Historical Fiction Two: Family History Research as a Source of Inspiration.

I’ve written a number of plays set in the past and dramatised even more novels for radio, most of them classics such as Kidnapped and Catriona, Ben Hur, The Hunchback of Notre Dame and the Bride of Lammermoor. But The Amber Heart, the very first draft of which was written back in the 1990s, was my first attempt at a longer piece of historical fiction. I had been spending a lot of my free time researching my Polish family history and was becoming increasingly intrigued by it. 

Although I was born in Leeds and brought up in a working class family, my dad’s family had been the landed nobility, the szlachta. The Czerkawskis came complete with a couple of historic houses (lost in the war) and a coat of arms. From the handful of battered photographs my dad managed to bring out and the tiny silver hand mirror that had once belonged to his mother, obviously part of one of those beautiful dressing sets you sometimes see in country houses, it seemed like a world in a fairytale, something remote, long lost, as indeed it was. 

Meeting my great uncle Karol Kossak, an artist from a distinguished family of Polish artists, only served to reinforce the feeling. He was like a character from a Viennese operetta and just as charming. I started my research project back in the eighties, well before the internet could facilitate such enquiries. I think I always had it at the back of my mind that I wanted to write a novel, perhaps more than one, based on my Polish family history. 

One of Karol Kossak's watercolours.
I was suprised by how much I managed to discover. First of all, I got my dad to write down all that he could remember and I still have notebooks stuffed with memories and little sketches to illustrate them. Since dad died back in 1995, I’m very glad I have it now. The place where dad was born, in 1926, is now in the Ukraine although back then it was part of the Polish ‘wild east’. I sent a polite enquiry to the historical museum in the city of Lviv. This had been Lwow, or Lemberg under the Austro Hungarian Empire. This was the beautiful city where my grandmother was born and to which she and my father retreated when war threatened everything they knew and loved. A very kind researcher from the museum took it upon himself to head out to the village of Didyliv (the place my dad knew as Dziedzilow) and take some photographs, saying that people still remembered my grandfather and the family that had once lived in the ‘big house’. Actually the house itself wasn’t very big by that time. The old mansion had been burnt down in some uprising and the family lived in what had been the old steward’s house. The estate had once belonged to my grandfather’s great uncle Julian who had been a late nineteenth century politician, a Polish representative in the Austro Hungarian parliament. I have copies of newspaper articles about him. He was unmarried and my grandfather Wladyslaw – very much a favourite - inherited the estate from him. 

It turned out that Wladyslaw’s own father had died while still quite young and his widow, Anna, had married the Ukrainian estate manager. This had been something of a scandal at the time. It was only when I investigated dates that I realised that Wladyslaw had been only eight years old when he fell heir to Dziedzilow. This meant that his youngish widowed mother Anna, living on another family estate at Pszemyslany, had to secure the services of a manager and would probably have travelled between the two places to keep an eye on her son’s inheritance. It was hardly surprising that a relationship began, although my father, who could remember his father Wladyslaw talking about it, was aware that it wasn’t a particularly happy marriage. There was a child, a much younger half sister for Wladyslaw, and she was brought up alongside my dad, although she died in the war. Relative dates and ages are very important when researching historical topics. We often forget how much the youthfulness of the protagonists impinges on the story– especially in historical writing when people often died young and tended to leap right in and do things early. 

Dad as a (long haired) little boy, with Wladyslaw and my grandmother Lucja.
The whole Austro Hungarian milieu fascinated me. I found a Czerkawski forebear who had many wives and many children, lived a long life and died in a riding accident when he was in his eighties. There were the artists who had travelled to Lwow and Vienna and sometimes to Paris. These borderlands were extraordinarily dangerous and skirmishes were commonplace. Of my grandfather’s family, two older brothers were killed in small uprisings, my grandad died and is buried in Bukhara on the Silk Road, having fallen victim to Stalin and a forced march east, rather than the Nazis, and his younger sister Ludmilla died in a concentration camp. Her ‘crime’ seems to have been that her husband was an army officer. An aunt was shot. A half sister was hanged by the Nazis. Only my grandmother, my great aunt Wanda, and my dad survived. 
Grandad has one of the few cars in the district. Here's my dad at the wheel!
All of this factual background fed into the fairly hefty piece of work that eventually became The Amber Heart although that whole story is set in mid nineteenth century Poland. One of these days I may tackle a sequel. At the time, it was my third novel and my agent couldn’t sell it. The late lamented Pat Kavanagh was a good, even a great agent but the consolidation and corporatisation of the old publishing houses was well under way. We were being sold the idea that it would be good for writers. It wasn’t. For mid-listers like myself, it was disastrous. Pat told me repeatedly that she loved the book, and she did her very best for it. Somebody even called it a 'Polish Gone With The Wind'. But ultimately, nobody would touch it with the proverbial bargepole. The reason they all gave was that no matter how big, how ‘epic’, how sexy the story (and believe me, this is a very sexy story) Big Publishing simply would not touch anything that was set in Poland. Kiss of death, they all said. Nobody wants to read anything set in Eastern Europe.

I tried it again over the years, but became disillusioned, shelved it, but couldn’t leave it alone. I tinkered with it from time to time. Polished it, made it better. Then Amazon came along – thank Bezos - with Kindle Direct Publishing and gave me the wherewithall to get it out there myself. Sales go up and down, but on the whole, it sells very well. In some ways, I’m grateful for the delay. I knew a lot more, had done more research. It is, I think, a much better book than it might have been. It’s long, very long so I’ve published it as an eBook in two parts, The Sorrel Mare and Noon Ghosts. But the ‘box set’, The Amber Heart, is, I think, a better deal and that's the one I'd recommend. You can find it here in the UK, and here in the USA. This one, I'm also planning to publish to various other platforms before the end of the year. 

Historical Fiction One: The Curse of Presentism

Past mysteries: the minister who went away with the fairies. Or did he?

Last month, which seems like a very long time ago now, I blogged for the Edinburgh eBook Festival, writing a series of posts about Historical Fiction. Since they've now disappeared into the ether, as festival posts will, I think it's well worthwhile giving them another airing here because I know there are a great many readers who love historical fiction - and lots of writers thinking of embarking on it as well. For myself, I write a mixture of historical and contemporary. Right now, I'm researching a new historical novel and simultaneously finishing off a novel set in the here and now, so my mind is literally all over the place. 

There are five posts, and this is the first. 

