There displayed for us to see were certain treasures of the age before the Norman Conquest. Here were the magnificent original illuminated manuscripts, the highly ornate and jewelled medallions worn by high-ranking women, inscribed with runic symbols; and other time capsules left to us by the magnificent and privileged, those in Anglo Saxon times who were important and wealthy enough to leave precious time capsules for the British Library to display centuries later. Behind these original objects lay the spirits of the scholarly and the gifted: kings, monks and abbots; and the mighty, such as Offa, “a king who terrified everyone” and who built a great dyke between Wales and Mercia.
King Canute, we learned, was a great giver of books to churches. I wonder what Edmund Ironside would have though of that, had he known it when he was desperately fighting to stop the Danes from ruling England? Or would he have thought it just a pathetic attempt to make reparation for all the upheaval and battles and loss of life he had caused? And we learned, too, that even the Christian kings were thought to have descended from the Norse god Woden. The exhibition contained an original prayer book, the very volume found by St Cuthbert’s head in his tomb at Durham Cathedral, which was indeed an awe-inspiring object to contemplate.
It was fascinating to learn of the intersection between English and European art and thought, and to discover that many went on pilgrimage to Rome. Canterbury and Jarrow were the two major spiritual centres; Canterbury represented the influence of Augustine and Rome, while Jarrow in Northumbria represented the Celtic Christianity which emanated from Ireland.
Here was evidence of intense hours of devotion by scribes and craftspeople and artists and gold and silversmiths; of devotion to study and scholarship and piety by these people who we tend to dismiss because they came before William the Conqueror. A rich and thought-provoking exhibition with much scope for contemplation and meditation upon our own history and what it means for us.
At the National Portrait Gallery recently, as I wandered through the Victorian and Twentieth Century and Contemporary Galleries, I realised that I was surrounded by all the most amazing people who have moved or inspired me or touched my heart, during my lifetime.
It is truly a moving experience to gaze upon the faces of each of these people, and to reflect upon the impact each one of them has had on my life. Some of them look very unexceptional; others have been portrayed in a way which truly conveys their individuality. But what all have in common is this: they are like a cloud of witnesses, a gallery of masters who have found their way into my heart and mind over the generations and seasons of my life, through something they’ve written, or painted, or thought, or expressed.
To gaze upon their faces, even imperfectly rendered – for how can I tell the accuracy or the insight of the artist, having never encountered the sitter in person – is to be deeply touched.
Over Christmas a biography came to me which is one of the most compelling and moving accounts I have ever read. Out of the Forest (published by Penguin Australia) is the memoir of a man who spent ten years living as an alcoholic drug-crazed recluse high in the New South Wales forest, (with occasional forays down the mountain to the local hippy community to sell his crop of marijuana, and spend his income on alcohol).
This man now holds a PhD and is an academic at the Southern Cross University at their Lismore campus in New South Wales, where he teaches Social Sciences. His name is Dr Gregory Peel Smith, and his story takes him from a severely abusive childhood and period of torment in a Catholic orphanage, through years of mental suffering, self-destructive behaviour, alcoholism and drug addiction and self-imposed isolation, to his present life.
Partly because I know the area Gregory is writing about (having lived in Brisbane for four and a half years myself, and having visited the areas of the New South Wales coastline, and spent time in the very mountains of which he speaks) I read this account with intense interest. But as Gregory describes his journey through the depths of human anguish, into self-imposed exile from human society, and all the gruesome details of what it takes to survive in isolation in the wild, I was totally captivated. This book has a strong spiritual character, despite Gregory’s disavowal of the Christian religion (not surprising when you read of the physical and spiritual and psychological abuse he received from the Catholic nuns in the orphanage.)
And the way in which Gregory rehabilitates himself, upon emerging from ten years in the forest, is deeply moving and inspiring. Although later on he is greatly helped by certain individuals whom he identifies as angels, in the early stages he transforms his life solely through his own inner resources. He describes in detail his method for “mounting a mental counter-insurgency” against his inner demons which I believe would be immensely helpful for anyone who has gone through any experience approximating to his kind of mental suffering and turmoil. Though his case was extreme I believe it will be of great value to many, and not only those who have been through comparable extreme experiences.
