If you’re not an essential worker, you will have spent the last 8 to 10 weeks locked down in one form or another. Everyone is saying what an odd experience this has been, with time slowing to a crawl in March, then April vanishing in a flash. May is dragging as we get the tantalizing glimpse of freedom ahead. It’s not over until it’s over and the story of the virus may have many cruel twists ahead, but lockdown has been an experience never to be forgotten.
Blue skies. Many days in April were almost cloudless, with no contrails. I acquired a tan…in Yorkshire in April!
Where did all the traffic go? The A631 was quiet as a country lane and I couldn’t hear the M1 and M18 anymore.
The daily walk. I live in a hilltop village not so far from the urban fringe and a challenge has been to find different places to enjoy exercise without bumping into crowds of people with the same idea.
Losing track of time. I stopped wearing my watch on March 16th. I work from home, I don’t watch live TV, I don’t take a daily newspaper. I re-calibrated my life on Sundays when I collected the Sunday Times and made sure I cooked a proper dinner.
Which brings me to cooking, something we all occupied our minds with. It had to be planned well in advance so all the ingredients were in place, as I only shopped every 10 days or so. A real morale booster…
…as was the ‘briefing beer’. I religiously sat down just before 5pm and listened to the government briefings (and the latest grimness) treating myself to a gluten free beer or a cider or one of my daily ration of two cans of Pepsi Max. As time went on I tended to sit down about 5.15 and watch it on catch up so I could hear the latest science but fast-forward through the political waffle.
Chocolate without guilt. Ok, not without calories. I bought multipacks, disposed of the outer wrappings immediately then stashed the 10-day supply in the fridge. It seldom lasted 10 days…
Telly without guilt, although I watched far less than I expected. I managed the whole Lord of the Rings/Hobbit series, the entire Harry Potter cycle but no more telly than normal. My new Playstation went almost unplayed.
Walking down the centre of the road. I took cheerful pleasure in doing this in later March and April before people rediscovered their cars. It was useful for avoiding dog-walkers too.
Gardening. I’m not much of a gardener but in the last pre-lockdown days I stocked up on plants, compost and gravel and re-engineered my front garden. The fact we’ve had about 2 days of rain since lockdown began did not make my job easier, and nor did my aged hose springing a leak with all the shops shut.
Wildlife. I’ve watched birds enjoying my new birdbath. I’ve waged a war of wits against fat pigeons who were raiding the seed feeders meant for garden birds. In the early morning and around sunset I’ve enjoyed birdsong in the woods.
The lockdown locks. As the curls multiply, the style clock ticks back to 1980. Maybe I’ll keep the look.
Freedom! I finally get to stretch my wheels, my legs and my lungs. Hoping this will soon be over, something to look back on and laugh about. Yes we laugh at adversity, and we downplay our fears because we have hope for tomorrow. We will survive, and we will prosper and we will meet our friends again.
The Alderney Literary Festival 2020 was due to have taken place on the third weekend of March, but with just one week to go was cancelled due to the looming coronavirus crisis. I was already out there and brushing up for my panels when the news came that disappointed us all.
Rory Clements was one of the writers I was due to introduce, his talk being entitled Hitler’s Secret: Reimagined histories. I was keen to meet him as I’m working on a 1930s thriller in a similar arena to his Tom Wilde series. There are now four novels about the Cambridge Don, an American historian specialising in the Elizabethan spy network. It’s amusing to observe that Clements is getting double value from the research he did for his John Shakespear series set in Elizabethan England, of which a TV series is in development. I had pleasure to see him presented with the CWA Historical Dagger in London in 2018 for Nucleus and last year I was able to read a pre-publication proof of the fourth Tom Wilde thriller Hitler’s Secret which has now been published by Head of Zeus.
The Alderney festival mixes historical fiction with non-fiction, and the Sunday morning slot should have seen Roger Moorhouse talking about Poland’s September Campaign of 1939: the Forgotten campaign of WW2. Moorhouse has published a number of books on modern German history, including the intriguingly titled Killing Hitler about the various plots to kill the Fuhrer. Moorhouse’s most recent publication, First to Fight: The Polish War 1939 was named among books of the year for 2019 by BBC History Magazine and The Daily Telegraph, and shortlisted for the Duke of Wellington Medal for Military History 2020. So much has been written about WW2, but the Polish campaign is most often passed over in the introductory sections of histories keen to get onto the Fall of France, so it was a talk I regret having missed.