Thanks to Valerie Laws of Authors Electric for helping me out with the term presentism. I wasn’t aware of it, but it neatly encapsulates a point I want to make – and it seems like as good a beginning as any to this series of posts. Here’s a useful Wikipedia definition: Presentism is a mode of literary or historical analysis in which present-day ideas and perspectives are anachronistically introduced into depictions or interpretations of the past. A quick scan online will reveal plenty of blog posts and other pieces pontificating (with some justification) about anachronisms in historical fiction as well as in film and television programmes. Sometimes they can be deliberate. The judicious use of anachronism in movies like A Knight’s Tale where the fuss and adoration surrounding participants in these Mediaeval tournaments is beautifully paralleled by that accorded to gladiatorial athletes like Ice Hockey players, manages to be both accurate and illustrative of a genuine truth about the times. We recognise the parallel and extrapolate from it. It’s also enjoyable and entertaining. There are, I’m sure, novels as well as movies where these deliberate anachronisms are used with a purpose to illuminate some kind of parallel between past and present culture and society. In many ways they involve the opposite of presentism, using present day ideas and preoccupations to illuminate the past.

Casual anachronisms do cause problems for various reasons, the main ones being that they look like mistakes, they look like inadequate research and they can pull readers right out of their willing suspension of disbelief in the world of the book. The trouble is that we come across rather a lot of pieces of historical fiction where the author has been meticulous in excluding all possible anachronisms – and we still don’t believe a word of them. We don’t believe in the world of the book. And that is always going to be a problem for readers, arguably an even bigger problem than the occasional inadvertent anachronism.

I’ve been asking myself why this happens and have come up with two possible answers. One could indeed be described as the curse of Presentism, where 21st century ideas, character traits and perspectives are deliberately made to take precedence over historical realities for what are seen as reasons of marketing to a modern audience. The other challenge seems to involve a general failure on the part of the author to seek to address and inhabit the time and place in which the novel is set. Over the course of the next few weeks, I’ll be looking at this in more detail and in terms of my own historical fiction, and offering a few possible solutions from a personal perspective. Feel free to chip in with your own thoughts and ideas below.

We all indulge in manipulating ideas and perspectives to some extent especially as readers but as writers too. Who doesn’t love the ‘feisty’ heroine and the ‘bad boy with the kind heart’ hero – especially if we’re writing and/or reading within a genre such as romance? But this needn’t necessarily involve presentism. Lizzie Bennett could be described as ‘feisty’ in modern patronising parlance. She’s certainly clever and opinionated. Darcy is the epitome of the unlikeable, disdainful hero who turns out to be honourable and loveable and since Jane was writing for her own contemporaries and with a pen that could occasionally drip acid, we’d better believe in the truth of these characters. But we can’t then criticise Pride and Prejudice for the way in which Charlotte marries Mr Collins because an ‘establishment’ of your own is better than none at all, in a world where unmarried daughters tended to lead very miserable lives indeed. And if we’re writing about this time and place, we’d better be well aware that although we might be allowed our feisty heroines and bad boy heroes, very few young women at that time were brave enough to challenge the status quo. An establishment, a home, a marriage, however unfortunate or ill starred, might well be better than the alternative and we should at least let that perception inform our fiction, if we want it to seem real.

There’s also a sort of reverse presentism that infects critiques of novels and that influences the way we sometimes tackle historical fiction. I’ve seen swathes of people criticising Wuthering Heights (one of my favourite novels, for which I make no apologies!) because ‘Heathcliff is nasty and Cathy is irritating.’ This attitude seems to me to involve a sort of retrospective imposition of modern romance conventions upon a great but unique novel. Ironically, many of these conventions seem to have been inspired by a misreading of WH. I’ve a feeling nobody would publish it now, or not without serious revision. The characters would be deemed unlikeable, the story incredible. This is exactly the novel Emily intended but it was very shocking back then. It certainly shocked Charlotte. We find it shocking even now and blame the writer for our own revulsion.

The Olivier movie didn’t help. It’s probably the best of a very bad bunch of evocations of the novel. They took a story that was rough hewn, thorny, prickly and uncomfortable and softened all its hard edges, turning Heathcliff into a romantic hero and Cathy into a wishy washy heroine. Few people in subsequent years seem to have been able to come to terms with the undoubted fact that Heathcliff is a damaged sadist, Cathy is mad as a box of frogs, and this is still a brilliant, troubling and upsetting book about the nature of obsessive attachment, written by a young woman who lived at a time and in a rural place where instances of casual cruelty would have been fairly commonplace. They are not unknown now, but we women are not supposed to write about them with the grim and disturbing impartiality Emily managed to achieve. We are supposed to show our disapproval where she did not. 

My own 'homage' to Wuthering Heights.
Years ago, when I was studying Mediaeval Literature, one of our lecturers pointed out to us that we were never, ever going to be able to understand the texts as somebody living at the time would have understood them. You can’t unlearn. You can’t forget what you know. But he taught us that we could at least be aware of what we knew, and how we understood things, and try hard not to impose that and its related sense of superiority or cynicism on what we were reading and how we understood what we were reading. It’s something that has stayed with me all these years and whenever I tackle a piece of historical fiction, I find myself trying hard for a kind of total immersion in a time and place. It’s what an actor does: assuming a persona, thinking like the character thinks, speaking as they speak. As a writer, you don’t ‘make’ anyone do anything, but you have to find ways of interrogating your characters, inhabiting them, finding out what makes them tick and then writing as that person, back then, even when it goes against the grain of all your contemporary insights.


Fatal Flaws - How Do You Like Your Characters?


This was originally posted on the Authors Electric blog, earlier this month - but it seems worthwhile reblogging here on my own blog. Worth thinking about and discussing, anyway! 

A little while ago, I was asked to speak to a group of readers. One of them had spent many years as a professional editor with one of the big, prestigious publishing corporations. All of them had read the Physic Garden and were interested in talking about it and asking questions. I’ve done plenty of these sessions and you don’t expect everyone to like the book. Some of the questions can be challenging, so you have to be able to think on your feet. All of which is a good thing. But on this occasion something happened that brought me up short.

‘How on earth,’ said this ex-editor personage, ‘Did you manage to write in the first person voice of somebody so unlikeable?’

There was one of those dismayed silences in the group, with everyone trying not to catch my eye. An uneasy stirring. A little murmur of protest. I’ll admit I was gobsmacked. It wasn’t that she was questioning my writing abilities. Not really. She was asking me how I could possibly have written 90,000 words in the voice of a totally unlikeable person. Except that of all the characters I have ever created, and if you include my plays and stories that’s a lot of people, I think William Lang is right up there with my favourites.

I simply love him.

Which was all I could say, really. The story was no hardship because I loved William to bits. Still do. And moreover, as somebody else in the group was quick to point out, even though William lived 200 years ago, you can still find his like today. Many of us know them and some of us think ourselves lucky if we do: elderly Scotsmen, very clever and sometimes self-taught, a little prickly on the outside, but with a loving soft centre, dry, humorous and with all the wisdom of their years. They’ll be doting grandfathers too, given half a chance.

