As a blogger looking for something to write it would be easy to continue summarizing THE WAR GUILT CLAUSE chapter by chapter, but what I really want to do is put the reader into the mind of the author – where did the ideas come from? When did the narrative begin to take shape? I may have mentioned this before, but Max Blue is of the novelist school that writes from stream of consciousness as opposed to working from a detailed outline. Max begins with a tightly wound ball of twine embedded with an encyclopedia of life experiences that often show up on the page embellished with imaginative romps, and unwinds the story as he goes. A historical novel requires a library of references and THE WAR GUILT CLAUSE is no exception. The New York Times archives was the primary reference but it turned out that the Rowan University library also housed the microfilm archives of The Times of London which furnished material crucial to the story. And then there was Barbara Tuchman’s captivating account of THE ZIMMERMAN TELEGRAM; it was a goldmine for Max, introducing him to Colonel Edward House, President Wilson’s minister without portfolio who thought he knew German Foreign Minister Arthur Zimmerman, but did not. Thank you also Mrs. Tuchman for the spectacular Bohemian spy, Voska, and for the less colorful but wonderfully named Wickham Steed. Mrs. Tuchman introduced Steed as the Times Foreign Editor but it seems somebody forgot to tell her he was Foreign Editor of the Times of London, not the New York Times. Max stumbled across this knowledge after the book was published, but only purists would object as Wickham Steed and his wide experience became a major factor in the novel.