I know nothing about the history of the Philippines, so was amused to be invited to introduce Miguel Angel Lopez de Asuncion speaking about The last of the Philippines: myth & reality of the siege of Baler. Cue some very rapid reading-up on the internet! Miguel is a historian who has concentrated for 20 years on the ‘last of the Philippines’, the Spanish heroes of the siege of Baler in 1898. He was historical advisor on the 2016 film 1898; Los Ultimos des Filipinos which is the latest cinematic treatment of the story and now available on Netflix. The siege of Baler was a ‘last stand’ epic akin to the much more famous Alamo; fifty Spanish troops holding out in a church for 337 days whilst surrounded by Filipino rebels. I read just enough to effect my introduction, but not enough to spoil the ending, so I’m still intrigued by what we might have heard.
My fourth event was to have been a panel together with Miguel, Rory Clements, and Antonia Senior. Antonia is a journalist with a trio of standalone historical novels under her belt. The latest is The Tyrant’s Shadow (2017) published by Corvus and set in the aftermath of the English Civil War. We were to have discussed The Past is a Foreign Country; challenging historical perspectives. Historical interpretation is not static, and with changing cultural, social, and political influences, historians constantly revisit the past. A talk that might have been, and still might be one day. It is to be hoped that as the world transitions towards the ‘new normal’ the Alderney Literary Festival will return.
There will be plenty of retrospective prophets this year. A few scientists will be revealed to have had perceptive papers published in obscure journals just before C-19 hit, but a larger number who predicted other crises will keep quiet. Writers of certain dystopian novels, TV series and movies will be lauded as prescient, although those who scripted meteorite impact or robot takeover stories will have to wait a little longer. ‘I told you so’ pundits of all shades are already pointing to this report or that course of action which if handled differently would have changed everything (maybe).
With this in mind, I looked back at my own awareness over 60 days of the mounting crisis. I’ve kept a daily diary since I was 14 and for the last decade have accumulated a store of emails, messages and social media posts which amount to a second ‘unofficial’ diary.
In mid-January I took a holiday in Sri Lanka. It was a spur-of-the moment decision and if I’d faffed around and chosen a later date I would never have gone or worse would have been marooned awaiting rescue. My diary of 24 January refers to the “new panic about Coronovirus in Wuhan”. Three days later I was nervous standing for three hours on a packed train squashed between Chinese tourists wearing masks.
In mid-holiday I caught a conventional cold that proved no more than antisocial but would not make me popular on my returning planes. On the way back at the start of February I was wary of fellow passengers at Bandaranike, Doha and Manchester airports, making use of my little travel-size hand sanitizer and avoiding groups.
My habit of snacking constantly on flights had to stop; the way the bat-meets-pig Chinese virus spreads in the opening sequence of the 2011 movie Contagion was strong in my mind. Contagion would become one of the most-downloaded films of 2020.
At the time of the SARS outbreak in 2005 I’d written pandemic plans for a merchant bank, and I revisited this by writing one for the Museum I managed from 2006. I hoped my successors were dusting those plans off and finding them adequate.
As a novelist and a scientist of sorts I was watching developments with detachment. The 1918-19 Spanish Flu reared its head in Glint of Light on Broken Glass and the research came in handy for a museum display I mounted on the end of the Great War, so I was alert to the developing story.
On February 8th I was writing as if C-19 was something I’d ‘escaped’ by getting back to the UK. In England the news was all about the floods; storm Chiara and her accomplices. As late as 26th February the Opposition were still laying into the Prime Minister for not paddling around flooded villages and not convening a COBRA meeting to deal with it. No! I yelled at the telly; convene COBRA to discuss the virus! Eerily the TV series COBRA was showing, in which an embattled Prime Minister deals with social breakdown – in that case after a solar flare.