Did it matter that she didn’t like him? Not a bit. But it did get me thinking. Because this was a person who had been an editor, a person of some influence within traditional publishing. And if she had still been working in that role, it would have mattered a lot. Because that would have been her judgement and yet it was one that the rest of the group – voracious readers - disagreed with.

And then it struck me that I've had other responses like that. Not, I hasten to add, from the excellent editor who worked on The Physic Garden, a pearl among editors, who confessed that she too loved William. But in the past, I've had agents and editors telling me that a particular character wasn't likeable enough. And although I’m prepared to admit that sometimes they might have been right, I suspect mostly they were wrong. It was a matter of personal preference. Something to do with their own prejudices. We all have them. But when publishing acquisitions stand or fall by them that’s when the trouble starts. Perhaps, like the advice to decorate a house as blandly as possible if you’re putting it up for sale, this goes some way to explaining so much that is anodyne in contemporary fiction emanating from the big corporations.

Do you have to like your main protagonist to write about him or her? Do you have to like this person in order to enjoy the book? I don’t think so. I rather dislike Jane Eyre, the character, I can’t help it, but I do like the book very much. I don’t like Heathcliff and Cathy at all. Who would? But I love Wuthering Heights almost more than any other novel and reread it practically every year. I don’t much like Fanny Price, but I enjoy Mansfield Park.

As for my poor William, she thought him too dour, too Presbyterian, even though he makes determined efforts not to go to the kirk as often as his family would like. And I think she believed that William had been prone to over-reaction, which is an opinion she shares with a few other readers, and makes a good point for discussion. For anyone who hasn’t read the novel, and without giving away any spoilers, our narrator remembers a time when he is reading in the library of his much wealthier friend, Thomas. There, he comes across a book called The Anatomy of the Human Gravid Uterus, complete with illustrations, and is shocked to his youthful core by the pictures he sees there. This is a real book. I was able to see a very old and precious facsimile in Glasgow University Library. But you can also find some of the images online. I remember seeing them for the first time. And I, with all my 21st century assumption of sophistication, was also shocked to the core. The images are very beautiful. But the horror lies in realising their beauty and almost immediately becoming aware of the fact that they are depicting the deaths of women and children, mostly through privation and poverty. You can see some of them here. But be warned before you click on the link, they are not at all comfortable to see!

Anyway, we agreed to disagree about William’s likeability or otherwise, although most of the rest of the group seemed to be on William’s side. But it also got me thinking about all those letters of rejection that said, ‘I liked the book but I didn’t love it.’ Or ‘I loved this book but I couldn’t carry marketing with me.’ (i.e. they didn’t love it.) I used to sigh and resolve to do better next time. Now that I only have to submit a novel if I want to, I realise that liking and loving a character are personal judgements and may have nothing to do with the quality of the book – but more importantly, they may have very little to do with whether or not I enjoy reading a book. If that were the case, neither Doctor Jekyll and Mr Hyde, nor the Memoirs and Confessions of a Justified Sinner would be the astonishing reads they undoubtedly are. And as for Scarlett O’Hara? Oh dear me no. Consigned to the outer darkness as terminally unlikeable.

I like my characters flawed, sometimes fatally so. How do you like yours?

The Curse of Presentism - today's eBook Festival post.

Cover by textile artist Alison Bell

All this week, I'm resident on this year's Edinburgh eBook Festival where I'm blogging about historical fiction. Here's an extract from today's post - but do visit the festival site here, to read the rest of this post. There are four more to follow about aspects of historical fiction -  and a great many good things besides for the whole month of August, including free books and insights from an excellent cross section of writers.

Thanks to Valerie Laws of Authors Electric for helping me out with the term presentism. I wasn’t aware of it, but it neatly encapsulates a point I want to make – and it seems like as good a beginning as any to this residency. Here’s a useful Wikipedia definition: Presentism is a mode of literary or historical analysis in which present-day ideas and perspectives are anachronistically introduced into depictions or interpretations of the past

A quick scan online will reveal plenty of blog posts and other pieces pontificating (with some justification) about anachronisms in historical fiction as well as in film and television programmes. Sometimes they can be deliberate. The judicious use of anachronism in movies like A Knight’s Tale where the fuss and adoration surrounding participants in these Mediaeval tournaments is beautifully paralleled by that accorded to gladiatorial athletes like Ice Hockey players, manages to be both accurate and illustrative of a genuine truth about the times. 

We recognise the parallel and extrapolate from it. It’s also enjoyable and entertaining. There are novels as well as movies where these deliberate anachronisms are used to illuminate some kind of parallel between past and present culture and society. In many ways they involve the opposite of presentism, using present day ideas and preoccupations to elucidate the past.

Casual anachronisms do cause problems for various reasons, the main ones being that they look like mistakes, they look like inadequate research and they can pull readers right out of their willing suspension of disbelief in the world of the book. The trouble is that we come across rather a lot of pieces of historical fiction where the author has been meticulous in excluding all possible anachronisms – and we still don’t believe a word of them. We don’t believe in the world of the book. And that is always going to be a problem for readers, arguably an even bigger problem than the occasional inadvertent anachronism.

You can read the rest of today's post on the Edinburgh eBook Festival site.

For this week as well, there will be a couple of special offers on two of my own historical novels: The Amber Heart, set in mid nineteenth century Poland, and Bird of Passage, in which the story spans the years from the 1950s to the present day. Does this qualify as historical? I think so, since some of the issues explored in the book have a very definite historical dimension. Do feel free to argue with me if you disagree - and if you download the novels, you can decide whether or not I follow my own advice! 

Ellisland: the long road to a new novel.

Ellisland Farm
Last week, we headed south to Ellisland, near Dumfries, the farm where Robert Burns and Jean Armour spent some three years of their early married life and where he composed - among other memorable poems - Tam O' Shanter. 

The last time I visited this place, I was very young. Even then, I was so 'into' Burns, a fascination that has never really left me, that I was always persuading my mum and dad to drive about the countryside, visiting places with connections to the poet. It helped that we lived within walking distance of Burns Cottage in Alloway and I would wend my way there on fine spring and summer Saturdays, always hoping to see a ghost or two. Rab remained obdurately unwilling to manifest himself, even for such a fan as me. 

Later, much later, I wrote a couple of plays about Burns: one for BBC R4 about the writing of Tam o' Shanter, notable mainly for a stunning performance of the poem from Liam Brennan as Burns, with Gerda Stevenson as Jean and an early appearance by Billy Boyd (of later hobbit fame) who was an absolute joy to work with and made everyone laugh. 