Naturally I highly recommend this book, and not only to a general readership but to those interested or engaged in psychotherapy and personal spiritual transformation.
I’m looking forward to being part of the Christmas Market at King Edward VI School in Stratford-upon-Avon on Saturday 8th December 2018 from 12.30-3.30pm.
This was the school where Shakespeare studied in the famous Schoolroom between the years 1571 and 1578. So he won’t be at there in person but he may well be in spirit; for he was fond of revelry, and so were some of his most famous characters, Falstaff among them.
Having exhibited and sold my books at this fair in previous years I can promise there will be music, fun, a festive atmosphere and a fantastic raffle ( which I must admit does carry the best prizes I’ve ever seen at events of this sort). So if you are in the Stratford-upon-Avon area this weekend do come along to the Christmas Market, enjoy the revels, soak up the atmosphere, browse the stalls, and come and have a chat at the Local Author stand, where I’ll be signing and selling my paranormal thriller suspense novels.
The first time I ever heard of Nanowrimo (National Novel Writing Month) I was incredulous; I thought it a crazy idea.
How on earth do you write a novel in a month? Then, as I investigated further, I realised that it’s actually a handy motivational tool to get that first draft of your novel written.
Currently I’m working with Nanowrimo to complete the first draft of my new novel “Standing Ovation” (the second in my YA Dylan Raftery series).
And here’s one of my own past blog posts, updated to re-enthuse any other novelists out there currently struggling to meet this target:
The Writing Process for Creating a Novel In Less Than a Month
National Novel Writing Month is currently in progress, and I’m again taking this challenge – completing the first draft of my new novel. Here is an article I wrote when I was 3 weeks into the 2011 challenge, in order to write the first draft of my second novel “A Passionate Spirit”. Everything I said then still applies now; and my extra challenge is to take my own advice! I hope some of you who have set out on this challenge again for 2018 will find it a source of inspiration.
The task is: write a novel of at least 50,000 words in a month; and by the word “novel” we must mean, of course, “the first draft of a novel.”
Here are three tips to have that completed first draft of a novel in a month:
1) Do your preparation work before the month begins. Ideas will have been hatching in your mind for the last couple of years, perhaps; and now you have a ground plan. You have created a one-sentence storyline, and expanded it to a blurb and a synopsis and perhaps you have drawn up a list of scenes for your novel. Not everybody needs to have done this before they begin writing the novel. Some like to plunge into the writing with two or three characters and a conflict in mind, and let the story emerge. But I had already been thinking about my characters for a year or so before beginning my novel. And I know from experience what it’s like to allow your characters to take over. Characters will do that anyway, even if you have a plan. But I now believe having a plan is a very good way to start, even if the plan is radically changed by the time you’ve finished your first draft.
2) Begin writing, and don’t go back to edit. Control your desire to look over previous chapters and assess or improve them. This needs great discipline. Just keep writing even if you suspect what you are writing is rubbish, because you are going to go back over your manuscript anyway after the month is up and use it as the basis for your second draft.
3) Don’t fall into the trap of slacking or subsiding or falling away because your novel feels as if it’s sinking in the middle. Introduce something crazy or bizarre that occurs to you; just follow that instinct, introduce it into your plot, set your characters the task of dealing with it and keep on writing.
Those who find their minds go blank at the prospect of producing a full-length work of the imagination should remember this one thing: creating a first draft of fiction requires only motivation and courage. It requires you to forget everything negative you ever believed of yourself, and to believe in whatever ideas come to you, believe in them enough to incorporate them in your first draft. When you read your manuscript through in a month’s time, you may be amazed at what you came up with apparently “out of nowhere.”
Nothing compares to the joy of a capella harmony singing – in perfect pitch, of course, and under the tuition of an inspirational musical director… or how about four musical directors, one for each voice part?
Recently I took part in an Abba singing workshop led by the B Naturals, a fantastic A Cappella quartet.
We all gathered in a church hall in Leamington Spa and the group members, each taking on the task of training a different part – soprano, alto, tenor and bass – taught us four gorgeous Abba songs: Does Your Mother Know, Eagle, Name of the Game and SOS. When you sing Abba songs you realise how complex they are, and also how discerning and often very moving the lyrics are, relating to so many different life experiences.