For my own ‘disaster planning’ I decided not to book my next holiday, which would have been June; on Feb 9th I noted “This virus could lead to air travel shutting down, travel companies going bust etc”.
I was due to chair a session at the Guernsey Literary Festival in May and launch my new book Occupation to Liberation. Crimefest in June was also something to look forward to, but I held off booking hotels or trains. I warned friends to be prepared for cancellation of a whole slew of events, but felt rather like a Jonah for doing so.
On February 25th I re-watched Contagion as pandemic was fast becoming a topic of conversation. I invited my folks around, and I must admit that as they are in that 70+ category this was partly to bring them into the zone of pandemic planning. “Stop touching your face, Jerry!” Kate Winslett chides. I posted about the film on Facebook and engaged robustly with people who were downplaying the virus or using selective facts to score cheap points against the government. On Friday 27th I went out for a pub meal and for the first time passed around hand sanitizer.
My diary from the 2nd March begins to note the successive real-time crises we are all familiar with, and that day I pasted a semi-jokey “Keep Calm and Wash Your Hands” notice on Facebook. There was plenty of black humour around. On the 8th March we enjoyed what could prove to be the last big family supper for a long time.
I was fully booked to take part in the Alderney Literary Festival in late March, but changed flights to go out a week earlier to tidy up some of my archaeological commitments. This was the time of indecision in the UK and all transport was still running, but if hadn’t made the change, I would not have got away at all. I flew out to Guernsey on the 11th, then on to Alderney. This was the day WHO at last declared C-19 to be a pandemic.
On Friday 13th the Festival was cancelled with just a week to go, and my heart went out to my friends who had put so much effort into organising it. Italy had just locked down; it was only a matter of time before the UK did the same and the Channel Islands would surely close their ports in the hope of keeping the bugs out. Spending two weeks away from home looked increasingly unwise, so I cut short my trip, returning on the 15th wearing gloves all the way. As I’d travelled on two planes, two trains and passed through three airports, I decided to avoid all physical interaction with my family for five days after returning and turned down a meet-up with three old friends which was disappointing.
Many, if not most, people were still not taking this very seriously and I was still seeing Facebook posts from some setting off on holiday. Every event I had on my calendar was cancelled over the next few days, even Guernsey’s landmark 75th Liberation Day. The excavation in Alderney I planned for May would not be happening and that scheduled for August looked in doubt. Friends became gloomy as all our plans for the spring and summer fell away.
Expecting to be away for two weeks I’d emptied the fridge, so did a ‘big shop’ on my return wearing gloves and bought sufficient to see me through two weeks of self-isolation in case I’d picked up the bug. ‘Panic buying’ was becoming fashionable but shelves were still full. I urged friends and family to close down their social life and plan for longer lockdowns. Even this late it was the ‘self-isolating’ and disruption of my social diary that I thought would be the biggest inconvenience of this crisis. As a writer I work from home anyway, I was never going to be ‘furloughed’ and I no longer have small children to worry about. I bunged in a quick order to Amazon for a Playstation to stave off potential boredom, and filled the Jeep at the garden centre on the 20th to give myself a few weeks of garden projects.
By the time I went to the builder’s merchants on the 22nd, apologising for wearing a scarf like a bandit, most people were keeping a wary distance apart but I could have slapped the woman who literally pushed past me in the door. The atmosphere in the Co-Op was edgy and grabbing the first bunch of tulips I saw seemed positively daring. On Mother’s Day I placed the bunch outside a closed door and made four paces back feeling vaguely ridiculous. It was all increasingly surreal, as if I was acting out a scene in a dystopian film or was slavishly following those decade-old pandemic plans I’d written. Suddenly on the 23rd March we had the bombshell of lockdown, not quite two months since that first marginal note I made in January. In sixty days, the world had changed.
It has been a poignant month for me. I’ve retired from the ‘day job’, what I described as the job of a lifetime and some called the Best Job in the Island. So there have been a whole string of ‘lasts’; the last committee meeting, the last management meeting, the last monthly report, the last appraisal, the last niggling bit of admin I could do without.
