Charlotte Bronte did NOT repair her mourning shoes with her dead sister’s hair!

A lie can travel halfway round the world before the truth has got its boots on. Or, in this case, a contemporary artwork shared by a witty but mistaken tweeter can lead to a myth taking root worldwide, with over 16,000 retweets and nearly 30,000 Twitter likes in a few days. That’s a lot of people who now think this is true and that Charlotte Bronte really did go for muddy walks in her black silk mourning slippers and then fix them with Emily’s hair, not forgetting to embroider little sprigs of heather on the insoles.

Last week, @BookwitchSara tweeted,

No matter how goth you think you are, you aren’t Charlotte “I repaired my mourning shoes with the hair of my dead siblings” Bronte

together with a photo of what purported to be Charlotte Bronte’s black silk mourning shoes in a glass cabinet at the Bronte Parsonage Museum in Haworth.

The label in front of the shoes was clearly visible:

6.Mourning shoes

1850

Leather, silk, human hair

SP6

Long walks over damp ground caused damage to Charlotte’s mourning shoes which she meticulously repaired with the hair of her departed siblings. A sprig of heather, symbolizing solitude, is believed to have been stitched with Emily’s hair.

Charlotte GREAT & SMALL

Not surprisingly, the tweet went viral and was picked up by both The Poke and Metro, the latter being very taken with the actuality of the whole thing:

she literally repaired her shoes with the actual honest to God hair of her dead siblings.

But she didn’t.

The shoes are part of an artwork by the artist Serena Partridge, who

makes accessories and garments inspired by European costume, dating back some six hundred years. In her work, scale and proportion are distorted to create curios that often send up the futility of life à la mode. Serena renders her follies more mysterious by presenting them as museum acquisitions, encased with fictional labels.

Serena has confirmed on Twitter: she made the shoes, the story is fictional (though Charlotte going for long solitary walks is not) and the hair belongs to a member of the Bronte Parsonage Museum staff and (in a lovely literary twist) the novelist Tracy Chevalier. ‘Charlotte Great and Small’ on the label refers to the name of the installation.

The use of hair in Victorian mourning jewellery is well-known, as is hair embroidery, though I don’t know of it being done on shoes, and it seems unlikely, not least because you wouldn’t want your precious relic of your sister to get foot-sweat and grime on it. I also don’t think you would have worn your expensive black silk mourning shoes for walks–the Victorians had practical outdoor boots just like we do. This is fine, though, it’s part of the fairytale Serena Partridge was spinning, and once you understand the point of her work the incongruities make sense.

So if you have seen and shared the tweet, please share the correction: tell your friends Charlotte did NOT embroider those mourning shoes. She wasn’t a Goth, she was a real Victorian person following the mourning rituals of her age and we owe it to the people who lived in the past to respect the truth about them.

Note:

I’m not interested in blaming any of the original three parties involved in this, the artist, the tweeter or the museum. The artwork is exquisite and I feel privileged to have seen it when I visited Haworth. The information about who really made the shoes is there in the museum; it’s quite hard to see, but then, it’s an endlessly tricky call in historic house museums how much text to put in and where to put it. Too much, obtrusively placed, and the atmosphere will be ruined and it will be harder for visitors to see the actual house and objects, but too little, displayed unobtrusively, and you risk people missing important information, as happened here. I do think Metro is culpable, though, because it claims to be a news site and I remember a time when reporting news meant more than just screengrabbing from Twitter without even bothering to go back to the original tweeter’s timeline to see if she had pinned a correction–which she has.

 

 

 

Five Wounds is open for preorders

Here’s the Amazon.co.uk link…

And here’s the Amazon.com link!

Visit Goodreads to see what reviewers have said, or read the extract below.

And a big thank you to everyone who has helped get the book this far.

 

***************STOP PRESS***************

 

Thanks to all the preorders, Five Wounds is now #1 on Amazon.co.uk in Young Adult historical hot new releases and #1 Bestseller in Young Adult historical – Renaissance, as well as reaching an amazing #5 in Young Adult historical bestsellers!

 

 

Screenshot 2015-02-28 09.34.45

 

Read an extract from Five Wounds!