Later, I wrote a play for Glasgow's Oran Mor, about the last few weeks of the poet's life down on the Solway coast. But in both of these plays, Jean Armour, the poet's long-suffering wife, figured largely, her voice more or less demanding to be heard. (Much as William's voice would not be denied in The Physic Garden!) 

Ever since then, I've wanted to write a novel about Jean. Not a piece of non-fiction, although like all my historical fiction it'll be well researched. But I've had this longing to crawl inside Jean's head and try to write her story. You've only to read a few accounts of the poet's life to see how easy it seems to have been for academics to dismiss Jean as 'not quite worthy of the bard.' Creative Scotland, it seems, agrees with me, because they have just awarded me a very welcome sum of money to research the novel and here I am, at the start of a longish road to a new book. 

Donald Pirie and Clare Waugh as Rab and Jean

Anyway, I loved Ellisland. And I loved it not least because it hasn't been overly interpreted. It remains one of those atmospheric places where nobody has got their hands on the displays, nobody has introduced sound and light effects with a hundred buttons for kids to press, and nobody has tried to tell you what you ought to think and feel. 

I don't know how long the Trust in charge of Ellisland will resist the temptation to revamp it, so I'm very glad I saw it as it is. It was a very fine day, there were house martins flying and calling about the old buildings and the walk along the Nith, where Rab is said to have composed Tam, was a green, shady pathway, fringed with wild flowers, dappled with sunshine. The curator, who lives in the cottage, was knowledgeable and helpful, and the exhibits - oh the exhibits were to treasure: Burns's sword, Jean Armour's much mended 'mutch' and the poet's wooden box, hewn from a single log, with his initials on the top. 

This is how these small museums used to be and sometimes I find myself wondering what it is about them that I enjoy so much and what it is about the new museums that - splendid and well thought out as they are - so irritates me sometimes. I can only conclude that where there is too much explanation and interpretation, there is no room at all for imagination. You are always being told what to feel and what to think. 

One of the tricks to writing historical fiction is to do just enough research. But then, you give yourself permission to make things up. And only then do you find out what you don't know, what you actually need to know. So you go back and find some answers. But if you do too much research to begin with, if you dot all the 'i's and cross all the 't's there's a good chance that you won't want to make anything up at all. 

Ellisland is open to the public and it's magic. If you're a Burns enthusiast, go and see it while it's still in it's wonderfully welcoming state. If you're not a Burns enthusiast, you may well have changed your mind by the time you come away! 




Game of Sevens - The Physic Garden

My Authors Electric colleague Pauline Chandler tagged me to take part in this little game. You go to the seventh page of your work in progress, or your newest work if, like mine, your current work in progress consists of a heap of reference books and some notes and not much else! Count down seven lines and post the next seven sentences. Or you can go to the seventy seventh page if you like. We're hoping you don't have a seven hundred and seventy seventh page, but I suppose it's possible. Pauline's extract was from a tantalisingly interesting historical novel - you can find it here, on the Authors Electric blog.

I decided to run with another historical novel - my own new novel, The Physic Garden. When I turned to page seven of the paperback version, and counted down some seven lines, here's what I found:

'I should have started the tale elsewhere and earlier. But I wanted to write about her, the way you want to talk about what you love. Loved. I wanted to bring her to life in words the way I would once have made seeds, bulbs, roots and tubers grow into plants, the way a few green shoots could grow and stretch out and blossom, the way affection grows and blossoms, although you never see it happening, no matter how closely you try to follow the movement of it.

All the same, I should have started the tale earlier. Perhaps I should have begun by telling you about my father, Robert Lang, who had been college gardener for many years, since I was just a lad. Or with myself, who loved green and growing things, even as a boy. Or with Thomas Brown, who had come to teach botany at the college, a few years before I met Jenny.

But I think that would have been the hardest beginning of all. So instead, here I am, telling you about Jenny Caddas and her swarm of bees, the way she smelled of sweat and honey, and how her hair flew about her head and caught the light, a tangle of flax in the sunshine.'


You can see right away that I've cheated! It seemed such a shame to stop, since these few paragraphs are right at the end of a chapter - and I think we need to know that Thomas Brown would have been the 'hardest beginning of all.'

Incidentally, I had occasion to meet a retired editor a little while ago (not my editor, I hasten to add, who was an angel in human form and the kind of editor who is beyond price.) 'How,' this person asked, 'could you write in the persona of such an unlikable character?'

I was, not to put too fine a point on it, gobsmacked. The novel is written in the first person 'voice' of William Lang. He is writing as an old man, remembering his youth in early 1800s Glasgow. Coming to terms with the events of his youth. Coming to terms with a grave betrayal. It would be no exaggeration to say that I loved every last thing about him, and still do. I had no way of answering the question, therefore, except to say that I didn't find him unlikable at all. Fortunately, a few other people agreed with me. They liked him too. What's more, they recognised him. But it got me thinking. And mostly what I thought was how very glad I was that this individual had not been my editor. Because if I had been persuaded to make William conform to somebody else's idea of 'more likable', I may well have destroyed the whole book in the process.

By the way, I'm hesitant to tag individuals in this game - I know how busy writers are. But if you are reading this and feel like doing it - why not just give it a go? And let me know how you get on in the comments below.

Robert Burns and Jean Armour


On this day, 21st July, in the year 1796, the poet Robert Burns died in Dumfries. He was only 37. His wife, Jean, was heavily pregnant at the time. In fact she was in labour during his funeral.

A few years ago, I wrote the play Burns on the Solway about the final weeks of the poet's life for Glasgow's Oran Mor venue and its lunchtime A Play, A Pie and A Pint series. I wrote it with the encouragement of the late, great David MacLennan, which makes it a doubly bittersweet memorial day. I remember when I first had the idea for this play, some time before I actually wrote it. It was when all our kids were young and we went on an annual camping trip to Loch Ken, over the Ayrshire border in Galloway. Some years there were up to fifty of us - adults, kids and friends and usually several good natured dogs as well. One year, while husband and son were canoeing and sailing on the Loch, I took myself off to Brow Well on the Solway Coast, which is where the poet was sent by his doctors in a last ditch attempt to find a cure for an illness that looked increasingly likely to be terminal. As indeed, it was.

It was one of those fine but cloudy days, when the sky had a dazzling, glassy tint to it. It was June, as far as I remember, not July. The flowers the poet loved were still in bloom. The Brow Well was a sort of poor man's spa, with a chalybeate spring. 18th century invalids would drink the waters and would also be prescribed seabathing, a fashionable 'cure' of the time. I parked the car and wandered down towards the shores of the Solway Firth. This is a landscape of long horizontals, mud flats (people still go flounder trampling here) and I remember how it struck me that poor Rab would have had to walk for a very long way if he were to immerse himself up to his waist in water. It must have been a torment to him in his seriously debilitated state. And that was how I began the play, with the poet's voice.

