I am writing a novella based on the life story of my grandfather, who was a spy in the Soviet Union and Nazi Germany, we think.
I started the process with scoping the story back in the summer, and then some preparatory drafting until November, when I started writing proper. This coincided with NaNoWriMo which is held every November around the world to encourage novel writing. I met a group of local writers and we have continued to engage since then.
I thought I could write fiction as easily as non-fiction, having completed my book ‘Building Passions‘. As it turns out, fiction is equally difficult. While you don’t rely on the accuracy of historical facts, for example, you do need to now how to build a close, personal link to your readership.
The big learning curve for me has been writing dialogue. I found this a challenge as it wasn’t a strong point for me. I’m good at narrative. However, my writing group has helped me develop these skills, so now I feel more confident. I can turn narrative into dialogue fairly easily, though know I must resist the temptation to write a screen or theatre play.
“Tell me John, why do you not want to be an architect like you father and brothers? Why a civil engineer?”
“I like sketching and designing, but I’m more interested in the maths behind those structures first proposed by myself or others. I have no ego about creative proprietorship. I just want to be sure buildings and bridges stay up for ever.”
Such might be a fictional dialogue between a young John Wolfe Barry and a Victorian contemporary.
Perhaps I should write more such exchanges?
This is new for me but I needed to blog about a book I refuse to read. The title and image refers to a famous ad about a beer ‘refreshing the parts other beers cannot reach’,
Let’s imagine that a well-known politician has just launched a book about a dozen characters from Victorian Britain. For context, the politician has right of centre views and is identified with his passionate arguments for a ‘No Deal Brexit’. It is possible that he may have a biased approach to history?
Coincidentally, two of the characters he includes in his book feature in my forthcoming publication, though not as prominently in my case.
One of these is Queen Victoria, about whom much has been written and put on our screens of late. Difficult to be objective possibly?
The other of more immediate interest to me is the architect and designer Augustus Pugin. My book will look closely at his working relationship with Sir Charles Barry in the building of the New Palace of Westminster. Others have already researched and written about this, and a new, long-awaited biography of Barry may eventually appear by the end of this year.
Not wanting to give away my conclusions before publication, let’s just say that I attempt to provide a balanced view between the two extremes presented by Pugin’s and Barry’s sons in the later 19th Century after their fathers had died. One end of the scale suggests Pugin should get all the credit for this iconic structure, the other end goes for Barry. Somewhere in the middle seems more sensible, but like politics that doesn’t always prevail.
Hence my keenness not to read where Mr X stands on things, if indeed this is mentioned at all …
I never realised it would be so hard to write a book!
In my case not only have I started to write my first one, but I’ve added to the challenge by deciding to self-publish it.
But it seems that there has been a break through after a period of editor’s block. In the post I described one or two issues going on which were holding me up – now I feel that progress has been made and I wanted to share this with you.
After a number of conversations with different prospective editors I chose one of them to do an editorial assessment for me. This was relatively simple and inexpensive and helped me focus my writing on key tasks. Then I asked for offers to undertake bigger editorial tasks. The problem was I didn’t really know how big these tasks were going to be. So this time round my conversations with prospects were more about eliciting advice on the editorial process for self-publishers. I am much clearer now.
Finally, I selected one candidate to take me on. This wasn’t easy as there were good offers coming in including from one individual who probably knew more about architectural history than me. However, I decided to go with a different choice because I liked the way they presented themselves and we spoke on the phone at their suggestion.
The other thing that helped me was finally getting in touch with the acknowledged expert on Sir Charles Barry. I had put this off for many years, partly through not being easily able to contact him electronically, my favoured medium. In the end I simply tracked down a phone number and called, not being sure of what reaction I might get. To my surprise we had a great conversation and informally agreed not to get in each others’ way. My focus will be on the Barry dynasty, his on the great architect. I have to admit some relief about this!
I now have a clear goal of writing a specific number of words on a contents list of headings for the book. Should be plain sailing then …
In my previous post I said I am writing a book about the famous 19th Century architect Sir Charles Barry and his five sons, of whom four became well-known in their own right.