PART ONE

Oh kindly Jesu for the wound of your left foot keep me from the sin of envy…

(From Dame Agnes’ Book of Hours)

1

My sister’s sweetheart gave me the hawk. I was six months home from the convent, and struggling to live under my father’s rule.

Look,’ Henry said. ‘For you. May said you wanted one.’

He lifted the lid off the basket and two huge eyes peered up at me, shiny as beads of jet.

It’s a merlin. To hunt with. Larks and things. You can train her yourself.’

I cupped my hands round the ball of grey fluff and lifted it out. Its heart throbbed against my fingers, too huge for its tiny body. My own heart turned over unexpectedly. I love you, I thought.

Henry said, ‘I’ve brought you all the things you’ll need.’ He reached under his fur-trimmed gown and brought out a pouch. ‘There’s a hood, a glove and some jesses to tie her up by. When she starts to fly, give her a reward every time she comes back to your hand. She needs to think you’re her only way of getting food. Take care when you start to fly her free. If she finds out she can hunt for herself she’ll be gone.’

I brought the merlin close to my face and stared into its fierce eyes. It opened its beak and squeaked angrily at me. ‘Ki-ki-ki-ki-ki!’

Henry beamed. ‘Do you like her? She’ll need a name,’ he said. ‘What are you going to call her?’

May rolled her eyes. ‘She’ll probably call her Alcelda after the Saint.’

She was baiting me, but I called the hawk Alcelda anyway. The nuns had venerated St Alcelda. She was my friend and protector and I loved her like a mother. The baby bird had been torn from her nest as I had from the safety of the nunnery, but I would be her mother now, and teach her to hunt.

The first time she landed back on my outstretched hand of her own free will, my spirit rose. Now her hunting could begin.

By September, Alcelda was fully fledged. Her fluffy grey doublet and hose had given way to sleek feathers, like a brown velvet gown with a speckled forepart. I loved to walk about with her on my hand, her jess strings wrapped firmly round my fingers. When I took her hood off her head would bob up and down as she looked from left to right, beginning to sight prey.

Last week she had nearly made her first kill in the watermeadows near my father’s manor house. She had chased a kingfisher back and forth along the stream while May and I shrieked in excitement. My bird made contact, but the kingfisher found an extra burst of speed from somewhere and got away. ‘She tapped it on the arse!’ May was practically jumping up and down. ‘Did you see? She’s touched her prey. She’ll kill in no time now.’

Today my hawk and I climbed the hill alone. Skylarks twittered above our heads. Today, I was sure, she would taste her first kill. No bird in the world could fly like my pretty falcon.

I pulled her hood off, stretched out my arm with her at the end of it and let go. She took off and rose above the treetops, the leather jess strings trailing behind her. I held my breath with excitement. And then she wheeled round and landed in a tree.

Oh, you–’ I stood under the tree and spoke to her sternly. She began to preen.

I tried wheedling. ‘I can hear skylarks.’ She looked at me blandly. ‘You can too! You’re just pretending not to listen.’

Alcelda put her head to one side, shook her tail feathers at me, took off again and soared.

I watched her go, and in my mind I soared with her. We gazed down together at the sheep grazing on the hillside, the farmland hacked from the forest, the heather-thatched houses clustered around our little stone church.

Nan! Nan!’

My sister was scrambling up to me, holding up her skirts so her scarlet petticoat glowed like a jewel against the tufty grass. ‘Father wants you. You need to come now.’

I can’t!’ I called.

You must.’ May stood panting next to me. ‘He’ll be angry if you don’t come at once. Come on.’ She tugged my sleeve.

If I’m not there for her to fly back to, she might not come,’ I said desperately. ‘I could lose her.’

My sister laid her hand on my shoulder. ‘Give me the glove. She’ll come to me.’

I pulled off the gauntlet and handed it to her, but I did not take my eyes off the merlin.

Go on.’ She gave me a push, and I stumbled down the hill, watching the hawk rather than my footsteps until she was out of sight. As I crossed the bridge over the moat I turned and squinted up into the watery sunshine. She had sighted prey!