The four workshop leaders – Nick Petts, Guy Wilson, Dave King and Jon Conway – worked together, interweaving with each other as they taught the parts. What a joy it was, along with a great sense of accomplishment, as we mastered the rich harmonies, and sang the songs all the way through.
As a singer who belongs to two very different local choirs – a traditional choir and a community choir – I have often marvelled at the precious gift of music in our lives. The experience of singing in harmony with others is pure joy and one of the nearest things to heaven I can possibly imagine.
This high spiritual quality of music was recognised by JRR Tolkien in his book The Silmarillion. This book sets out Tolkien’s created world, which grew with him throughout his life: the ancient drama to which characters in The Lord of the Rings look back. And it opens with The Music of the Ainur. He begins: There was Eru, the One, who in Arda is called Iluvatar: and he made first the Ainur, the Holy Ones, that were the offspring of his thought… propounding to them themes of music: and they sang before him, and he was glad….
Quite apart from the immense resources of classical choral music sung by traditional choirs, there is a vast repertoire of music suitable for arrangement for A Cappella Quartets and community choirs, and so many gifted composers and musicians who have created glorious music for us – the music of the Beach Boys, of Abba, of the Beatles among many, along with a wealth of songs of different types and genres from around the planet.
In the midst of a world where there is so much disharmony, tragedy and grief, let us uphold and celebrate one of the greatest and most spiritual gifts of all – joyous and uplifting music.
Remember – books are a great choice when it comes to choosing a gift for a keen reader among your family and friends.
Angels and Christmas candle
Candles and Christmas table decoration
Novels can make an excellent gift as long as you know the taste of your gift recipient. And if not, or you’re unsure, why not surprise them with a story they might not have considered reading before? A member of the audience at one of my recent author talks told me that I had inspired her to read outside her comfort zone.
The next few weeks are very busy and I have one author talk and five Christmas Craft Fairs lined up already, with the prospect of more to come.
So if any of these are near where you live do drop in for a chat at my bookstall.
I’ll have signed copies of my two novels Mystical Circles and A Passionate Spirit for sale,
along with my non-fiction book Perilous Path: A Writer’s Journey, and also copies of the new anthology Merry Christmas Everyone to which I’ve contributed a piece.
On Wednesday 7th November at 7.30pm I’ll be giving my Author Talk “The Power of Story” at the Northgate Methodist Church, Warwick.
I’m delighted to announce that I’ve just received 2 boxes full of copies of a new Christmas Anthology, for which I am one of the contributing authors. This is “a festive feast of stories, poems and reflections” and entitled Merry Christmas Everyone.
The anthology is published by the Association of Christian Writers. It covers the entire spectrum of emotions that this season can arouse, and I have contributed a piece called The Christmas List.
The book’s available on all online retail sites and I have two dozen copies myself which you may order from me if you live in the UK, at the retail price of £8.99 plus p & p £1.50. If you do wish to order please contact me via this website and I will mail you a copy enclosing the invoice.
The book is a wonderful resource for Christmas readings – whether that be for parties, gatherings of friends and family round the fireside or dinner table, or church services.
If you read the book I do hope you find something in there which speaks to your heart, however you feel about this season – across the entire emotional range.
And when they die they give their seeds so other dandelions can grow.
Recently I was at a Creative Arts day at Christ Church, Orpington in Kent, which centred around the theme of Growth and was called Creative Encounters with a Creative God. The day was organised by Liesel Stanbridge, musician/composer and music leader at Christ Church. During the day she introduced us to her lovely song: “Replanted in Eden.”
During the day there were several creative workshops to choose from including pottery, jewellery, meditation, drumming, poetry, harvest arrangements, dancing with flags, and creative writing, to mention only a few All of these carried the theme of Growth.
At the end of the day I feel sure that all of us brought something away with us which would have enabled us to see our life journeys afresh: something to think about, something to learn from and something to open up our true identities. I attended the Pottery class led by Caroline Bailey, in which we pressed leaves and scallop shells into clay, whilst listening to poetry, prayers and meditations; a moving and uplifting experience. Also I attended a workshop on CS Lewis: Image and Imagination and was inspired by the wisdom and discernment of that great writer.