And what happens next and what happens next is ... I walk to the sea. Here, at the Brow Well on the Solway, I come to the edge of the land and almost tumble over into a great mass of thrift, clumps of pink, fringing the shore like some wild garden. But it is already dying. I go struggling and staggering and wading into the sea, half a mile every day, far enough for the water to reach up to my waist. That’s what the doctors advise. Sometimes I can feel the flounders slithering away beneath my feet. My landlady here tells me that she would go flounder trampling when she was a lassie, kilting her skirts up and wading out into the firth, feeling for the fishes with her toes. I tell her I should like to have seen her.The seawater does some good only in that it numbs the pain. And what happens next is ...

All those years ago, I sat there amid that wild garden, listening to oystercatchers calling and thinking about the poet and his wife. It seemed like a sad but peaceful place and in my mind's eye, it still does. Clare Waugh as Jean and Donald Pirie as Burns in that play gave wonderful performances, bringing these two characters vividly to life and - what's more - making me determined to write more about Jean in particular. Well, I've just learned that Creative Scotland has given me some money to help me research a brand new, full length historical novel about Jean Armour. 

Now, I'm gearing myself up to start and today seems as fitting a day as any other to put the pile of papers and books cluttering this room in some kind of order and ...

And what happens next is ... 



The Curiosity Cabinet: A Good Scottish Island Summer Read - On Special Offer Now.

'The island is a flower garden.'
This week, The Curiosity Cabinet is on a seven day special summer offer for only 99p. Download it onto your Kindle, and read it on holiday, especially if you're going to the Scottish highlands or islands! (Or here, if you're in the US.)

When I look back on everything I've written, I still have a lot of affection for this novel. I suppose that's mainly because I set it on a small fictional Hebridean island that isn't a million miles from a real Hebridean island - one I love dearly and visit often: the little Isle of Gigha, the most southerly of the true Hebridean isles. The island in my novel is called Garve, and in truth it could be one of any number of small Scottish islands - Coll, for example. Garve isn't Gigha and Garve's people are not Gigha's people, but the landscape of the island was certainly inspirational for me and if you get the chance to visit, take yourself off to Tayinloan on the Kintyre Peninsula - and see for yourself. It's one of the loveliest places on earth in my opinion!

Gigha is tiny - some seven miles long by a mile and a half wide, but since it has some 25 miles of coastline, you can imagine what an interesting place it is. It also has a fascinating history and prehistory, since it was always such a strategic place in the various battles between indigenous people and successive invaders. It lies outside the Kintyre Peninsula and as such - with its fertile landscapes and sheltered harbours - it would have been a very good starting point for anyone wanting to invade the mainland. I love the place so much that I've written a major history of the island, called God's Islanders  so if you're into Scottish history, you could do worse than get hold of a copy while it's still available. I've also set another, infinitely darker novel on a small Scottish Island - and if you've read and enjoyed The Curiosity Cabinet, you might like to give it a try. It's called Bird of Passage but be warned. It's a much more harrowing read - although I also think the magic of this very special landscape shines through.


Such beautiful seashores.
On the way to Donal's boat.'
The Curiosity Cabinet tells two parallel tales set in the past and present. Some three hundred years ago, a young widow, Henrietta Dalrymple, is kidnapped and taken to the remote island of Garve where she is held prisoner by the fearsome Manus McNeill for reasons she can't fathom but which eventually become clear in the course of the story. In parallel with this is the present day story of Alys, coming from Edinburgh to revisit the island where she spent childhood holidays, and renewing an old friendship in the process. Motherhood with all its joys and challenges is central to this novel, as is the gap between urban and rural living, between highland and lowland cultures - but most of all, I think this is a novel about the way certain landscapes seem able to contain past and present, all in one, like the layers inside some precious stone. And it's also about a theme that (I now realise) seems to obsess me a bit - the possibility of redeeming the past in the present. Maybe it's because I'm a part time antique dealer that I'm fascinated by the history of objects, by the way in which each owner, each 'keeper' leaves his or her mark on something. The cabinet of the title isn't really a genuine 'curiosity cabinet' of the kind in which botanical and other specimens were kept. Instead it's an old and precious embroidered box on display in the island hotel - a box which contains the key to Henrietta's fate and Alys's future.

An old laird's house.
 But really, I just hope it's a good and not too heavy holiday read: two love stories in one, in a beautiful setting, a magical place, a magical embroidered box, a couple of engaging heroines and a couple of attractive but realistic heroes. Oh, and a very nice little boy as well. That's what I was aiming for and I hope that's what this is! Meanwhile, cast more than a passing look at the gorgeous cover image, made for me by my good friend, Scottish artist Alison Bell who has a love for islands and the sea - and it shows!
Cover image by Alison Bell


Past Life Regression as a Source of Inspiration

From time to time, especially when I think a post may be of wider interest to my readers, I'll reblog one of my monthly contributions to the Authors Electric blog here. This was a popular post and I know a number of people were intrigued by the idea, even if a few others didn't believe a word of it! So here it is, and you can make up your own minds.

Something very old indeed.
A few years ago, one of my relatives, a Reiki practitioner, came to me with a slightly odd request. She was doing a course in ‘past life regression’ (yes – such things are available) and she needed a case study. How would I feel about being her guinea pig? Other people had said they would be too scared or just didn’t believe in it, but I jumped at the chance.

Which is how I found myself in a warm room, all wrapped up in a blanket, listening to her soothing tones as she took me through a set of preliminary relaxation exercises. This kind of session involves mild hypnosis, so I know it wouldn’t be for everyone. It also, I suppose, involves a willing suspension of disbelief – something writers find remarkably easy. At no point did I ever feel out of control or even particularly sleepy, although I certainly felt relaxed – with occasional lurches into inexplicable discomfort best described as a sense of falling, a momentary dizziness.

What happens next is a strange mixture of the extraordinary and the commonplace. She begins by asking me to look down at my feet. What do I see? That’s easy. I’m barefoot. I’m looking down at two small bare feet and I feel cold. The floor is chilly. So are my feet. What am I wearing? A white nightdress. Where am I? I’m in a room - it’s dark with the light filtering in. A plain room with whitewashed walls. It is my bedroom and there is a cat, fast asleep on the bed. (I don't have a cat, don't particularly like them, so have no idea what brought a cat into my head.) She tells me to go to the door, open it and go out. What do I see? I'm in a long corridor with wood panelling. But I suddenly know that it only looks long because I’m small. I feel small. I'm a child. This is a plain house, with white walls and dark wood and not much furniture and it’s my home. Plain but by no means poor. It smells like home. It’s morning and I can see the sunlight filtering in and I’m pattering down the corridor on cold bare feet.

