I have something slightly different for you today. Yes, this is a work-in-progress update, but I also want to share a piece of research with you: Marie Lloyd’s baptism record.
If you’re not sure who I am talking about, the music hall artiste and actress known as Marie Lloyd was probably one of the most famous such entertainers of the late 19th and early 20th century, in Britain, at least. She did tours of other countries, including America, and was known as the people’s favourite. She came from Hoxton in East London and started on the stage when she was about 14. Click to Wiki to find a biography of Marie Lloyd.
She was also known for singing the popular song, ‘My Old Man (Said Follow the Van)’ from which I took the title of my current work in progress, ‘Follow the Van.’ The song came after the time the book is set, but as the story is also about Jack Merrit discovering things about his late father, it all seemed very appropriate.
The draft is now at 70,000 words, and I guess I am looking at the first couple of weeks of March for a release. That is if I can pull my finger out and figure out the ending, write it, rewrite everything and do the usual checks and proofs before all that, while thinking up a cover and having it designed. So much to do! So, I’ll leave you with this image of Miss Marie Lloyd’s baptism. She was born Matilda Alice Victoria Wood (second row down) in 1870, and her father was an artificial florist. There will be more about her on a future blog, possibly on Saturday, with some more images from the past.
In the absence of any bright ideas for today’s blog, I decided to check out my current work-in-progress folder and see what was lurking there. As you know, the current WIP is called ‘Follow the Van’ and the story has something to do with the music halls of Victorian London. Therefore, what’s in my folder, apart from the text files, are research images that I’ve pulled from here and there.
Here’s what I have and a short explanation of why. This might give you an insight into how I put research together, although these images are the tip of a larger iceberg of reading, books, maps and online pages. Apologies if I’ve already shown you some in other posts.
First of all, this shot of the Gaiety Theatre in Strand, London. Clearly, the photo was taken later than 1892, because of the engine of the omnibus, but the building is how my characters would have seen it. The theatre lasted from 1864 (as the Strand Musick Hall) until it closed in 1938.
The Gaiety Theatre, Strand, London
A map of the Boundary Estate in Shoreditch from 1892. The estate was also known as The Old Nichol and was considered the worst slum area of London. At the time my novel is set, the estate was being changed, people were being moved out and a new estate was being built. My story concerns a theft from a dwelling in Mount Street on the eastern edge of the estate.
A cutting from a newspaper (I think it was The Times) from 1892. Yesterday, I was writing about the Charing Cross Music Hall, which is still operating today as a theatre beneath Charing Cross Station. As you can see, Marie Lloyd was on the bill at the time my story was set, and after I’ve posted this. I am heading into chapter 19, where Jack Merrit will come face to face with the woman who was on stage with his father when he died.
Cutting from The Times, September 1892
This is a shot of the inside of the Roman Road music hall, another venue that is still in use today. I’m not using this particular one in the story, but the image gives me inspiration, as does the history of the building. Now called Wilton’s Music Hall, you can find out more at its website.
Wilton’s Music Hall
This is the London Music Hall in Shoreditch. This one has had a few names, thanks to having several owners over the years. The theatre was at 95-99, Shoreditch High Street, formerly Holywell Street. Originally built in the year 1856, and called the Griffin Music Hall and Pub, it was rebuilt in 1894 as the London Theatre of Varieties. In 1896 it became known as The London Music Hall. In 1924 it became the Shoreditch Empire Theatre and was demolished in 1935.
Finally, this image of Tower Bridge that I mentioned on my Facebook page the other day. I was writing a chapter where Jack sits outside a pub overlooking the building of the ‘new’ Tower Bridge. It’s 1892, and it’s September 28th, so I looked online to see if I could find out what stage the construction was at. Lo and behold, there was a photo of the bridge taken on that exact day! Here it is, with Jack just out of shot along the bank sipping a pint and waiting for his client to arrive.
That’s it. The rest of my ‘Follow the Van’ folder is filled with the various chapters, outlines and research notes which I’ll save for another day.
Good morning! This is a very quick update to let you know I’ve not forgotten about you, and the next Delamere story will be along in a few weeks. I am currently around 60,000 words into ‘Follow the Van’, and am heading towards my main character’s personal climax. Once that’s happened, he’ll be free to think clearly and head into the action climax when the mystery will finally come together and be solved.
Meanwhile, here on our Greek island, the winter has continued to be mostly reasonable, in that it’s not been freezing cold. In the past we’ve had temperatures down to freezing, but this year, only a couple of days of single figures (so far). This means, on days such as yesterday, it’s a pleasure to go for a walk in the morning and while doing so, set in my head the next piece of action or the next chapter. Today’s chapter will be the second half of yesterday’s wandering and wondering. I talk to myself as I walk, talk internally that is, and tell myself the story as if I was reading it. When I get back from the walk, I jot down the outline of what I’ve just dreamt up, and hope I remember the detail when I come to type it all up.