In what I grandly called ‘Farewell Tour 2019’ I embarked on a series of nostalgia trips to picturesque parts of Guernsey and historic sites, plus a fortnight of parties, informal drinks and dinners with friends. No-contact policy be damned, there were a fair number of hugs with my colleagues and the odd tear shed or held back. On one level it was great fun, but on another level the ‘Farewell Tour’ was an act of bravado. Nobody likes good things to end, but if they continue indefinitely they become stale. We want to say ‘that was a good book’ and set it down, ‘that was a good meal’ and push the plate away, satisfied. I read a piece recently about the ‘reverse bucket list’ which is essentially ‘things I no longer need to do before I die.’ I no longer need to be a museum director; done that, tick box.
As a delivery truck missed me by inches on my last day but one, I was reminded of the familiar movie trope of the ‘one last job’. Baby Driver – one last job and he’s free. Unforgiven, The Wild Bunch, The Town, Memphis Belle, we could go on. It often ends badly – or ironically. Sometimes we cannot let go of the job – as in The New Centurions. You almost want to call ‘retire now!’ to Robert Duvall in Colors or ‘Just keep down’ (in German) to Paul in All Quiet on the Western Front. In the end we want to be Shane, riding off into the sunset or Gary Cooper simply laying down his gun and his badge, job done, and walking away. Yes there were things left unfinished, but after 50 exhibitions, and the same number of big events would my life be better if I completed 52 or 54? It was time to go.
Of course I made that quip about badge and gun in my farewell speech and indeed symbolically removed my ‘Head of Heritage Services’ badge; made all the more symbolic by the fact I had almost always forgotten to wear it for the past 13 years, and indeed once accidentally put on the ‘Head of Nerdery’ one of my staff made up on Big Geekend.
Never renowned for keeping a low profile, I was allowed to indulge and have fun. I fired the noonday gun dressed as Sir Isaac Brock, and received a Brock-themed leaving card as well as an amusing dress-up doll of myself as either Brock or an Archaeologist.
Plenty of cards, prezzies and a bunch of flowers from the Latvian consul decked my desk. A lovely speech was delivered by colleague not renowned for speech-making, who I won’t name because he isn’t on facebook and won’t read this anyway. You will not be surprised to learn that a fair amount of alcohol was consumed over those two weeks. Indeed you might be disappointed if it hadn’t.
There was also the fun of the last Press interview, and the last trio of radio interviews where in the end I decided to pull punches and not make any political points about the state of Heritage. I slipped a few lines into my closing speech but in the end I decided to go out on a high. No drama, no gunfight, no ironic encounter with a delivery van. I rode into the sunset, or rather sailed into the dawn.
PS. I’m not retired from writing. An end is simply a new beginning.
Picture the scene. The detective walks into the bar and approaches the femme fatale. Very Bogart and Bacall. He offers her a cigarette, then lights it for her. Yaaawn…
I have read so many thrillers recently which would have been two chapters shorter if the lead characters didn’t smoke. Descriptions of people fiddling with cigarettes, lighters, matches etc are simply boring. People also scratch their noses, fart and go to the loo but we seldom read about it in fiction unless it’s a plot driver.
The same goes for films and TV shows, although these divide fairly neatly into ‘smoking’ or ‘non smoking’ sections. In the latter there is a cuteness reserved for cigars and pipes in the hands of old men, even in fare aimed at children.
It may depend on the writer or the perceived audience, but all media to some extent reflects the attitude of the times. In the modern western world the educated middle class largely do not smoke, so the habit is confined to villains, members of the lower classes and characters the writers think needs a quirk. On the tip side of this, a disproportionate number of writers of my acquaintance are still smoking in one form or another, so perhaps their view of normality differs from mine. There is a trope which links smoking to stress, crisis, fatigue, recklessness, sin, excess and rebellion which of course we meet far more of in fiction than real life.
It does get tedious to watch on-screen and it starts to feel like dramatic laziness, even in shows that are otherwise excellent like Peaky Blinders or Babylon Berlin. What is the character doing? Uh oh, smoking. Like 120 per day for some characters, then. By contrast, the TV adaption of The Little Drummer Girl made the selective use of cigarettes and smoking paraphernalia a period-appropriate part of the plot.
