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.
For those who don’t celebrate Christmas, here’s wishing you a happy holiday, a sensational solstice, or simply, a pleasant break. To finish my posting for 2023 (as I will now be away until January 8th), I’ve put together a few notes on the kind of Christmas some of the Clearwater characters would have enjoyed. Many of the traditions we still use in Britain today began in the Victorian era, so there’s a little information about them too.
If you’ve read three Clearwater books, ‘Fallen Splendour’, ‘The Larkspur Legacy’, and/or ‘1892’, you will have already read a little about how Earl Clearwater celebrates Christmas at Larkspur Hall. Because Clearwater is a benevolent and philanthropic fellow, he invites everyone from his estate, from his top man, Tom Payne the estate steward, to the children of his tenant farmers, and he gives each of them a special gift. These are usually bought on his behalf by his housekeeper, as Archer is actually pretty bad at buying gifts for people. Larkspur has seen three housekeepers during the time we’ve spent there in the novels; Mrs Baker, Mrs Kevern, and now, as Sally Kevern went to housekeep for her best friend, Lucy, Jasper Blackwood, making Jasper the country’s youngest, male, piano-playing-genius housekeeper. I like to keep things eccentric at Larkspur.
Christmas at Larkspur? (Pst! It’s actually Chatsworth House.)
However, not everyone would have enjoyed the huge tree, the feast, gifts and warmth offered by Larkspur Hall. Let’s not forget the poor and homeless of London and other cities, who had very little, if anything, to celebrate. We know that Archer and Silas’ mission in Greychurch would have taken care of its boys, and Archer’s other charities would have looked after their charges, but for the general poor public, times were hard. Not only because of the weather and lack of money and food, but because they would have seen and heard about the lavish celebrations organised by the better off, and yet, there would have been nothing they could have done about it. According to Dickens in ‘A Christmas Carol’, the poor got on with it, suffered, were grateful for what they had, and made the best of a bad job. That’s something of a sugary coating if you ask me, but a lot of how we now feel about Christmas and the generosity some show to the poor at this time was inspired by Dickens and his novel.
Back to the details. Here’s what I cobbled together from various places on the net. A short breakdown of the traditions of a Victorian Christmas.
Christmas in Victorian London was a time of both traditions and transformations. The Victorian era, which lasted from the early 19th century to the beginning of the 20th century, saw significant changes in society, industry, and culture. During this period, many of the Christmas customs we know today were popularized and became integral to the holiday season.
Christmas Decorations
The Christmas tree was introduced to England by Queen Victoria’s German husband, Prince Albert, and became a popular Victorian Christmas tradition. Families adorned their trees with candles, ornaments, and small gifts.
Holly, ivy, and mistletoe were commonly used for decorations. These evergreen plants symbolized renewal and were believed to ward off evil spirits. (Inspired by pre-Christian solstice celebrations.)
Christmas Feasting
Christmas feasts were elaborate affairs with a variety of dishes. Roast turkey or goose was a popular choice, accompanied by side dishes like plum pudding, mince pies, and Christmas cake.
The Christmas pudding, a dense and rich dessert, became a staple of Victorian Christmas celebrations.
Keel Hall, UK, but not unlike Larkspur?
Gift-Giving
The Victorians embraced the tradition of gift-giving during Christmas. Handmade gifts and small trinkets were exchanged among family and friends.
Charles Dickens’ ‘A Christmas Carol,’ published in 1843, contributed to the popularization of Christmas as a time for generosity and goodwill, emphasizing the importance of charity and compassion.
Christmas Carolling
Carolling gained popularity during the Victorian era. Groups of singers would visit homes and entertain with Christmas carols. (Again, based on a much earlier tradition of mummers and wassailing, I believe.)
Familiar carols such as ‘Silent Night’ and ‘O Holy Night’ were sung, and new carols were composed during this time.
[By the way, my favourite carol/hymn of the season is ‘In the Bleak Midwinter’ with words by Christina Rossetti (1872). The poem became a hymn when published in the English Hymnal in 1906, with a tune by Gustave Holst, and that’s my favourite of the various tunes composed to accompany the words.]
The Royal Family at Christmas
Christmas Eve and Christmas Day
Christmas Eve was often a time for family gatherings and festive meals, as happens at Larkspur Hall. The opening of presents and the exchange of gifts also occurred on Christmas Eve in some households.
Christmas Day was marked by attending church services in the morning, followed by a festive meal and various forms of entertainment.
Street Celebrations
Public celebrations in the streets were common, with markets selling seasonal goods and treats. Streets and shops were decorated with festive lights and greenery. They still are.
Victorian Christmas Cards
The tradition of sending Christmas cards became popular during the Victorian era. The first commercial Christmas card was produced in 1843, the same year Dickens published “A Christmas Carol.”
There’s a reference to Christmas Cards and the post in one of the early Clearwater books, but I can’t remember which one. James Wright, when a messenger, complained about the amount of post now being sent… It might have been another character, but at least it got a mention.
Despite the emphasis on festive celebrations, not everyone in Victorian London experienced a joyous Christmas. The disparity between the wealthy and the impoverished was stark, and charitable efforts during the Christmas season aimed to address the needs of the less fortunate. The Victorian influence on Christmas traditions has left a lasting legacy, shaping many aspects of how we celebrate the holiday today.