The skylark flew round in circles, and she flew after it. Faster and faster. She was gaining on the little lark! Then, with a sudden change of direction, the lark slipped out from under her.

I walked backwards towards the house, still watching as Alcelda recovered the chase.

A third dark dot was moving towards them. I clapped my hand to my mouth. A bigger bird, a kestrel, come to harass my little falcon and steal her prey.

The kestrel was heading for them, straight as an arrow. It swerved. It was not after the lark. It was after Alcelda.

A quavering voice sounded from inside the house. ‘Nan? Are you there?’ My grandmother. The kestrel dived. Alcelda spun out from under it but the kestrel took aim again, flying faster than she could. I bit my lip. There was nothing I could do. With a last, hopeless glance at the sky, I straightened my cap, smoothed my skirts and plunged into the darkened house.

The particular smell of my father’s study made my chest tighten. Candle grease, spilled wine gone sour, the leather of his sword belt. He sat behind his table. In his gown with padded shoulders he was a square dark shape against the window, blocking out the light.

Father.’ I kneeled for his blessing.

From my place on the floor I could see a patch of sky above the hillside, but the duelling birds were out of sight.

Get up, daughter.’

I scrambled to my feet, still breathless from my run down the hillside, and waited for what was to come. A scolding? A beating? My heart thumped.

My father leaned back in his chair and looked me up and down, a smirk of satisfaction at the corners of his mouth.

Well, girl. How would you like to marry Lord Middleham?’

Lord Middleham? I must have misheard. The most powerful man in the next dale. A baron. Wealthy. But how old? My mouth opened and shut, and no sound came out.

Are you stupid? Yes, Middleham, you know who I mean.’ He was beaming, triumphant.

I clutched the edge of the table, dizzy with shock. ‘Sir, I had hoped to go back to the nunnery when the trouble is over. I’ll be sixteen in a year. My aunt said I could take my vows then.’

He snorted. ‘You’ll never make a nun. Too disobedient.’

But–’

This will be good for the whole family. You’d be a noblewoman. No one in our family has ever risen so high.’

How old is he?’ I asked. I could hardly get the words out.

Old enough. He doesn’t need an heir, he’s already got children, older than you. Married three times. That’s a good thing, to my mind.’ My father stroked his beard. ‘An older husband is good for a rebellious girl. Rules her better.’

My head whirled.

Here, read this.’ He unfolded a letter and held it out. ‘I’ve been hunting about for a match for you for a while. Never thought I’d find one as good as this. Want to know how I did it?’ Without waiting for an answer, he went on, ‘He wanted to buy the parcel of land we’ve got in the other dale. You can see it from my lord’s own window. So I told him I wouldn’t let it go, except as the marriage portion of one of my daughters. Never thought he’d bite. But he said he was looking for a new wife and he’d heard my girls were young and pretty.’

My grandmother would never allow me to be married against my will! ‘Is the contract signed?’

As long as the country stays quiet we’ll ride over to Beldon Castle next week. It’s the best part of a day’s travel. If he likes you we’ll sign the betrothal papers then.’

What if he doesn’t like me?’

Then he can have May.’

She’s already betrothed to Henry Hutton,’ I objected.

Contracts can be unmade, if both parties agree.’ He took the letter back and folded it.

Not May and Henry! She lived for him. It would break her heart.

It’s a love match,’ I said. ‘You can’t unmake it.’

Don’t say can’t to me. By God, girl, remember who you’re talking to.’

I shut my eyes. I needed to be a nun.

I had to be with the Sisters, to serve God. To pray, help the poor, maybe even–I swallowed–rule a convent as Abbess myself one day. Then, because I had spent my life being holy, I would rise to Heaven, with the Saints and my mother. How could I give all that up to spend my life bearing children and answering to a man who might be even harsher than my father?

But May. My only sister, sweet as honey and sharp as vinegar. My ally and friend against my father.

I clenched my fists, and remembered May a long time ago, running towards me, screaming, blood splashed on cobbles like scraps of red silk. She had saved my life. After what she had done for me that day, how could I let my father send her to Lord Middleham in my place?