I had fun with this trope in the Jeffrey Flint novels, as despite being a product of the 80s University system Flint doesn’t smoke – he doesn’t see the point and objects to swallowing the lies of tobacco multinationals. Instead he and Tyrone kill time eating Mars Bars, drinking Coke from cans or spinning out a pint of real ale. It’s the villains that are the smokers. As you may guess I’ve never smoked, and part of the reason is that tobacco has killed several members of my family; I don’t want to boost the bastards’ profits by making it glamorous, cute, sexy or in any way ‘manly’. None of my close friends and hardly any of my wider social circle smoke, which makes me rather like a nun writing sex scenes.
I’m currently working on a 1930s plot, so that gives me a dilemma as (a) everyone is smoking in contemporary ’30s movies and (b) ‘period’ ’30s movies made in modern times fall into either the ‘smoking’ or ‘non-smoking’ camp. Films made in the ’30s were still in the thrall of movie star glamour and the cigarette was a fashion accessory – even in fashion magazines. ‘Retro’ films either ape this style to overdose on period feel, or go for a more sanitized version of the past that doesn’t ring true. Golden Age novels also take the same approach, not seeing the problems inherent in the habit that we do now beyond certain questions of etiquette.
So how do I avoid boring not just the readers but myself with endless smoking scenes? First, assume it is just happening (like scratching noses, farting etc). Second, have a non-smoking lead. This is perfectly plausible, as despite the view that ‘everyone smoked’ back then it was not true. Tobacco consumption in the UK in the ’30s was half that in the ’40s and a third of that in the ’60s, when it peaked. With unemployment at 20% big slices of the population were simply too poor, and it was still viewed in many circles as unseemly for women. With a statistic at the equivalent of 4 cigarettes consumed per day per adult, there is plenty of scope for 1930s characters who don’t smoke at all or do so with restraint. I was interested to discover that the male and female leads in both Martin Edwards’ recent Gallows Court and Rory Clements’ Corpus are non-smokers. Perhaps I’m not the only one with this view.
So, a clean-air breathing hero braves the ’30s. I am going to have some fun…
It was not quite déjà vu at this year’s Bristol Crimefest as the venue had moved to the Marriot Grand. The hotel was closer to the historic heart of the City, so was a welcome change, allowing a little exploration in each break and a different selection of local restaurants to sample, where I tasted my first Indian Shiraz. Gala dinners can be indifferent, but the Grand earns a gold star by providing a particularly yummy gluten free chocolate mousse cake for afters; a step up from the fruit salad often offered as my gf alternative.
Panels and talks took place in a set of rooms which required a little detection skill to locate and navigate between. We had our own Crimefest bar, but most serious drinking (I mean, earnest literary conversation) took place in the main bar. If you’ve never been to Crimefest, it operates as two and sometimes three parallel sessions from Thursday to Sunday, each lasting 50 mins with 20 minutes in between to locate the next session. The programme is online, and I won’t bore you by listing the 60+ crime writers who spoke.
One novelty was that we got to see a preview of the first 90-minute episode of the new series of Agatha Raisin, which was a jolly way to spend a Friday evening replete with wine and pizza. I sat on the table with some of the production crew at the Gala dinner and there was also a panel including ‘Agatha’ actress Ashley Jensen.
Take-aways included a comment from Mick Herron, when asked how much research he had to do for the Slough House series of spy novels. He replied that he simply made it up; which worries him when real Security Service staff comment on how accurate his books are. We heard about the challenge of fiction in the Post-Truth world, full of anger and misinformation. Several speakers came out with fact-is-weirder than fiction. Danielle Ramsey related the unnerving experience of ‘creating’ a British seaside gangster then being confronted by unsavory people who found her story too close to the truth. Jeffrey Seger also found his Mikonos-set gangster was uncomfortably close to a real one. Paul Hardy had to include an author’s note to explain that a horrible act he featured in his story was based on a real case.
