Showing posts with label novel writing. Show all posts
Showing posts with label novel writing. Show all posts

Tuesday, April 14, 2015

Going Underground: The City Where People Continue To Live In Caves

Nottingham Rock Cemetery Cave entrance

Nottingham Rock Cemetery cave interior.

On a recent weekend I took a small tour of some of the tunnels under Nottingham as research for my next novel, which is partly set in the city; and one of the main characters is, for a while, forced to live in the caves.

It was a fascinating experience.

Nottingham is a city that is built on a system of caves that have been expanded by the city's occupants over the centuries for living and working space. Some of them are available for the public to tour, others continue to be used by homeless people as they always have.

The city, which dates back over 1000 years, was built a particularly soft form of sandstone called Bunter sandstone. It has played a major part in the way that the city has expanded. This is the city that I grew up in and to which I regularly return.

Nottingham is most famous for being the city of Robin Hood, Sherwood Forest and the Sheriff of Nottingham. The castle which now sits on top of the splendid rock overlooking the city centre is not the original one, which burned down in a fire in the 18th century.

A cave system extends from the castle down to the ground level and into neighbouring built-up areas. Directly below, at the bottom of the cliff, is probably the oldest pub in the world: the Trip to Jerusalem Inn.

In the days of pilgrimages to the Holy Land documented in the Canterbury Tales by Chaucer, pilgrims would begin their journey at the castle gate and the first stop would be the Inn. The habits of Brits travelling abroad have not changed much over the centuries! The Inn is carved out of the cliff base. Looking up to the ceiling you can see a chimney extending right upwards to the castle above.

Trip to Jerusalem Inn chimney

The Trip to Jerusalem Inn chimney carved in the rock.

Many of the buildings in central area of Nottingham have cellars and extended underground areas that were carved out, particularly in the 17th and 18th century.

The reason for this is that during the Industrial Revolution tens of thousands of people migrated from the countryside to work in the factories in the cities of England. In Nottingham's this was in the lacemaking factories.

The city could not expand beyond its tight boundaries because of a complex system of land ownership around the outside. Everybody living inside had the rights to farm strips of land outside the city walls to grow food, a relic of the feudal system. They also had the right to walk in the surrounding countryside to get fresh air.

Inside the city walls conditions were dire due to pollution from burning coal and the lack of a sewerage system. Overcrowding was terrible and in an effort to make more space people burrowed into the soft sandstone, carving out more rooms for both workspace and living space. The dispossessed lived in the caves.

Nottingham Cave

But this was not a sustainable solution. As in many English cities at this time there was an outbreak of cholera in Nottingham. Hundreds of people died. The proper solution was not just to build sewers but to extend the city and build on the surrounding land.

This was the time of the Enclosure Acts in England which were used to appropriate agricultural land for building and development. In many cases this led to agricultural land, much of which was common land which everybody had a right to use, being grabbed by the rich and fenced off. Many people starved as a result.

But in Nottingham it was different. The 1845 Enclosure Act specified that developers or builders must come to an agreement with the owners of the land and those who had the right to use it before it could be built upon. This process took 15 years to pan out in the courts. But it was worth it because it was done amicably. Everyone benefited.

map extract Nottingham field pattern 1845

The map extract above from George Sanderson’s ‘Twenty Miles Around Mansfield’, published in 1835, gives some idea of the density of development and overcrowding which Nottingham suffered from prior to the enclosure of the fields around the town. Also visible are the Sand Field and Clay Field which were enclosed to the north of Nottingham. The field pattern is clearly visible.

One result of this is that certain corridors of green space and parks were kept and are still there today for all people to enjoy. They provide a vital means by which the city can breathe.

Today you can look at Nottingham from the air or walk around it and see the result of this expansion. Outside the original compact city is a ring of Victorian buildings, large homes which would have had a room for servants. These are now in the main subdivided into apartments or used by businesses.

Around that was built rows of small tenement homes for the workers. Many of these still remain, as in Hyson Green, but others have been since demolished because they grew to be slums, such as the notorious Meadows area between the castle and the River Trent immortalised in local author Alan Sillitoe's novel (and film adaptation) Saturday Night and Sunday Morning.

Plan of planned estates of council houses on the lines of garden cities Nottingham

The 1930s saw further urban sprawl (above) in the form of large, planned estates of council houses on the lines of garden cities, with generous gardens for the workers to grow their own vegetables, two or three bedrooms and wide roads. Nowadays hardly anybody unfortunately grows vegetables in these gardens and the front gardens have been paved over for cars, because nobody thought that workers would own one, let alone two or three cars, in those days so no room was provided for them.