We move on. I’m outside. It’s summer. There’s a huge, spreading tree. I’m sitting beneath it, playing. I have a doll or dolls. Made of wood, I think, but with clothes. My mother and father are watching me, my father in a long dark green coat. I’m still small. Yorkshire. I think we live in Yorkshire. What does my father do? ‘Does he work?’ my interrogator says. 'What is his work?' I feel faintly confused. No, he doesn’t work. Not work. In fact ‘work’ seems like the wrong word. He sees to things. He just comes and goes. Has things to do. Tells people what to do. There’s land, a farm. My mother sits and sews. There are ladies who come and sew with her, and then I have to play on my own but I don’t mind. Roses. I can smell  roses.

Time shifts. In fact time shifts a bit too quickly. I want the whole thing to go on much longer. I want time and space to explore and contemplate these places and people I can see so clearly. But these sessions seem to have a set length. Maybe they’re afraid we’ll get lost in some hypothetical past! I’m older. What kind of shoes am I wearing? I can see them very clearly: yellow satin, with ribbons and little heels. And they are pinching my feet. They are uncomfortable but beautiful. My dress is very stiff. They stitch me into it I say, casually. I know my full name now. I’m Anne Gilbert, I’m seventeen years old, my mother is dead and I’m still living in this plain stone house with my father. I have no siblings. The house smells of lavender, beeswax and roses. There are a lot of books in the house. But they don’t much interest me. The books are dry, sermons, I say. They are full of sermons and I don’t like them. I can read and write but I don’t want to read them. My voice seems a bit odd to me. Oddly detatched from me if that's possible. If I were to try to pin it down, it would be as though somebody else was speaking. Me and not me at the same time.

I have a friend. That’s why I’m dressed like this, in this dress, in these yellow shoes and this stiff dress. She is richer, lives in a bigger house. I go there to visit her. They are different over there. There are celebrations, visitors. We dance. I love dancing but our house is so quiet. Very quiet. In my head, I can hear the silence of the house. It's not unpleasant at all.

We move on again. I’m twenty and I’m married. I think I must have mentioned my husband’s name but I don’t remember it now. She asks me if I met this man at my friend’s house but I find that quite funny. Oh no, I say. Of course not. He came to our house. He only came to see my father. That’s how we met. He’s a scholar. I distinctly remember the way the word scholar pops into my mind and with it the image of a tall, scholarly husband – not old, but scholarly - with reddish hair. He doesn’t care about his appearance or what he wears, he’s a great ‘thinker’ I say, and I know that I love him dearly. He’s gentle, often distracted. I have to remind him of things. I read to him and I write things down for him. We live ‘in another house’ I say. Not my father’s house but not far away either. Another plain house with a lot of books. I have this image in my head of remote countryside with only a few houses and not much else. We have a little boy. He has red hair too and freckles.

In the next image, I’m forty years old and sad. There's a weight of sadness, of loss. I look down at my feet and see boots. My husband has died and I’m sitting in a chilly stone church – very small, a country church - and I’m sad. For the first time, a date pops into my mind. It is the 17th day of October 1696. (Can that be true? Who knows?) It’s after the funeral. I’ve lost track of time, here in this chilly little church. My son? He’s at sea. In the navy. I miss him. There’s a daughter. Her name is Alice and she’s married. She lives close by. I’m happy for her. But I’m tired. I can feel the sadness and fatigue seeping into me, but it’s not really distressing. I’m too removed from it now. Finally, seven years later, I’m ready to move on. It isn’t painful. I’m just ready to leave. I miss my husband and I’m tired and I slip away. Then, slowly and carefully she brings me back to the reality of the room where I’m still snug under my blanket.

Writing about this now, several years later, I can still see it as vividly as though it really had happened. Especially the wood panelled house, the stiff dress, the yellow shoes. But of course I’m a writer. I can see all kinds of things as clearly as if they had actually happened. That’s what I do. Make things up. And what's more, I often write historical fiction. What both I and my relative found intriguing though, was the very ordinariness of it all – a plain, circumscribed and quietly contented life. I think both of us expected more fireworks. A stronger plot. Fame and fortune. But the reality of day to day living probably was very much as I’ve described for most people, barring war, plague and other terrible eventualities. As you can imagine, I’ve done a bit of googling of Anne Gilbert. I certainly have no Gilbert forebears, to my knowledge. But beyond the fact that Gilbert seems to be a Yorkshire surname, there’s nothing. Nor would you really expect it. 

I still don’t know whether it’s all make believe or not. But I would caution anyone thinking of trying it to make sure the person leading you through it knows what he or she is doing. Even with Anne’s quiet life and death, the images conjured are surprisingly powerful. I could imagine under other circumstances that the whole thing might become a bit distressing, that you could have a ‘bad trip’.

Otherwise, well, whether you believe in it or not, it might give you some interesting ideas for fiction.

The Crusader Rose: one of the oldest in cultivation.
I haven't yet written about Anne Gilbert (not much plot there!) but you can find my Scottish historical novel The Physic Garden, published by Saraband, in paperback and as an eBook on various platforms. 

Ten Things I Love About my Kindle Paperwhite

I love books old and new.
Last Christmas, I asked Santa for a Kindle Paperwhite. He must have been sitting on the top of the chimney listening, because guess what turned up on Christmas morning? Now that I've been using it for about half a year I've realised that I'm ridiculously attached to it. I love it more than any other gadget in my possession and that includes my smartphone - which I love too, just not quite so much.

Kindle Paperwhite. How do I love thee? Let me count the ways.

1 It began when I opened the box on Christmas Day. I love the design. The whole thing is just so beautiful: sleek, light, intuitive, easy. Light weight is important to me. I get carpel tunnel syndrome from time to time. Big, spiky hardbacks leave me literally in pain. I have to rest them on a cushion if I want to read in bed. If I want to snuggle up with a good book, my Kindle beats everything else for comfort and convenience.

2 I love the cover. With my previous Kindle, I had bought an inexpensive cover elsewhere. It was nice enough but a little clumsy, a bit heavy. But this one came with a dedicated Kindle cover in fuchsia pink. It too is sleek, light and beautiful. When you open it, it wakes the Kindle up. When you close it, it shuts the Kindle down. It slides into my handbag unobtrusively. I carry it on just about every journey. I can read in places not normally reached by books.

3 The lighting. I don't know how they do it, but it isn't backlit like this PC is backlit. It's a soft light, very easy on the eye, and you can adjust it instantly to whatever the background lighting in the room is like. This means that if you wake up in the middle of the night (I'm sporadically insomniac) you can set the lighting to precisely the level that is easiest for you, and read a few chapters without disturbing your partner, without switching on the bedside lamp at all. Children and young people should note that a Kindle allows blissful midnight reading when you are supposed to be asleep.