I need to start thinking of a cover soon, and as usual, am at a loss. I have Andjela working on some new banners for this website, so you may see some changes there, and I am looking at more Book Funnel promos to join in with because they are producing sales results, for which I am very grateful because I’ve not got much paid work in at the moment. And that’s my update, so back to the typowriter and chapter seventeen…
Andrej Borysko Yakiv Kolisnychenko (Fecker or Fecks) is one of the most enduring characters of the Clearwater and Larkspur series, and he began life as someone else.
As part of my online Clearwater Companion, a guide to the series with notes and other material that I didn’t use in the books, I am putting up a transcript of my bible notes. My ‘bible’ being the main notebook(s) in which I record character and other details so, in theory, I don’t contradict myself later. Today, I’m going to share my notes on Fecker, as he became known in ‘Deviant Desire.’
He started out as Andy, an East End lad, an Artful Dodger to Silas’ Oliver, but I soon realised that a) he wasn’t an Artful Dodger (if anyone, that was Silas) and b) he shouldn’t be an Eastender but an immigrant, and he shouldn’t be gay but straight. There were so many nationalities living in London’s East End at the time of the story, (1888) that the chances are, Silas’ best mate would be from abroad. So, I made him Russian, then German, then settled on Ukrainian, because it was slightly more unusual. As the stories progressed, so did his background because he was a character that formed as I went, rather than being one who arrived on the page fully formed. Creating as you go like this necessitates a well-kept bible, and I’m not always very good at keeping notes, so some of Fecks’ details got lost in my memory, which is one reason we never know exactly how old he is.
As the series progressed, so I wanted to understand more about him and Silas and how they met, and that’s how the prequel, ‘Banyak & Fecks’ came about. Now, after finishing two series during which Fecks goes from fleeing the Russian army in Ukraine, to moving into Academy House as an Austrian Baron, I realise that he is the backbone of both series. All 18 books are really only about him, except they are not, and he is only in the distance in some, while at the forefront of others. He’s my shadow character, the one whose life changes in an epic fashion though mainly in the background as we follow the lives of the others.
Still… Enough rambling. Below are my basic notes, and there are not many of them.
Andrej when he believed he was descended from the Cossacks, hence the long hair. This is one of the depictions created by my cover designer, Andjela, and it captures Fecker’s nobleness and stature.
Andrej Borysko Yakiv Kolisnychenko (Fecker or Fecks)
I have to admit that Fecks always had a vague timeline, and no-one is sure of his exact age, including himself. I wrote an outline of his life when writing ‘Banyak & Fecks’, and some of the dates below do not now correspond with what is in the books. However, what is in the books is as accurate as it can be. In Fecks’ case, there are notes from my bible and from other files.
From the bible.
Andrej Borysko Yakiv Kolisnychenko, “Fecker” or “Fecks” nickname. Born 1867. Ukrainian. Born around Easter. In 1888, is 19, fix-foot-two (later six-foot-four), blond, long hair, built like a docker. Strong, Blue eyes, on streets since 14 (1883), straight, quiet, loyal, wars a greatcoat, generous, dopey, doesn’t swim. Can understand English and speak it okay, but chooses not to. ‘Big everywhere’ (massive dick). Silas’ stone, taken from burnt house, was Danylo’s. Khanjali, Fecker’s knife. Shuska, Cossack sword.
From my other notes:
Born in March 1867
He thinks he is about 19, as does Silas, but he is actually 21 in 1888, and doesn’t know his exact birthday. He thinks it is around Easter as he remembers celebrations near his birthday and thought they were for him.
He was born inland from Odessa, towards Kiev, in the Mykolaiv region. (Serbka.)
Family
Parents Father Borysko 1840 to 1878 (Turkish War) Mother 1842 to 1869 (childbirth) Poor farmers with five children: Danylo 1859 possibly still alive Vladsylav 1861 to 1879 Alina 1864 to 1876 Andrej (Fecker) 1866 (?) Daria 1869 possibly still alive
His Names and meaning.
Andrej Andrew, manly, masculine Borysko Fight/Battle Yakiv James, Jacob, supplant Kolisnychenko The longest Ukrainian surname I could find, lol.
Mykolayiv Region
The boundless fields of Pobuzhzhya and Ingul River region, green vineyards and wonderful flowering gardens under bottomless blue sky is Mykolayiv land.