Several panels tackled historical fiction, and the need to create period feel. William Sutton made the point that whereas a contemporary writer such as Dickens had no need to explain social or technical subtleties of his era, the historical writer needs to provide this for the modern reader. Familiar periods of history make things easy on both reader and author, although are more likely to attract the detail fanatic that is the bane of all successful writers. Some working in obscure periods such as Indrek Hargla’s medieval Estonia have the challenge, but also the freedom, to make much up. Guy Bolton whose characters work in highly familiar 1940s Hollywood with real moguls and actors, in contrast has to carry out very detailed research.
The 1930s are seen as the change-over period where policing became more scientifically based but many things which are now illegal were permitted, if not approved of, in the past. Long-running series characters are challenged by changing times, which some authors build into the story arc and some simply ignore, allowing history to wash past unnoticed. Longer in the tooth authors rued the fact that their childhoods in the 50s and 60s were now ‘historical’ periods, but Peter Murphy commented that he still needed to research his 60s novels as relying simply on memory did not suffice. I asked the question as to how writers avoided falling into period clichés. Using the right language, avoiding familiar plot drivers and choosing characters that don’t immediately evoke period stereotypes was the best advice. David Penny suggested that as you can’t visit the historical period at least the location can be researched.
Charlie Gallagher, a serving policeman, opined that modern procedure is so boring that even a ‘police procedural’ aiming for realism needs to take liberties to remain interesting. The writer can get away with this if the set-up is plausible, and strict formalities are less important than plot and character. We considered whether a lead detective is allowed to be happy, how writers avoid creating one who is a cliché and whether series novels should include a cliffhanger to lead into the next book.
In my final panel, Caroline England explained how she likes to introduce love in her stories, then be rotten to her characters. Gunnar Staaleson said that the crime writer’s job was at first to build up believable characters. “Then kill them,” added Kate Rhodes.
Fiona Apple’s song ‘Container’ opens Showtime’s The Affair, which is in its 4th season.
My voice it made an avalanche/ and buried a man I never knew/
And when he died his widowed bride/ met your daddy and they made you.
The show itself riffs on that avalanche we can start by carelessly kicking a few stones. Serial blunderer Noah (Dominic West) falls in love with tragic waitress Alison (Ruth Wilson). The gravel starts a tumble into an impusive affair, divorces, babies, stunning success, stunning fall from grace, the destruction of careers and families, blackmail, perjury, disappearance, mental deterioration, stalking and death.
Maybe not the best advert for frustrated teachers chatting up waitresses.
Whilst series 1 was glued together by the romance and a vaguely crimey mystery set in bleakly beautiful Montauk, it settled into more soapy territory in series 2 and 3. Like true soap characters, Noah, Alison and their erstwhile spouses Helen and Cole are predisposed to make bad choices. At times I’ve come to not caring anymore; sort yourselves out guys! It could have been happy(ish) ever after in series 1, certainly in series 2, but no this is TV dramaland. Nobody lives happily ever after.
There is quality in the well-crafted dialogue, character study and the superb cinematography. Daringly there are extended scenes filling a whole inter-advert block with a single conversation or therapy session. Best of all is that season one employs two strong POV: his and hers, and they are not telling the same story. In ‘his’ segments, Noah is frustrated and clumsy whilst Alison is the free spirit; a muse for the wannabe novellist. In ‘her’ segments, he’s the solid, assured one whilst she’s an ill-dressed emotional mess. If re-telling the same scene twice in one episode has its unsurprising aspects, it turns both our characters into unreliable narrators. People wear different clothes, drink different drinks, use different words. Perhaps it is too extreme played back -to – back but it represents the patchy way two people recall the same incident and modify it in their own minds. We, the viewer, don’t actually know where the truth lies.
The trick tires once S2 turns it into a four-way POV, and especially if we don’t care about that scene in take #1, to see it again with the swearing reversed or a bigger horse becomes hard work. However, it has certainly influenced my own writing of PoV characters. From Glint onwards I’m favouring the strong, limited, PoV that brings out a character’s thoughts and prejudices rather than allowing us into the head of every train guard and passer-by we meet.
And that avalanche of small decisions having dramatic consequences? A great starter for any mystery.