4 The touch screen. This means I have the ability to change the font including size and spacing with ease. Especially useful for - ahem -  older people.  If I wake up and want to read in the middle of the night, I don't even have to fumble around for my specs. Everything pops up when you want it, and quietly goes away when you don't.

5 The way in which it opens any book I've been reading at the page where I left off reading, even if I'm reading two or three books at the same time - and I often am. The way in which if I happen to fall asleep in the middle of a chapter, it will quietly switch itself off, and as quietly switch itself on again whenever I want to resume.

6  The Cloud. If anything goes wrong, the books are still there. And so far, I've been deeply impressed by the speed of Amazon's customer service. I haven't had anything like this from any other company. Not once. Not ever.

7 The battery life. Very, very long. So long that when the little message pops up saying 'your battery is getting low' it comes as something of a surprise. Then you realise it's been weeks.

8 The speed of download. If I find a book I want to read, I can be reading it within seconds. As a writer, I love the idea of the impulse buy, because I know how very often as a reader, I have thought 'that looks like a good book' but haven't been able to find the time to travel the ten miles to the nearest bookshop, and then I couldn't find a parking space and when I did, it wasn't in stock and then I meant to buy it but life intervened and I forgot. Also, I can find books I didn't even know existed, but typed a few random search terms into Amazon. This is especially true of non-fiction books. Because I do a lot of research for my own fiction, this facility is vital. Invariably, it's a pleasure to use.

9 The ability to 'sideload' other documents, including my own work, onto the Kindle by means of a simple email attachment. For a writer, this facility is invaluable. We're always paranoid about losing versions of our work. Plus reading a document on a Kindle is a very good way of doing some additional editing. Typos and other mistakes fairly leap out at you.

10 Above all, I love, love LOVE the way it isn't connected to anything else except the bookstore. No social media. No Facebook, no Twitter. None of those new Facebook heads that pop up on your phone when you have downloaded the horrible FB message app even when you don't want them. No temptation to comment. Nothing that doesn't relate to the book. The dictionary is there if you want it. You can highlight and make notes. You can find more books. When I'm reading that's all I want. I can imagine that I might at some point acquire a Kindle Fire, but I wouldn't want to be without this simple version. Are you listening Amazon? I love the purity of it. I love the peacefulness of it: me and my Kindle Paperwhite, quiet, comfortable and completely without distractions except for the cup of tea on the bedside table.

It's an affair of the heart.

To read some of my books on your Kindle, follow the links from my website
www.wordarts.co.uk









Ice Dancing - My Scottish Village Novel



I've been working on a very slightly revamped version of Ice Dancing , my Scottish village novel, over the past week or so and now it's available on an Amazon Kindle countdown deal for the next few days, at a conveniently low price. (Here, if you're reading this in the US.) The book itself hasn't changed, but I've changed the cover, which was lovely, but not working the way I intended. I may even change it again, but for now, I wanted something that suggested 'village' and 'winter' although the novel isn't entirely set in winter.

As I've said elsewhere, this is my favourite of all my novels. I don't mean it's the 'best' thing I've written, by any means. In fact of everything I've written over the past forty years, I could probably name two of which I'm most proud: a stage play called Wormwood, about the Chernobyl disaster, that was staged at the Traverse Theatre in Edinburgh some twenty years ago - and my newest (historical) novel, The Physic Garden, published by Saraband. Mostly, as a writer, you never really think anything is 'finished'. You always think it could be better. But in terms of doing what I set out to do, I think I've more or less managed it with those two pieces of work. But for plain, ordinary love, Ice Dancing, a piece of contemporary fiction, is the one. How do I love this story? Let me count the ways, as a far better writer once put it!

I love the setting. After all, I live in a small Scottish conservation village not a million miles away from the one in the novel - although any resemblance to anyone living here is purely coincidental. Dear readers, I made it up.  Besides, I suspect you could find people exactly like this in any small lowland Scots village. I love the countryside. It's a landscape I see pretty much every day, the one most of the tourists tend to ignore in their mad dash for the Highlands: the hills and woods and the green, green fields of Ayrshire, Dumfries and Galloway. 

The green, green fields of lowland Scotland

I love the community. I love the domesticity of it and never understand why in some critical circles this is perceived as a vice rather than a virtue. One of my all-time favourite novelists is Barbara Pym. While there is no sense in which I would or could compare myself to her, (she's incomparable, in my opinion!) one of the things I love most about her work is that sense of what Alexander McCall Smith calls, when writing affectionately about her, the 'motley cluster of small concerns that makes up our day-to-day lives.' He does that 'motley cluster' so well himself and it was something I wanted to write about in this novel: the little things that add up to something big, as we dance precariously on ice, trying to achieve some sort of balance in our lives but not always succeeding.

I love my narrator, Helen. She isn't me. She's a lot younger for a start. And although I've lived among farming families for some years, that isn't what I do. I don't think she's much like me. But I like her a lot. I like her 'voice', I like her uncertainty and her sense of honour, even while she's behaving inadvisably, even while she knows it. I like her gradual renewal of her youthful ambitions, something I think many women who have married young come to in early middle age. And I love her 'niceness' which I think is an underrated virtue in this cynical age - and her struggle to balance that inner goodness with her need to consider herself for a change. I know quite a lot of people like her even if they seldom do what she does in the novel.

Perhaps most of all, I love my other central character, Joe, a young Canadian athlete, an ice hockey player to be precise. My hero, if you like. This is a love story and why not? But it's a grown-up love story as I think most of my love stories are, even those that err on the side of romance. It's a novel about the physical imperative of mutual attraction. The coup de foudre of love at first sight and what comes after. It's a story about the incomer, an 'interlowper' as they are sometimes called here. A disruptive incomer at that. But Joe, thoughtful, intelligent, articulate Joe, has a terrible secret which is only revealed slowly.

  
Dancing precariously on ice
Cally Phillips, reviewing Ice Dancing, says, 'Everyone, it seems, carries a skeleton in their closet, a secret which they hold from their nearest and dearest. Joe is no exception and one unforeseen consequence of his affair with Helen is that his past is revealed in all its horror. But Czerkawska doesn’t overdo this, it comes out piecemeal and then with a tsunami, and then life goes on – but changed. Just like in reality. You take the hit and you carry on. Damaged, changed but you carry on. Because that’s what people do.'

The novel is mildly subversive. After all, it concerns a heroine who is ten years older than the hero and although if it were the other way round, nobody would bat an eyelid, some people still seem to think this is a bit odd. Plus, it's a story about heading towards middle age and wondering about the decisions that brought you here and whether they were the right ones. It's set in lowland Scotland, not London. The 'secret' when it is revealed is not at all a nice one and readers have to be aware that the tsunami described above is raw and distressing. 