However you celebrate, or even if you don’t, I wish you a peaceful Christmas and New Year period during which, if you’ve nothing else to do, you can explore the Clearwater back catalogue and any of my other novels you’ve not yet read. [Click for the full list]
A heartfelt thank you to all my readers, particularly you, if you have left a review or joined in on my Facebook pages, shared links and done your bit, or even if you’re a silent reader… Everyone! Happy Christmas and I will see you next year. Remember, as I always say, if you keep reading, I’ll keep writing.
All the best!
Jackson Marsh – James Collins Professor Fleet – Husband Neil Mrs Norwood – Jenine the PA And the whole team.
Hi folks, I’ll be posting something on Saturday, and then heading off into the holiday season straight after that. I will, though be on Facebook as usual, and if you keep an eye on my page there, you should see some shots of our madcap family Christmas and a trip to Athens we have arranged for the week after.
Meanwhile, a quick update on my work in progress: Follow the Van.
I have managed to move things on a little since my last post, when I was focusing on the release of ‘1892’ which, I am pleased to say, is doing well and has already gained several five-star rates and a couple of excellent reviews around the world, Canada and Australia, actually, which is excellent.
As for ‘Follow the Van’, that’s now up to 35,000 words and I am having one of those moments when the story is flowing, lots is building up, and I am approaching a halfway mark and yet… Oops! There’s a lot to set correctly in this one and I seem to be taking the time to construct a lead-in to the untwisting of the mystery. That’s not a problem, though, because when it starts, it’s going to unravel pretty quickly and, with strong foundations laid, it should be a fast and furious ride to the end. I shouldn’t read too much into that. It will probably all change when I get back to writing after my holiday.
Until then, I am still writing away, although today, I must also see about a kitchen light, write a review for one of my companies, play the piano a bit, and meet a friend for Christmas drinks tonight, but in between all of that, there will be some typing on ‘Follow the Van.’
Btw, part of the plot involves a song and a clue to the mystery is contained within it, so I have set about writing a late-Victorian music hall song in the appropriate style. I’m basing the lyrics on the song from which the book gets its title, ‘Don’t Dilly Dally on the Way.’ (The ‘way’ perhaps being a reference to Jack Merrit finding his feet and falling in love in ‘Fining a Way.’) The original song wasn’t written until 1919, but I’m only using the scansion and rhythm, not the words, so I think that’s fair. Also, I wanted a song that the reader might know, so that they could more easily imaging the song being sung, and I’m pretty sure most British people at least would have heard the song:
My old man said “Foller the van, And don’t dilly dally on the way”. Off went the van wiv me ‘ome packed in it, I walked behind wiv me old cock linnet. But I dillied and dallied, dallied and I dillied Lost me way and don’t know where to roam. Well you can’t trust a special like the old time coppers When you can’t find your way ‘ome.
I’m not sure if that’s the original spelling, but you know what I mean.
Now, I must find my way home, pop the kettle on and settle down to do some writing. See you on Saturday!
The news today is that ‘1892’ is now available in paperback. Here’s the link:
At the moment, Amazon is only showing the Kindle version, but the paperback link should appear with it soon. It is also available in 11 other Amazon countries, namely: UK, DE, FR, ES, IT, NL, PL, SE, JP, CA and AU.
What’s even better is the review left by Anthony Pisacano. Titled, A Wonderful Christmas Gift!, this is a great review because it gives a succinct outline while not giving anything away, and I couldn’t have put it better myself. Here’s what the review says in full:
Jackson Marsh has gifted his readers another treasure from his Clearwater Tales.
On a train bound for the Christmas Eve festivities at Larkspur Hall, a Baron, housekeeper, detective, antiquarian and a professor, relate to each other tales from their past.
A priest is also in attendance but not for the same reason. He is made welcome to their first-class coach, and becomes privy to their personal stories.
Each story gives us a closer look into the background of the characters we have come to know through the previous stories associated with the Clearwater Mysteries.
I especially enjoyed the Professor’s tale as his background was not divulged when we met him during the Larkspur Mystery series.
I thoroughly enjoyed the tales especially the final “priest’s” tale, which left me with a lump in my throat.
I am so glad I discovered Jackson Marsh’s books. His storytelling is expertly detailed, keeps you interested and wanting more, and he has a great sense of humour that he instils into his characters.
1892 (The Clearwater Tales) is a must-read, and I strongly urge familiarizing yourself with Jackson Marsh’s other books.
I can’t think of a better gift than this!
What can I say but thank you! Hopefully, this review might inspire other readers to follow suit, if not with a review of ‘1892’ then with a review of any of my books. Such things are always useful, because I can do what I’ve done here and pull quotes (or the whole thing) and use them to attract other readers.
As for other news, we are gearing up for a Christmas break which, for me, will begin next weekend and run to the 6th or 7th of January. This year, I shall be closing down next Saturday and giving myself a rest, or at least giving my back a rest from constant desk-sitting and typing. My imagination will not rest, and I’ll be taking a notebook with me when we go to Athens just after Christmas. I’ll post pics and posts on my Facebook pages while we’re away, so you can also enjoy Athens at New Year.
There will be a work-in-progress update on Wednesday and a final blog post of the year next Saturday. In the meantime, thank you to everyone who downloaded the free copy of ‘1892’, and to everyone who continues to support my little writing endeavour, which, as Jackson Marsh, now stands at 30 titles. Eek!