The agriculture is the leading industry of the regional economy. Mykolayiv Region makes significance payment in strengthening of the country, producing almost seven percents of cereals and sunflower, three percents of gross milk production. The production of cereals and sunflower per capita in the region exceeds the proper indexes on average in Ukraine by three times as well as milk – 10 percents. (wiki)
Year
Age
Real age
Events
1867
0
Fecker born Andrej Borysko Yakiv Kolisnychenko Danylo aged 8 (1859), Vladyslav aged 6 (1861) Alina aged 3 (1864)
1868
1
1869
0
2
Daria born – mother died in childbirth Compulsory education introduced in Russia
1870
1
3
Father remarried much younger girl, Fecks considers her mother
1871
2
4
1872
3
5
1873
4
6
Fecker compulsory schooling. Farm working. Horses a particular love
1874
5
7
Poverty
1875
6
8
Danylo general conscription
1876
7
9
One sister died (Alina, aged 12 at hands of Russian soldiers)
1877
8
10
Vlad general conscription
1878
9
11
Fecker taught fencing by older brother Danylo and other military roles – tough life, local land skirmishes, learnt to look after himself. Father died, mother left with younger sister Daria, brother away so Fecker left alone to cope with farm.
1879
10
12
Vlad killed in a battle in Turkish War/Balkans; dad dead, step-mum and sister gone, other sister dead and then Danylo goes missing after Turkish War. (Possibly to turn up later in a story?)
1880
11
13
Fled Ukraine made his own way across Europe, through Austria-Hungary (Moldova, Romania) Working where he could, fighting off abuse and mistreatment when he joined a traveling group of circus horsemen. Killed a man who was trying to rape him and fled towards Hungary
1881
12
14
Across Hungary and Slovenia, working, looking after horses, taken in by an older woman and family Left there when woman’s husband returned from war, mad and angry.
1882
13
15
Arrived Italy. Crossing towards Med coast, had first experience of sex for sale. Stowed away on a ship not knowing where it was bound. He probably caught the ship in Genoa, but can’t remember the name of the place. Was discovered at sea and able to stay thanks to sexual favours; learnt his trade. Arrived in London in the autumn
1883
14
16
Met Silas (book one) Renting
1884
15
17
Renting/dock work
1885
16
18
Renting/dock work
1886
17
19
Renting/dock work
1887
18
20
Renting/dock work
1888
19
21
Deviant Desire – moves to Clearwater House
Feck appears on more than one cover:
Fecks & BanyakOn a charger on his way to rescue damsels in distress.Fecks is 2nd from the right, between Prof Fleet (centre) and Will Merrit.
Today’s update: I am just about to rewrite chapter 15. I started the story with a draft outline that gave me a beginning and some idea for the middle, but no ending. I thought, ‘I’ll come back to that later,’ and now is the time to come back to it. However, along the way, I have set up some events for the middle which now won’t work if I go down the preferred ending route. In fact, I think I have too many ideas going on and need to weed some out.
That’s what chapter 15 seems to be about: the moment when my main character will go one way or the other, and I’m not 100% sure which way he should go. I think I was origin he’d make up my mind for me, but he hasn’t yet. So, I am going to start rewriting that pivotal chapter and see what happens, because I am still undecided about which way the ending of this story will go.
I know what I mean! Lol. It will all come right in the end. The problem with Follow the Van has been interruptions. First, by writing and putting out ‘1892’ which, I am pleased to say, continues to sell and is doing well, and then by Christmas, then by New Year, and then by this flu which still hasn’t left me alone and keeps coming back.
So, this week’s output has been low-level, but I am aiming to pick up the pace now that I have no other distractions, apart from trying to find some new freelance work so I can make some real money, and then there’s the music and piano lessons, and building my model, and trying to get back into walking, and…
Hi, all. Today, I wanted to draw together some info about the British Music Hall, because that’s currently where I am with ‘Follow the Van,’ the third Delamere mystery. I have Jeck Merrit investigating a theft and finding himself at the Gaiety Theatre, Strand, London, in 1892. As soon as I’ve posted this post, I am going to take a quick walk around my village while I put together some of Jack’s father’s backstory and then, when I return, I’ll write out the chapter. Meanwhile, here’s a quick summary of the history of the music hall, and of the Gaiety Theatre. (Photos from Arthur Lloyd.)
The British Music Hall
The British music hall was a popular form of entertainment in the United Kingdom from the mid-19th to the mid-20th century. It was characterized by a variety of performances, including music, comedy, dance, and theatrical acts, typically held in large public venues known as music halls.
The music hall at Roman Road, London
The music hall tradition can be traced back to taverns and coffeehouses where live entertainment was provided alongside food and drink. As the popularity of these performances grew, purpose-built music halls began to appear in cities across the UK. Music halls were large, typically ornate venues that accommodated a diverse audience. The architecture often featured balconies, galleries, and a stage at one end. Some famous music halls included the Alhambra, the London Pavilion, and the Empire.