I knelt down again and took my father’s hand. ‘Please don’t make May break off her betrothal. I’ll marry Lord Middleham if I must–’

If you must!’ He shook my hand off his. ‘I make you the best match in the whole of Yorkshire and you talk as if I’m selling you to the Turk. God’s blood, you have a nerve.’ He picked up a silver wine goblet and took a swig. ‘Upon my honour as a knight, any other girl would be kissing my hand in gratitude.’ He banged the goblet down and wine slopped onto the table.

It was a surprise. I am grateful.’

Aye, so you should be.’ He tucked the letter in his sleeve. ‘It’s more than you deserve. May wouldn’t be fighting me. She’s a proper daughter.’

I flinched. It was true May wouldn’t fight him. She was older than me but more cowed. The betrothal to Master Hutton had only come about because Henry was rich and charming and had set himself to persuade my father with presents and flattery.

May’s prettier, too,’ my father muttered. ‘Men always like her sort of looks better. The yellow hair. You’re darker and not so womanly. Perhaps I should let him have May. Less likely to cause trouble.’ There was a warning in his voice.

No, please, sir.’ I tried to sound eager. ‘I am ready to marry Lord Middleham. I’ll do my best to make him want me.’

My father’s eyes narrowed. ‘You’d better please him, wench. This is the best chance we’ve had in all my life. We’ll be connected through this match with all the powerful families in the north. With you as Lady Middleham, every door in Yorkshire will be open to us.’ He eyed me coldly. ‘You’ve let me down before. If you fail at this I’ll put you out of doors without a penny.’

Grandmother!’

She was sitting by the fire in the parlour, sewing my father’s shirts. Surely she would talk to him? Surely she would be on my side?

My grandmother laid down her sewing. ‘He’s told you, then?’

You know?’

Know? I suggested it.’

My hope of help drained away. ‘You?’ I said weakly.

She gave a cunning smile. ‘I knew that land would come in useful. It was the first piece I bought for myself. His Lordship cares more for his estates than he does for money or preferment. He could have made a better match than our family without lifting a finger. Half the widows in the North Riding set their caps at him when his last wife died. But my bit of sheep run sticks into his estates like a finger up his arse. He’s wanted to get his hands on it for years.’ She yawned. ‘I little thought when I was working at the tannery that I’d one day be grandmother to Lady Middleham. How the wheel of fortune turns.’

But– ‘ I began.

But what? Your heart’s not elsewhere, is it?’

No, I swear. How could it be?’

Then what? I thought you’d put aside that silly idea about being a nun.’ She smoothed the linen out with her gnarled hands. ‘I don’t think he’s a bad man. I’ve never heard ill of him.’ She lowered her voice to a whisper. ‘The Duke of Norfolk has taken a mistress and locked his wife up. He’s given all her clothes to his lady and when his wife complains, he beats her.’

I wasn’t aware the Duke of Norfolk had asked for my hand,’ I said.

My grandmother poked me. ‘You’re a saucy baggage, Nan. Granddaughter, I’m seventy-one years old. God could take me at any time. I want to go to my rest knowing you’re safely wed. If there’s trouble afoot there are worse places to be than behind the walls of a castle. Besides, it will raise you in your father’s eyes. Don’t you want that?’

I couldn’t answer. A little voice like a demon on my shoulder whispered in my ear that I did. It would mend the harm I had done to my family. It would make things right with my father again.

I picked up some heads of dried camomile that lay on the table next to her sewing basket and began to crumble them in my fingers. They smelled like the nunnery garden in sun.

She swiped at my hand. ‘Stop fiddling, Nan. They’re to keep the linen sweet when it’s packed away. I don’t want them broken.’

Father said if Lord Middleham doesn’t want me he can have May.’

Did he?’ A flicker of concern appeared in her eyes. ‘I don’t expect he meant it. You do your best to please him, and all will be well.’

The sun was setting when I came back up the hill to find May. I sighed with relief. The hawk was back on her wrist and she was feeding her with pieces of chopped coney.

Guess what? She fought the kestrel off! She turned on it and chased it away. And then she got a lark! I’ve kept it for you, here it is, look–’ She saw my face. ‘Nan, what is it?’