I led the Creative Writing workshop in the afternoon. Here is the description of my workshop:
Classic story structure: the very heart of story-telling. Many of us have a favourite story of all time. Story is a deep and powerful part of our lives from infancy. But did you know that behind every story that thrills our hearts, lies classic story structure? It is to be found in all great stories and myths, and it encompasses the mythicjourney of the hero.Suspense author SC Skillman will share the secrets of classic story structure and then lead a creative writing session where you’ll be able to draw upon your own life, and find classic story structure emerging from your own experiences. Come and be inspired to turn your own life experiences into fiction – whether that be short stories or novels for children or adults.
In fact for the writing exercise I used Story Cubes, and each table of participants used the images on the 9 sides of the story cubes to create a story of their own based on the principles of classic story structure. Much hilarity resulted as the groups shared their story lines which were a wild and free mix of genres!
I find it awesome to see the innate creativity of people in the way they respond to story, (even among those who might initially claim a lack of ideas or imagination). And I was moved and delighted to hear and see what the story cubes awaken in people who trust and engage with the process.
All in all, this was a day in whch I believe that all of us present must surely have experienced for ourselves the miracle and wonder of growth.
Love goes toward love, as schoolboys from their books,
But love from love, toward school with heavy looks.
Romeo and Juliet
Whether or not this is a true reflection of how Shakespeare felt about his own schooldays, it’s difficult not to feel a sense of awe upon entering the fifteenth century schoolroom where Shakespeare would have studied from 1571 to 1578, between the ages of seven and fourteen.
Even more impressive is the opportunity to experience a costumed actor playing the part of a schoolmaster of Shakespeare’s time, teaching as young William would have been taught; the recital of Latin vocabulary and declensions, drummed into the boys’ heads through wearisome repetition. Perhaps, even, this discipline, tedious as it may have been, prepared and fitted the young boy for the acting profession, since learning lines by heart is part of an actor’s skills.
Within the schoolroom Shakespeare would have also watched visiting troupes of actors perform plays. Also he would probably have acted in school plays himself. To be in the place where he may have conceived his first love for poetry, drama, and the acting world, is indeed moving. Quite apart from the mellow historical beauty of the sixteenth century interiors, I cannot but feel this is a special experience to come here. Pupils do sometimes use these classrooms today in King Edward VI School, and Shakespeare’s Schoolrooms and Guildhall have only been open to visitors for a relatively short time (two years at the time of my visit) to further illuminate the life of Shakespeare.
The meeting chamber of the Guild is a gracious and imposing room. In this particular chamber, Shakespeare’s father John would have presided over meetings of the Guild in 1568, when he served as Bailiff (equivalent to Lord Mayor); and he would also have participated as a member of the jury in court hearings here. It is amusing to think how in his younger days he had fallen foul of the local authorities for being one of those responsible for creating a muckheap in the streets. But since then he had clearly regained a good reputation.
Nevertheless we may also wonder at the fact that 14 year old William had to leave school because his father could no longer afford it and was now in debt. What had happened in the intervening years since his high office for the local authority, and his ignominious removal of William from school?
We may find it very tempting to speculate. Quite often we have insufficient biographical detail about Shakespeare’s life. Was William cross? Or was he relieved at his new-found freedom? The fact that he left school at 14 and didn’t go to university is used as one of the possible pieces of evidence for the theory that the man known as William Shakespeare could not possibly have written those plays and poems attributed to him. How could he? the skeptics enquire. He never went to university.
And yet… is it possible that William was a child prodigy? That he found all that learning by rote very boring? (Though in fact it was to serve him extremely well in the acting profession). Was it possible that William was like certain child prodigies in contemporary times who attain a double first university degree by 15? Was he the type who is perfectly capable of taking his A levels without doing the two year course?
Another aspect to consider is that Shakespeare may have absorbed what he learned at school to a much greater depth and intensity than his contemporaries. It is certain he studied the stories of Ovid and other Roman writers, for these stories appear in his plays. Perhaps William made up for his interrupted schooling by voracious reading. What was he doing between the age of 14 and 18, at which age we know he married Ann Hathaway?
These and many other questions spring into the mind of the visitor at Shakespeare’s Schoolroom and Guildhall, a rich new addition to the Shakespeare properties on offer to visitors to Stratford-upon-Avon.