Why am I telling this story?
Firstly, because I want to. That’s my prerogative as the author! It will fulfil my personal ambition ever since I started researching one of the sons (can you guess who?) many years back.
Secondly, because I think stories are great ways to communicate with people about things that may hit a chord with them. These can be very personal issues, or more likely because they empathise with certain characters and the good and bad times they may go through. It can also be for purely technical reasons e.g. they love trains so any book about them is bound to be an attraction (hint, mine will have some mentions of trains, but don’t get your hopes up if you’re a fanatic!).
Thirdly, because if people like this story then perhaps they’ll be interested in other ones that follow. This would be good for both me and them as writer and readers. Clearly it’s a relationship.
Last night I watched the new film about the character Mowgli from the famous Jungle Books created by the journalist and author Rudyard Kipling. For those who may not know the tale, Mowgli is a boy who was raised by wolves in the Indian jungle and is conflicted by his upbringing with animals and the fact that he is a human underneath. This is a fascinating paradox which the author explores expertly and weaves his magic in the form of a plausible story.
To my mind this is the essence of story telling, which I hope I can somehow reproduce through my writing.
I’ve decided to write a family biography of Sir Charles Barry the famous 19th Century architect and his sons who were architects, a surveyor, a civil engineer and a bishop.
This website is about the civil engineer Sir John Wolfe Barry. His brothers were Alfred (the bishop), Charles Junior (architect), Edward (architect) and Godfrey (surveyor).
The plan is to complete a synopsis and a few sample extracts to send off to agents in the hope there may be interest from publishers. If not then I will self-publish.
Why would people want to read such a book?
I hope because they are intrigued by the history of architecture and civil engineering and the structures associated with this family. Caroline Shenton has written two superb books about the Houses of Parliament for which Sir Charles Barry is best known. Alfred wrote a sanitised biography of his father. All of the brothers except Godfrey feature in various biographical compendiums and tributes from their professional colleagues.
Please contact me via @behroutcomes on Twitter if you can help in any way with interesting research or materials about the family and the things they built or people they engaged with.
This follows on from my previous blog in the series.
In that I outlined my interest in a project looking at the Secessionist style of architecture and its impact on local communities. I explained the connection to Sir John Wolfe Barry through his father the architect Charles Barry, who worked closely with Augustus Pugin on the New Palace of Westminster.
In the next blogs I will expand on the development of the Secessionist from the ‘Arts and Crafts’ movement in England and the link to a wider style of nascent modern architecture that hit a number of major European and US cities at the turn of the 19th and 20th Centuries.
Were local communities really involved with these changes? Clearly certain key representatives would have been, but nothing like the levels of consultation we are supposed to have in the present day democratic structures of these cities. Society was different and change could only happen if endorsed by those with influence. New construction materials and techniques were arriving on the scene through developments in steel and concrete. There was risk involved in using them, so someone had to be prepared to stick their head above the parapet and answer to the public acclaim or shame involved. Human lives were less valuable then.
One pivotal moment for me which followed the completion of the ‘Arts and Crafts’ Red House in quiet Bexleyheath, England mentioned in the previous blog, was the building of Oriel Chambers in the heart of the busy City of Liverpool a few year later in 1864. Unappreciated at the time it has since been recognised as a unique early modern inhabitable structure using an iron frame and glass panels, originally the preserve of greenhouses and exhibition spaces such as the Kew Palm House and the Crystal Palace. In deed the building continues to be used as office space more than 150 years later!
Many suggest that this building inspired the architects of the Chicago School to create the first steel and glass skyscrapers in the late 19th Century, which were to become so commonplace globally and are still being constructed to this day, with the use of concrete rather than brick support. One of their number was Louis Sullivan who in turn worked with his protege Frank Lloyd-Wright before they fell out. Lloyd-Wright turned Sullivan’s phrase ‘form follows function’ into ‘form is function’. He himself coined the term ‘organic architecture’ to show the close connection between structures and their natural environment.
The third post in this series.