The novel addresses writers’ attempts to move from family history to fictionalised yet historically accurate stories; an area including Grenville’s Searching for the Secret River and Atwood’s Negotiating with the Dead. The protagonist Jack's, depictions of 1950s South London, were based on my grandfather’s experiences but needed to develop beyond this to question assumptions of the era. A framing device was used to position the reader as witness to his life; allowing distance to question beliefs and actions without need for an unreliable narrator whilst maintaining authenticity to marginalised working-class voices through the focalised third person. The novel interrogates the language of sports reportage. The boxing writer cannot tell the reader what happens; for an illusion of immediacy and drama they have to show the fight: fully immersive as in Jones’ Falling Hard; omniscient observer in Schulberg’s Ringside; omnipresent and omnipotent in Mailer’s The Fight. I integrated this into the boxing matches using point of view techniques: positioning the reader as observer, then fully immersing them in the ring using filmic techniques. The research investigated established boxing archetypes. Characters of Pearl and Georgie emerged from this to address the absence of female voices in boxing literature and came to shape the balance of fights inside and outside of the ring. Also, by developing a protagonist who gains self-awareness, the novel has a storyline often missing from the tragic cannon of boxing literature. In taking the blame for the accidental shooting committed by Pearl, Jack’s death becomes an act of redemption. Time frames were again important: the framing device depicting Jack’s execution; a linear 1950s storyline; flashbacks to reveal family dynamics and Jack as Pearl’s father.