Nottingham has sprawled much more since then, with endless badly designed housing estates extending into the countryside. Very little of Sherwood Forest remains although in mediaeval times it came almost up to the castle itself.

Who knows? Perhaps Robin Hood and his outlaws used to live in some of the cave systems and used them to creep up upon the Sheriff in his castle.

When I visited one small part of the caves yesterday I found evidence that they are still being used by the homeless.

The part I accessed is through Rock Cemetery, one of the green spaces preserved by the Enclosure Act in the area known as the Forest (although it does not resemble a forest at all).

Nottingham Rock Cemetery

Rock Cemetery.

The entrance to the system is meant to be protected by iron railings but they had been tampered with to provide enough space for someone to crawl through.

Nottingham Cave entrance

Inside is evidence that people do in fact sleep there:

Nottingham Cave homeless people evidence

There is also evidence of drinking and drug use:

Cemetery Cave

I talked to Dwayne, the council officer responsible for the upkeep of the cemetery, who confirmed that drug users and homeless people do use the caves. He had a relaxed, laissez-faire atitude to this. I met a German journalist doing a feature on Nottingham who told me she had told by a charity official that cutbacks in council spending have caused an increase in homelessness.

It's very dark and quiet in the caves. The rock is soft and crumbly and dry. It's also quite scary at first. There are occasionally roof-falls.

While some of the caves in Nottingham are accessible only through private property, and some are available for visitors to tour, the full extent of the system is unknown and it's possible to find entrances all over the central part of the city.

Nottingham's underground culture looks set to continue far into the future.

For further information about the 1845 Enclosure Act in Nottingham see John Beckett and Ken Brand, ‘Enclosure, Improvement and the Rise of “New Nottingham”, 1845-67′ (PDF), Transactions of the Thoroton Society, XCVIII (1994, published in 1995), pp. 92-111.

Friday, August 12, 2011

How I write my novels

I'm going to share with you very quickly how I write my novels.

I did a workshop on some of this in my local writers' group and people really appreciated it so perhaps others may find it useful.

[Yes, I said novels. Okay, I know I've only had one and a half novels published, but I have written a few more, plus several unproduced screenplays and published and unpublished comics or graphic novels, and have two novels in manuscript form ready for publication. So I live in hope that at least one more will be published one day...!]

So here goes.

The idea


Firstly I come up with the ideas, which may or may not include ideas for characters at the same time. The ideas have to be gobsmackingly mindblowing, and usually there are too many ideas, because you can't have too many ideas. Or is it that you can have too many ideas?

The idea usually involves a beginning. The problem is this means you need an end - a resolution in some form of the problem set at the beginning.

And if I don't have an end then I don't know where I'm going - rather like setting out on a journey without a destination in mind. I can have a nice time wandering around, but I might never get anywhere interesting.

The summary


Then I formulate the plot in four sentences. The first sentence summarises the setup (the problem which the protagonist must solve), the last sentence the resolution, and the middle two - well, I think you can guess.

For example, here's a stab at King Lear in 4 sentences: an abdicating king separates his kingdom between two hypocritical sisters, leaving a third, who loves him the most, unrewarded. Having retired, he and his retinue seek in turn the hospitality of the two sisters but they are not so pleased to see him. Their greed and unpleasantness is reflected in civil war in the country at large and the king falls into despair and madness. He finally realises that it was the third daughter who loves him the most, but by then it's too late and everyone dies.

As you can see, this synopsis leaves out rather a lot; it's more like a sketch.

One thing it leaves out is subplots; actually it's helpful to come up with the same kind of four sentence summary for each subplot.

Next, I draw a line and put the main plot points on the line. I then think of more plot points and add them to the line as well. I add as many plot points as I can fit onto the line!

Maybe I will draw another line that is longer.

The scene cards


Then, I dig out a pile of blank index cards. Each of these is going to contain a scene or plot point.

Using the line as a reference, I write all the points out, one on each scene card. This is the really fun bit.

Notice how both generating the line and the scene cards can be done non-linearly. This is great, because that's exactly how the creative mind works. It darts all over the place like a busy bee.

I'm looking at my cards and thinking: right, if this is going to happen in this scene, then this needs to happen in a scene much earlier, and I need to add another scene in between this scene and that scene.