I took the bird’s jesses and let her hop straight onto my hand. Without the glove her talons dug into me. When I told May what my father had said her mouth fell open in horror. ‘You can’t do it. I’d die if I had to marry someone I didn’t love.’

I avoided her eyes and busied myself with picking out a morsel of liver for the hawk. I had reported my father’s command to me but not what would happen if I failed to obey it.

May said, ‘I’d probably hang myself with my girdle if it was me.’

Then you’d go straight to Hell. It would be a mortal sin.’

I know, but–oh, Nan. You don’t know what love means until you find it, and then…’ She smiled vaguely up towards the trees, her lips parted and her eyes faraway, as if she were having a holy vision. ‘I know that every moment I’m going to be with Henry, I’ll be happy. I can’t imagine not having that. Of course, you don’t know about love. You don’t understand, living in the nunnery you never had a chance–’

Now I never will.’ A chill came over me.

The bird snatched the meat from me, her sharp beak nipping my fingertips, and golloped it down.

I had never thought about earthly love before, locked away from men in the convent. The only love I knew about was the ecstatic devotion to Jesus of some of the nuns. When they talked of it their faces had worn the same blissful expression as May’s.

Standing here on the hillside, I understood what I had never realised in the convent. Why some women became nuns and others wouldn’t in a thousand years. Love for men or God was the same. It drove everything, and I would never have it.

I turned away and stiffened my shoulders. I might not know love but May had. I couldn’t ruin it for her.

Nan.’ She pulled me back to face her and put her arm round me. Her eyes were wide with sympathy. ‘You don’t have to do it. You could come and live in Kingston-on-Hull with me and Henry, after we’re married. Henry wouldn’t mind.’

I can’t break the betrothal once it’s made,’ I said. ‘It’s a solemn contract. And Lord Middleham is too powerful. He has armed men. They’d come after me with horses and swords.’

Oh, Jesu,’ May said. She looked across to the church spire that pointed up from behind the trees, as if we could hope for divine help. ‘You need a miracle.’ Her lips twitched. ‘Maybe you could grow a beard like St Uncumber did when she didn’t want to marry the pagan prince.’

I grimaced. ‘Or put my eyes out like St Lucy and hand them to him on a plate.’

There was a painting of St Lucy in the village church. She held the plate with her eyeballs in front of her. Her lips were fixed in a beatific smile, even though she had empty sockets where her eyes should have been and her cheeks ran with blood. Two more virgin martyrs stood beside her: St Catherine, painted above the spiked wheel that broke when they tried to crush her on it, and St Agnes, wreathed in the hair that grew miraculously when they sent her naked to a brothel. They were serene and happy, haloed in gold leaf.

They had resisted what their fathers had planned for them, and were sainted for it.

But I was ordinary and sinful.

And if I disobeyed my father it was May, not me, who would pay the price.

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Norah Lofts, and why you should read her

Norah_LoftsI had a massive Norah Lofts binge over Christmas. Lofts is a deeply unfashionable writer who people in the know keep saying should be rediscovered. Alison Weir has been plugging away at it, and, brilliantly, was instrumental in getting some Lofts books back into print, while the availability of ebooks and the possibility of finding out-of-print books on ABE or Amazon means that there’s never been a better time to discover her.

Lofts was born in Norfolk, in 1904. She came from a farming family, something which had a lasting influence on her writing, as you will see, but worked as a history teacher before she turned to writing full time. Over a long and busy career she wrote more than 60 books, mostly historical, but with a good handful of excellent psychological thrillers too (the Hammer horror film The Witches was based on one). The Oxford Book of Historical Stories calls her ‘one of the undisputed queens of historical romance.’

I first came across Norah Lofts at thirteen, when I was making my first forays into historical re-enactment and was advised by the organiser to read Lofts for her incomparable grasp of historical detail, and because many of her books are set in Suffolk, where the Tudor house we were re-creating, was. Her ability to handle historical detail, work it effortlessly into a story and endow it with great emotional charge, is certainly second to none. I came to Lofts for the research. But I stayed for the storytelling. How’s this for an opening?

‘At the age of seven I was a skillful pickpocket. I could also sew neatly, write a tolerable hand, make a curtsey and a correct introduction, dance a little and play simple tunes on the harpsichord.’