The variety of acts in a music hall show was one of its defining features. Performers included singers, comedians, dancers, magicians, acrobats, ventriloquists, and more. The diverse lineup catered to a broad audience with different tastes. Comedy played a significant role in music hall performances. Comedians often delivered sketches, monologues, or slapstick routines. Some well-known comedians of the time included Marie Lloyd, Dan Leno, and George Formby.
Live music was a staple of the music hall, with performers singing popular songs of the day. The songs ranged from sentimental ballads to humorous tunes. Many music hall songs became hits and were widely known. Music hall shows often encouraged audience participation. Sing-alongs and call-and-response interactions were common, creating an engaging and lively atmosphere.
The Gaiety Theatre, Aldwych, London
The music hall was a significant cultural phenomenon, serving as a popular form of entertainment for people from various social classes. It played a role in shaping popular culture and influencing later forms of entertainment. The decline of the music hall began in the early 20th century, influenced by the rise of cinema and changes in popular entertainment tastes. The decline accelerated after World War I, and many music halls were either converted into cinemas or demolished.
While the traditional music hall format largely disappeared, its influence can still be seen in modern forms of entertainment, and some elements of the music hall tradition have endured in contemporary variety shows and live performances.
The Gaiety Theatre
The Gaiety Theatre, located on the Strand in London, was a prominent Victorian-era theatre known for its contributions to musical theatre and light entertainment.
Inside the Gaiety when it opened in 1869
Opening and Early Years. The Gaiety Theatre opened on December 21, 1868, on the site of the former Lyceum Theatre. The early years of the Gaiety were marked by a mix of drama and light entertainment, but its focus shifted more towards musical productions as time went on.
Management by John Hollingshead. The Gaiety gained fame under the management of John Hollingshead, who took over in 1868. Under his direction, the theatre became synonymous with musical burlesque and operettas. Hollingshead aimed to provide light and humorous entertainment, catering to a wide audience.
Musical Burlesque and Gilbert and Sullivan Collaborations. The Gaiety Theatre became famous for its musical burlesques, which were satirical and often featured humorous parodies of popular operas and plays. In the 1880s, the theatre hosted a series of successful productions by W. S. Gilbert and Arthur Sullivan, including “Patience” and “The Mikado.”
The Gaiety Girls. The Gaiety became particularly associated with the “Gaiety Girls,” a term coined to refer to the chorus girls who appeared in the theatre’s productions. These young women were known for their beauty and vivacity, and their presence added to the overall appeal of the Gaiety’s shows.
Architectural Features. The Gaiety Theatre underwent several renovations and changes over the years. Architect C.J. Phipps designed the original building, and subsequent modifications were made by other architects. The theatre had a distinctive horseshoe-shaped auditorium and a lavish interior.
Later Years and Closure. The Gaiety continued to be a popular venue for musical productions into the early 20th century. However, like many other traditional theatres, it faced challenges from changing audience tastes and competition from newer forms of entertainment. The Gaiety closed in 1939 and was eventually demolished in 1956.
Legacy. The Gaiety Theatre left a lasting legacy on the London theatrical scene, particularly in the realm of musical theatre. It played a crucial role in popularizing musical burlesque and operettas, influencing the development of the genre. The Gaiety’s focus on light entertainment and the “Gaiety Girls” also left an indelible mark on the cultural landscape of Victorian and Edwardian London.
Hello everyone. I hope you had a good holiday season and New Year and are back ready to give 2024 all the attention it deserves. I am. We’ve been away, as you probably know, so there’s not been much writing going on, but I am, today, getting back to it. I left ‘Follow the Van’ at 41,000 words, which is only a slight worry because it’s only about a quarter of the way in – but that means there will be lots of juicy bits to cut when I get to draft two. I’m back at the desk now and will be ploughing on and getting back to…
1892
One of the main reasons for us going away was to see the Greek National Opera’s production of Sondheim’s ‘Into The Woods’, my favourite of his musicals. This, we did before I got ill (I had to miss our trip to the National Ballet later in the week), and what a production it was. I have always been mesmerised by the way a simple stage, lights and humans can transform a space into a world and tell a story; like putting together a good book and making something special from nothing. A fabulous New Year’s Eve treat followed by a dinner with our godson and his mum with whom we were travelling, fireworks over the Acropolis viewed from our dinner table, and generally, a great time had by all.
It included trips to the barber, a music store, a model shop, a musical instrument museum, various restaurants, a shopping mall, a proper cinema, a bowling alley, and many other treats and fun times. You can read more about them on my other blog this week; click over to my personal life blog at www.symidream.com and you’ll see many more photos.
So, I am back to work, and the work-in-progress blog will be here every Wednesday while the other general chat and research blog will be here every Saturday. Normal service can now be resumed as we steam ahead into 1892 during 2024.
I know what I mean.
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