Thriller author
I had a great time recording an audio-tour, Dead Men in Deptford, to celebrate Deptford Literature Festival in March 2022. The tour takes in local literary types from Christopher Marlowe to Charles Dickens, diarists Samuel Pepys and John Evelyn, Joseph Conrad and Anthony Burgess.
The tour is still online, so you can listen in, download the map and transcript, and visit yourself – or just listen in and imagine the scenery!
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For a while, I’ve been thinking about how the turning of the seasons affects the way I write.
In spring, I’m full of ideas. There’s energy, there’s a sense of possibility; every conversation or contact seems to spark a new project or plan. Come summer, some of those projects need sunshine, feeding and attention, while others have to be weeded out. In autumn, I’m starting to see some of the ideas ripen into chapters, stories, novels. There’s a ‘back to school’ energy about the crisp air, a willingness to get back to the desk. Winter is quieter, often a time to finish a first draft or start work on edits, polish and shape my work from the warm cocoon of my study.
I wondered if other creative types also feel a seasonal rhythm to their work, so I’ve begun what I hope will be a series of Creative Year conversations. First up is the amazing Katie Rose, a singer, conductor, composer and writer who loves to sing, and to help people sing. I was lucky enough to sing with Katie’s aptly-named Welcome Choir in London over the past few years.
Katie released a new album of jazz-influenced songs, Flame, this July. We talked about what’s inspiring her right now, the creative process, ‘squirrel season’ and current projects. You can listen on my YouTube channel here. And do check out Katie’s website, The Rose Window, for news of her music and other projects.
The inspiration for the next Helen Oddfellow mystery is Charles Dickens, the great London novelist. I took a trip to the Charles Dickens Museum in Doughty Street, Bloomsbury, where Dickens lived with his with Catherine and young family from 1837 to 1839.
The three-storey house was, as Dickens wrote of it, ‘a frightfully first-class Family Mansion, involving awful responsibilities’.
For a recently-married young journalist aged just 24, with a baby son and a second child on the way, taking a lease on Doughty Street was an ambitious statement of intent, especially as he had only recently begun to establish himself as a successful writer.
Certain rooms of the house are set up as they might have been when Dickens and his family lived there in the first years of Queen Victoria’s reign. These include the dining room, its table set for a merry dinner – Dickens famously loved to entertain – and the study, with a desk used by Dickens towards the end of his life. Here you can see pages of hand-written manuscripts from some of the novels, and pity the compositor and printer who had to make sense of the close-written handwriting.
Upstairs, the Dickens’ bedroom is made cosy with the slipper bath in front of the fire and a four poster bed. Next to it, a poignant reminder of the tragedy that struck the young family. Mary Hogarth, Catherine’s young sister, stayed with them often, and was a great friend of both. She died suddenly, aged just 17, having been taken ill after a trip to the theatre. The room in which she died is laid out as if for her return, with a white night dress across the bed. Dickens was grief-stricken, missing deadlines for the first and last time in his life. Mary soon made an appearance in his fiction, an inspiration for the saintly Rose Maylie in Oliver Twist.
The museum has an exhibition about Oliver Twist at present, and a map of the area of London around Doughty Street shows how Dickens drew on his surroundings when writing his serial novel. Fagin’s gang of child thieves were located in Saffron Hill, a short walk east and richly detailed in the novel. The kindly Mr Brownlow lived a little north of Bloomsbury in a villa in Pentonville. Oliver realises the nature of Fagin’s business when he witnesses the Artful Dodger pick a pocket at a book stall in bustling Clerkenwell Green.
I finished my visit by downloading an audio guide from the museum, which took me on a tour of the streets around the museum. From spotting ornate coal holes on the pavement, to considering the significance of Victorian boot scrapers outside houses on James Street, a peek into Doughty Mews and the parish markers denoting the boundary between parishes next to the Lamb pub in Lamb’s Conduit Street, it’s a fascinating glimpse into what remains of London’s past. I thought I knew these streets pretty well – but it showed me plenty that I had overlooked.
The third Helen Oddfellow mystery takes Helen out of London, to the cathedral city of Canterbury in Kent. Helen is expecting an exciting night out at the theatre – but things quickly become a bit too exciting for comfort.
A bloody curse, a (fresh) body in the cathedral crypt and a choirboy in peril make for a night at the theatre that Helen won’t forget. Helen will need all her intelligence and bravery to navigate the secrets of Canterbury cathedral and its tombs. But can she catch a killer – before he strikes again?
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A theatrical curse. A shocking discovery in the cathedral. Only one woman can unravel the mystery and prevent more bloodshed.
When Helen Oddfellow goes to Canterbury for the opening of a Christopher Marlowe play unseen for 400 years, she is expecting an exciting night. But the performance is disrupted by protests, then a gruesome discovery in the cathedral crypt draws her into a desperate hunt for a murderer.
Is the play cursed? The actors think so, but Helen doesn’t believe in curses. As friends go missing and Helen herself is threatened, she pursues the clues through the ornate tombs of the cathedral and the alleyways of the ancient city. Mysteries from the distant and not-so-distant past are exposed. Can Helen find the killer – before he kills again?
The third Helen Oddfellow mystery is coming soon.
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Publishing Spring 2021.