Maybe I need to switch these scenes around.

And so on.

I spread all of the cards on the table - or maybe the floor if I don't have a table big enough. Now I can see the layout of the entire plot like a bird of prey scanning the landscape below!

Amazing!

I can switch the cards around, add more points as I think of them to each card.

To start with, the cards might just contain a quick summary of what happens at that point. Just scribbled notes. But if I think of a scintillating line of dialogue or a beautifully poetic descriptive phrase, I will add that to the relevant card rather than just hope I will remember it later.

Next, I will assign colours to characters, and colour appropriately every card in which a given character appears.

Usually, characters live only in particular plot strands. For example, minor characters usually hang out for the most part just in their little own sub-plot, suddenly popping up in the main plotline - most likely to knock it off kilter.

Now I can take out all of the cards that have a particular colour on, and check this particular character's journey through my narrative to make sure that it makes sense.

I can do the same with subplots.

Alongside all this, I will create character sheets, detailing as much as I can possibly know about each character, usually by interviewing them in my head pretending to be either a cop, private dick, journalist or maybe they are on Desert Island Disc and Jenny Murray is asking the questions!

To this, I will also add what
each character thinks of each other character. That way I know, should they meet each other in the narrative, what their attitude will be to each other.

If there is a particularly important McGuffin, that might have its own colour as well, and this is recorded on the relevant cards just so that I don't lose track of it and always know where it is. Even if my characters don't, I need to!

The first draft


Playing with the scene cards might take some time and only when I am completely happy that everything is down there and there are no plot holes, loose strands, or undeveloped characters will I embark on the first draft.

The fact that the plot and character development are already now sorted out, means that in writing the draft, I can concentrate purely on style - which words to use to best describe what I want to say, and come up with scintillating lines of dialogue.

At this rate, I can write one or two thousand words a day, either dictating or typing. (Sometimes I dictate, as I am doing now, using a voice recognition program which is much faster than typing although the style is usually more conversational.)

On a good day, if I have more than a couple of hours free to write, I can write 5000 words. This means that a 50,000 word young adult novel can be written in a month.

But that's only the first draft. I mustn't get too excited! Actually, I probably think this draft is the best thing I've ever written. But of course it isn't. The novel of which I have just sent the opening pages and summary to David Fickling, has been through 11 drafts. That process has taken three years.

A novel is not to be undertaken lightly - at least by me.

Editing


The editing process is the one which I find the most difficult. Seeing your work as others might see it is usually only possible after you have put aside for a while.

I try to fool myself that I haven't seen it before. I do the basic editing on-screen. Printing it out makes it look different and I notice a different set of things to correct.

The same thing happens when reading it aloud - an essential step - new mistakes become obvious.

I give it to as many people as I can who I think will provide constructive feedback. Sometimes this produces conflicting advice and I am plagued by indecision.

Different drafts must be given to different people so that they are reading it afresh.

Even printing it out in a different typeface in a different format can force my brain to look at it in a different way.

But there really is no substitute for putting it aside for some months and then coming back to see it, as if for the first time.

That's when I notice the really huge howlers and wonder how I could possibly have missed them the first time around.

It goes without saying that I will use a spell check, but this is a poor substitute for proper proofreading.

And it should be properly proofread after the very final draft before sending it away, and assuming that anybody could possibly have any interest in these words which I regard as vital but which in the huge ocean of words that are out there, comprise but an insignificant drop.

This is why I am never precious about my work and always open to any kind of constructive criticism and observation.

It all goes into the mix, it is all useful.

But ultimately, it is on my judgment that the strength of the finished piece finally rests.

The end - but in real life there are no endings - except the big one!


Did I say finished? That's a joke. I don't regard anything as ever finished. It is only the existence of the deadline enforced by the publisher that makes it so.

Why is it that musicians may keep on reinterpreting and changing a song or piece of music that they have written forever, and an artist may keep painting variations of the same image, but that even in subsequent editions, a writer is never allowed to change anything but the slightest semi-colon once it is in print?

[By the way, I'm happy to run workshops on this topic if anyone would find it helpful.)

Wednesday, March 31, 2010

The Drowning Novel - draft completed and new website

I've finished a draft of my current novel, The Drowning, and published a website all about it. Go to: The Drowning Novel.

I've begun work on my next non-fiction book - an introduction to solar technology. It's great to alternate between fiction and non-fiction!