
What advice would you offer aspiring authors aiming to write historical fiction that resonates with modern readers?
BJ – Marshall and I use a helpful term: truth pins. If historical fiction is a clothesline, a truth pin is where you hang the story. What are the real facts that make your story more than just made-up? Those are your truth pins. And, of course, attention to accuracy and detail is essential.
MH – That the past and its lessons are not so different from what’s going on today. A lot of the old clichés are true (although you wouldn’t want them in your historical fiction): it is necessary to learn from the past, lest it comes back for a second round.