It’s the start of ‘Felicity Hatton’s Tale,’ the first story in the third book of her fabulous Old Vine trilogy. Lofts had a particular liking for taking a house and tracing its residents through history. Other people have done this with towns (notably Edward Rutherfurd, in Sarum, London and others) but no-one has done it as convincingly as Lofts.

The house at Old Vine is built by Martin Reed, a runaway serf at the turn of the fifteenth century, who takes his own destiny into his hands after his lord refuses him permission to marry the girl he loves. The rest of the first book, The Town House, takes place over Martin’s lifetime. But the fabulous thing Lofts does is to shift viewpoint with each chapter, to the old woman who comes to look after him, then his daughter-in-law, Anne, daughter of an impoverished knightly family who marries beneath her, then his grand-daughter Maud, then his secretary. They’re all such different people, in motivation, life-experience and style of thinking, and the fresh perspectives allow us to see the characters we have come to know intimately, as other people see them. Thus we see them change and grow old – young, hopeful, Martin keeping stoically on, Anne who we first knew as a teenager becoming bitter, alcoholic and cruel.

The second book in the trilogy takes us through the sixteenth and seventeenth century, and the third book from Georgian times to the modern day, when the house is no longer lived in by Martin’s descendants. Throughout the series there are incredible stories, and, I should add, incredible TEENAGE stories. Ethelreda Benedict, forced out of the island home she shared with her father when it was flooded by the draining of the Fens. Felicity Hatton, who has to survive in Georgian London after her father’s gambling addiction has beggared her family. And (perhaps my favourite), the dreadful Anne, who calculates that marrying the woolmaster’s son and living in a town house with glass windows might be a come-down for her family but it will lead to a far more comfortable life for herself than staying in her parents’ isolated hall forever unable to afford the dowry for a respectable match.

Like Alison Weir, I rate the House trilogy the most highly, but the prolific Lofts produced many more books worth reading. Broadly speaking, her historical fiction falls into two categories – historical biography, and Suffolk books. The historical biography is not confined to England – there is a splendid book, Crown of Aloes, about Isabella of Spain – and includes one of the most sensitive fictions written about Anne Boleyn, The Concubine.

The Suffolk books, which include the House trilogy, all take place in or around a fictional town called Baildon, which is similar to (though not identical with) Bury St Edmunds. One of the joys of being a hardcore Norah Lofts fan is the way places and families recur across the books, so the fictional world becomes deeper and richer than anything that could be achieved in one book alone. We know which family has a streak of gambling addiction, which breeds the best horses, which local in is best and who built the Assembly rooms. One particular strength of Lofts as a writer, in a genre which can often focus on the rarefied and privileged lives of the wealthy, is that she is as interested in the lives of the ordinary people as those of kings or queens. Even her Anne Boleyn book is told from the viewpoint of a serving maid. Lofts’ farming background comes into this in a big way, writing as she is about a rural country through centuries when most people were closely tied to the land. Martin Reed first meets Anne Blanchfleur when he is visiting his sheep, and her mother lets him heat his tar pot on their fire. Lofts understand the economics of farming: what it means to have a farm of a certain size, or to carry out the work yourself (as another knight’s child, Henry Tallboys, does in the Knight’s Acre trilogy).

There is another sense, too, in which Norah Lofts’ books are realistic, and it is one of the things I like most about her work. Despite her designation as ‘historical romance’, which would conjure up images of happy endings, for Lofts the world is a brutal, unfair place. Good deeds go unrewarded, and, often to a very disturbing extent, bad ones unpunished. Murders are regularly concealed, and criminals live on benefiting from their crimes. This lack of idealising makes her world feel very real. When I used to borrow Norah Lofts books from my local library, their spines would be stickered, seemingly at random, with either a black castle to designate ‘historical fiction’ or a pink heart with a crown on top for historical romance. I wonder how many readers picked them up expecting to be transported to a delicious tale of swooning damsels, only to find they had been sucked into a gritty story of murder and medieval farming practices. Sometimes there is supernatural, and there is often evil – the Gad’s Hall books involve Victorian girls and devil worship – but the down-to-earth nature of her style adds to the plausibility and creepiness, as, for example, in the one I have just finished, The Devil’s Own (also called The Witches, Catch As Catch Can and The Little Wax Doll), published under the name of Peter Curtis, in which the prim heroine is horrified by the sight of the unattractive bodies of her middle-aged neighbours as they dance naked at the Halloween meeting of their coven.