All in all, I can see how this was probably a book that was never going to find a traditional publisher. It doesn't tick half enough 'breakthrough' boxes. But I always thought it was probably a book that might sooner or later find readers. So thank heavens for eBooks and indie publishing. The people who have read it seem to like it, describing it as an 'intelligent love story'. I loved writing it. Sooner or later, I'll have to write the sequel, because now, a few people have also started to ask me 'what happens next?' and I realise that I know exactly what happens next and it isn't quite what they are expecting. It won't be this year. But maybe next ...











The Physic Garden on Special Offer Today


The Physic Garden is on a surprise, special offer sale today and it is positively galloping up the charts, which is very nice to see! I can now call myself a Kindle bestseller, having had two books in the bestseller charts in the last couple of months. The other was the Curiosity Cabinet and it might be true to say that if you enjoy one of these books, you might enjoy the other - although I suspect The Curiosity Cabinet is an easier and slightly more 'romantic' read than The Physic Garden which is a rather more serious proposition altogether.

Still, I always try hard to make my fiction readable. I'm not one of those who subscribes to the notion that something has to be obscure and experimental to be genuinely literary. I'd rather the reader could both enjoy the book as a book - but perhaps take something away afterwards. In this case, people have told me that it has made them think a bit about betrayal and forgiveness and how they themselves feel about past troubles. But it has also made people consider medicine and surgery, about how we got where we are today, about the price of knowledge and the getting of wisdom. All of which makes me happy. But it wouldn't make me happy if that came at the price of a book that many people didn't also enjoy reading as a story.

It won't suit everyone. No book ever does. One woman's enthralling read can be another's misery. It's a problem for writers only in that we do want to be liked! We spend so long on a novel, living with the characters, that it begins to feel like a much loved child and we feel hurt when somebody tells us that in their considered opinion, this particular offspring has an ugly face and an unlikable personality! 

Anyway, if you're reading this on Thursday 15th May, there's still time to get a cheap download and give The Physic Garden a try.

Precious Vintage - Another Potential Income Source in a Precarious World.

For many years now, I've been supplementing my writing income by dealing in antique and vintage items, mostly on a part time basis, although occasionally, when the income from writing has been particularly abysmal, I've devoted a lot more time to this 'second string' to my bow. I used to write for BBC Radio 4 which was a good way of earning a day to day living, but when commissions pretty much dried up about ten or fifteen years ago, I had to find another income source.

It wasn't that I stopped writing drama, just that the BBC, for reasons they have never divulged, stopped wanting what I wrote. I went from being an experienced radio writer with more than 100 hours of well reviewed and varied radio drama under my belt, to being the kiss of death on any submission, almost overnight. There had been no falling out, nothing that I could ever put my finger on. And I still had producers queuing up to work with me. It's just that almost nothing we proposed was ever accepted.  I write this not so much to complain - well, it's a bit of a complaint, or I wouldn't be human! - but really to point out the tenuous nature even of a career that appears to be quite successful.

In reality, it was a blessing in disguise, like so many of these unpleasant crises can be, because it forced me to take stock and make other plans.

With hindsight, and although I had loved radio and had thoroughly enjoyed most of what I had written for this most imaginative of media, I should have quit well before I was pushed. We are much too inclined to stay with what we know. We are also - of course - reluctant to abandon something that pays the bills. But even so, any career that relies on submission and commission from an organisation as capricious as Aunty, is skating on very thin ice indeed. It's one of the reasons why I keep banging on about the need for writers, like all creatives, to be well aware of business realities. You need to think of yourself as a sole trader rather than a humble supplicant, and act accordingly! Most of us learn this quite late in the day.

My husband and I are both freelances, so times were hard for a while. But two things came to my rescue. I had been collecting antique and vintage textiles in particular since I was very young and first went to the saleroom with my mum, who loved pottery and porcelain. Over the years, I had amassed not just the textiles, but a certain amount of knowledge about them. Meanwhile, fiction writing had really taken over from drama for me (although I would never say never if the opportunity to work on a new stage play came along) and my love of antiques in general and textiles in particular began to find its way into my novels and stories, especially my historical fiction. The Curiosity Cabinet and The Physic Garden both involve embroidery and textiles, albeit as only one among many themes in both novels. Some of my short stories involve antiques too - including a few ghost stories.

It occurred to me that one way of filling the income gap left by radio might be to try dealing in antique and vintage collectables. With the wealth of television programmes and magazine articles as well as the general interest in 'vintage', which I had loved well before it became fashionable, this seemed like an idea whose time had come. But my current home area was not the ideal place to take on shop premises and besides, I didn't want that kind of commitment. I had too much writing to do.

It didn't matter. The relative ease of selling online meant that I could work from home. One of the most appealing aspects though was the idea of being in charge, taking control. It's hard to explain to somebody who hasn't been involved with the submission/rejection process central to the 'creative industries'  how difficult it can be. We're not talking about the necessary learning process here. We're talking about a giant game of snakes and ladders during which you can be an experienced professional, climbing the ladders (not making any fortunes, but surviving) but can suddenly and without warning, find yourself sliding all the way down to the bottom of the board within a matter of weeks. In these circumstances, my love of vintage became very precious indeed.


I've been dealing in Scottish and Irish antiques, mainly textiles, but really, whatever takes my fancy, for more than ten years now, and have learned a lot along the way. I've also found my research invaluable in providing inspiration for so much of my fiction. The other factor that helped immeasurably was the ease with which it is now possible to publish, and republish work in eBook form, the possibility of being a 'hybrid' writer, of working with a publisher on certain projects, self publishing others. It makes for a complicated but undeniably interesting working life.

I notice that an increasing number of my friends and colleagues are willing to try their hand at antique and collectable dealing, either online, or at antique markets, or with a combination of both. Often it's because they could do with some money to supplement the family finances but need something that can be part time and flexible. It also occurred to me that some of them were very knowledgeable about their favourite area of collecting, more knowledgeable than some of the dealers I had met, but a little bit nervous of dipping a toe into the waters of selling.

That was when I thought about writing a short guide - by no means a definitive 'how to'  - but something that summarised all the hints and tips I had learnt over ten years or more of trading. Precious Vintage is the result. I should caution that this is in no way a 'get rich quick' scheme. However you decide to do this, hard work and good customer service are the key to making some kind of income. As with writing, other people's experience will be different from yours, and that's fine. But if you've been clearing out your granny's attic and wondering if you might have a go at some trading, then this little eBook guide might be a helpful preliminary read.


You can download it on Amazon UK here. 
The guide is written from a UK perspective, but since so much buying and selling is conducted worldwide, readers elsewhere may find it helpful. You can download it on Amazon.com here.