The week before last, I left a comment which hinted
that I was going to tell you a story about the world in which Marcia
lives for most of the year. Wind the clock back some fifteen years or
so to a chilly March Sunday which, weather wise, could easily have
been in the middle of the winter.
Sally (who had bought her cottage many
years before from Marcia and had become a close friend) was walking
down the road past where we then lived to go to church and Marcia
joined her.
“Will the girls be home for
Christmas, Sally?” she asked.
“Umm. Well. You do know it’s nearly
Easter, don’t you?” Sally retorted.
Poor Marcia was terribly embarrassed as
she told me when she came home. Life in a parallel universe can be
equally as fascinating as any of David Attenborough’s ‛Life on
Earth’ series – and sometimes just as scary.
She was writing the first of the
Chadwick Trilogy, Looking Forward.
This short extract may bring that book back to some of you.
By the
time Prue arrived later on Christmas Eve everything was ready. When
she came into the hall, fetched from the station by Fox, they were
all waiting for her. The tree, soaring up to the ceiling, was covered
in lit candles, the only light apart from leaping firelight. The
tinsel and baubles shone and glittered and tiny parcels, beautifully
wrapped, hung from the stronger boughs. Holly and mistletoe, tied
with scarlet ribbon, decorated the hall; mince-pies and sherry were
waiting on the table before the fire. She stood quite still, just
inside the door, and stared in delight while the family smiled at her
pleasure.
'It's
perfect,' she said at last and - as though she had released them from
a spell - they surged forward to greet her, hugging and kissing her,
making her welcome.
Now, as I
write, with the signings nearly over (one more on 1 December) Marcia
is already withdrawing slightly from the here and now as she sinks
deeper into the world being inhabited by her characters.
One of
the problems we have always had (but now resolved, I am happy to say)
was that various Inland Revenue inspectors just could not grasp how
the creative process works.
“You
have here traveling expenses for MOTS? Please explain.” I would be
asked.
Having
explained that MOTS was shorthand for Memories of the Storm, I
went on to say that Marcia needed to visit where her characters
were to connect properly with them. Clearly this concept was
inexplicable to those from the Inland Revenue and I can still see the
deep suspicion and dis-belief staring at me from the other side of
the desk. What I was saying was the absolute truth – Marcia never
suffers from writer’s block but there are times when she, as she
puts it, “hits the buffers” and then we set off to wherever we
need to be going. We are rarely on the road for more than half an
hour when she starts talking about the book – exploring new ideas
that are coming to her as we drive along and through the area where
the book is set. It may be that she wishes to explore a town or
village and we stop so that she can wander off (on her own) and see
what connections she can make.
Would the
books be the same if we never droned about like this? Would there be
any books? I can’t give you a definitive answer to that question
but, obviously, the way we go about things works – it produces very
popular and (if I may say so) moving novels. Eventually, after both
sides said a lot of things that should not have been said (and I hope
they regretted these as much as I did) they accepted my arguments.
We have
made two such trips this week, grabbing moments of reasonable weather
in between the torrential rain which has flooded so much of the west
country recently, and I am happy to report that matters trundle along
very satisfactorily.
Just to prove that I haven't forgotten the Jackdaws. Here is one prancing (do you agree that is the right word?) on the drive - track, really - that leads from the house. |