So, where to start with Norah Lofts? To begin with, she did write two books specifically for teenagers, both based on characters from the Old Vine trilogy, Rupert Hatton’s Tale and Maude Reed’s Tale. I would recommend these to younger readers, but really these date to a time before Young Adult fiction had reached the no holds barred place it is in today. Older teens will be perfectly comfortable reading her adult books (and their parents/teachers should be happy with most of them too – if delicate you might want to give the Peter Curtis ones a miss, and The Claw should probably have an advisory sticker but mostly there’s nothing more shocking than you will find in Jacqueline Wilson). The Old Vine books are a good place to start, as is Bless This House, which uses the same ‘house through history’ technique but in a single volume. The first Knight’s Acre book is eventful, and interest in the characters will probably carry you through the second two, even if they are a bit heavy on the farming. Of the biographical books, I have already mentioned The Concubine, and The King’s Pleasure is a sympathetic portrait of Katherine of Aragon, and Crown of Aloes a fascinating book about Isabella of Spain. For those who like their history earlier, The Lute Player is about Richard the Lionheart, or, earlier still, Esther fictionalises an Old Testament book. Lofts is equally comfortable in the eighteenth and nineteenth centuries, and The Lost Queen is a moving book about George III’s younger sister. Goodreads has plentiful reviews, and there is a thriving group there for the hardest of hardcore fans – a group which, I suspect, is destined to grow and grow as a new generation of readers discover the Queen Of Historical Romance. Or rather, Of Gritty, Dark, Agricultural Histfic With Lots And Lots Of Murders….

Learning to write whilst spending a bit of money: some creative writing books that are worth the investment

In September I wrote a post about learning to write without spending any money. My point was that you don’t NEED creative writing courses, useful as they are: many of their elements are things you can access in other ways, more cheaply.

While many of the aspects of the creative writing course experience can be found online, I’m going to get old-fashioned for a moment and say that the one thing you can’t do without is books. You need the long, undisturbed periods of engagement that books provide to take on board some of the complex ideas about writing that some of these authors offer. Of course, if you’re writing you probably like books, so you probably won’t see this as a problem!

One of my biggest regrets about my writing journey is not discovering sooner what a tremendous depth of knowledge creative writing books offered. When I first had a publisher interested in my writing, years back, after a story I’d written was published in an anthology, I went off and bought the first ‘how to write’ book I could find. I’m not going to name it, because I hate criticising other writers’ work online, and anyway, this is going to make me look like an arsehole, but it all seemed terribly pointless and obvious. I knew books had to have beginnings, middles and ends. I knew characters had to be consistent and not change their eye-colour halfway through the book. I wrongly concluded that, firstly, this was typical of the level at which creative writing books were pitched, and secondly, that I knew it all. What I didn’t realise, of course, was that there was far more to it all than that: many ways less obvious than eye colour that a character could be inconsistent through the course of a book, and that while I knew a book had to have a beginning and an end I couldn’t actually have told you what that meant at anything more than a superficial level.

Once I finally got my head round how little I knew about the mechanics of fiction, a new addiction was born. I discovered that creative writing books aren’t just good for understanding how fiction works, they’re also there to help you solve problems: they help you understand why your hero is a bit lacklustre, or what kind of plot development would add intrigue to the boring bit. Now that I’m evangelical about it, of course, I’m always getting asked for recommendations, so here they are.

I currently have a shelf of about twenty or thirty that have been useful to me in some way, but as this is meant to be a ‘beginners’ post I’ll limit myself to talking about a few of the stars. These are all books that have worked for me – if anyone would like to add their own recommendations to my list, feel free!

To make the subject more manageable I’m going to divide them into categories, starting with:

1. Books for inspiration and ‘permission’ to write

Dorothea Brande – Becoming a Writer

This book is much loved for pointing out that if you write, that makes you a writer. I mostly like it for telling you that if you want to be a writer the first thing you need to do is to organise your life so that you actually have the time and space to write. People often miss the fact that they don’t have any time in their schedule, because they’ve been told that if they’re determined enough, they’ll do it. Well, so they will, but only if they remember the crucial intermediate stage of sorting things out so that they can.

Stephen King – On Writing

When you read this you end up wanting Stephen King to be your new best friend, which is not something you would expect from reading his books. It’s part honest memoir, part advice for new writers, and it talks you through his writing life (he accumulated more rejections as a teenager than many, less determined writers, do in a lifetime, and kept them all on a spike) and his thoughts on the essential ‘toolkit’ of the writer (tools being things like plot and characters, not highlighter pens and Tippex).

Anne Lamott – Bird by Bird

I haven’t read all of this but enough of my friends love it that it didn’t seem fair to leave it out. The title comes from her father’s advice  to her brother aged ten, who was trying to write a big report on birds that he should have started months ago and didn’t know where to start – ‘Just take it bird by bird.’

2. Books on story and plot

Sometimes books primarily aimed at screenwriters turn out to be useful for fiction writers.

Robert McKee – Story

is one of those. This is the kind of book you should buy rather than get from the library, because you will want to come back to it.

John Truby – The Anatomy of Story

Truby is one of those writers who likes breaking down stories into their component parts and analysing them. You might not agree with his principles but many writers find them extremely useful as a way to build a story. I’ve found his insights invaluable.

3. Books to get you to aim higher

Jessica Page Morrell – Thanks, But This Isn’t For Us

This book bills itself as a ‘compassionate guide as to why your writing is being rejected’. It comes in particularly handy at revision time, but also helps you think about the eventual reader when planning the book. It’s also quite funny.

Donald Maas – Writing the Break-out Novel

It sounds a bit arrogant to be thinking about how to write your break-out novel when you’re still on your first, but this book is actually surprisingly good for the beginner. Maas uses his experience as a literary agent to analyse what ‘break-out’ books – where an established writer jumps into a whole new level of sales- have in common. The resulting discussion covers every aspect of the book from themes through characters to language.

4. Books on revising and editing

Renni Browne & Dave King – Self-Editing for Fiction Writers

This is an old favourite, much loved by writers and editors alike. It ranges from the basic (consistent point of view) to the subtle (eg the chapter on how to make your writing more sophisticated) but it is essential if you want to turn in a professional piece of work. It also has hugely difficult exercises.

David Madden – Revising Fiction

This book is hardcore. It’s like those medieval ‘have you ever fornicated with your sister? with a donkey?’ lists of sins you had to go through to examine your soul. For instance (opening the book at random): ’84. Are your transitions from one place or time, or from one point of view, to another ineffective?’ ‘184. [This is the killer:] Is your story uninteresting?’ There’s a particular moment when you need this book. It’s when you’ve revised four times already and your beta readers have run out of things to say but you’re just desperate to make your book better because you know it’s still not a millionth as good as Codename Verity and you would give your right arm or at least a little finger for any more clues as to what it might be. Just don’t even think about opening it until then.

5. Books on how to get published

Nicola Morgan – Write to be Published

The best thing about this is that it’s not just a book about the mechanics of getting published, it’s also a book about having the right attitude: getting published starts with writing something good. This is the one to recommend to anyone who goes around saying it’s not worth trying to be published because publishing’s a closed shop. Nicola Morgan brands herself as the ‘crabbit old bat’, which really just means she’s refreshingly blunt. She’s also done useful little e-books on how to write a synopsis and how  to write a cover letter to an agent.

The Writers’ and Artists’ Yearbook (revised annually, published by Bloomsbury)

This used to be totally essential. These days, use it in conjunction with the internet – the listings of publishers and agents are pretty thorough but might not be completely up-to-date. It’s pricey for something you would need to replace every year but libraries are very good at stocking the latest edition.

And, for fun:

Sandra Newman and Howard Mittelmark – How Not To Write A Novel

The authors have had a blast making up lots of parodies of bad writing. Embarrassingly, I learnt a lot from it.