I’m one of those people who gnashes their teeth at historical travesties in movies, or novels for that matter, so I’ve held off seeing The Guernsey Literary & Potato Peel Pie Society until the initial excitement died down. The book raised some heckles in the island as the setting portrayed wasn’t ‘Guernsey’ enough. One handicap was the format of the book as an epistolary novel (told via letters), so struggling to establish a sense of place and missing idioms of local speech patterns as well as the Guernsey French which was still in common use during WW2. Less forgivable was the absence of ‘local’ names, easily researched, and I indeed gained the impression of a Scottish island rather than the one I knew well.
And that is the problem – I’m too close to the subject, as I am if the film features the Roman Empire, the Napoleonic Wars and indeed most other historic epochs I know anything about. I feared something like the Strike! spoof of the Yorkshire miners’ strike, produced by the Comic Strip, in which ‘Al Pacino’ starred as Arthur Scargill, the accents were cheekily American and there was a Hollywood happy ending.
TGL&PPPS looked lovely on film, the acting was spot-on and the script lively (again considering the book has little by way of true dialogue). Period detail in the costumes and the interiors seemed faultless. Empire gave it three stars, which is pretty typical of their reaction to modest period films such as Their Finest, also by Studio Canal.
The reaction of Guernsey friends to the film has been positive, sometimes surprised that justice has been done. It was a shame that no footage was shot in the island, but the film was produced on a very modest budget and the vast majority of people who watch it will never have been here.
Likewise the rest of the world will not know know very much about the German Occupation of 1940-45 as the dozens of books written about it have largely been small-press, self-published or had very limited circulation outside the islands. So the story is ‘new’ to most of the world, and to all intents and purposes Dorset serves well as ‘stunt double’ for the island itself. It was quite fun spotting the parts of Bristol docks where I was just last week doubling for Weymouth harbour. Yes of course the Dorset coast has the wrong geology, the wrong beaches, the wrong kind of cottages and is much more expansive than little Guernsey truly is, but what the Director Mike Newell has created might be termed a ‘Guernsey of the Mind’. There were even a couple of touches of Guernsey French in the background but the local accent was largely forgotten. The poster, incidentally, does feature a shot of Guernsey’s south coast.
I watched The Inn of the Sixth Happiness last week, in which tall blonde Ingrid Bergman with barely disguised Swedish accent played diminutive brunette Londoner Gladys Aylward, and Wales stood in for China. Now I’ve not been to north China so have no idea how much it resembles Wales. Most films take huge liberties with historical truths – Aylward actually founded the ‘Inn of the Eight Happiness’ and claimed never to have been kissed, contra the movie’s love sub-plot.
Most movies are not actually filmed where they are set. Spartacus was filmed in California, and the ‘Spaghetti westerns’ in Italy. The Last Samurai was filmed in New Zealand, Full Metal Jacket‘s Vietnam scenes were shot in London, Saving Private Ryan‘s Normandy is mostly Ireland and Herefordshire and Eastern Europe is now the stand-in of choice for historic England in productions such as The Last Kingdom. Let’s not even talk about The Martian. So in the end, we shouldn’t be too precious. The book has sold 5 million copies, the film touched #2 in the box office charts and Guernsey’s tourism enquiries are spiking. Who’s to complain?
So I’m trying something different, a Twitter Campaign. Mostly it is to test the water, see how effective it is. After all if the Russians can change the result of elections by mass tweeting, there must be some power in social media.
Although it was my sixth novel Glint of Light on Broken Glass was self-published, albeit at high spec by Matador and professionally edited. However it had little of the marketing push I’d expect from a mainstream publisher. It was planned as a slow-seller to local audiences and tourists, but there have been e-book and internet sales through Amazon so the interest is worth stoking.
Also of course we have the #GuernseyMovie released this month, and for a few weeks the G-word becomes more searchable. Other local writers, hotels, gin-makers and others are riding the publicity wave, contributing to a symbiotic promotion of their own products as well as the movie.
So I’m posting or re-posting a range of idiosyncratic images with snippets of text including lines from the book. I’ve taken the photographs myself, often at the appropriate location in Guernsey, then applied a little manipulation and cropping. Alongside this is a professional PR campaign running for a month, nudging people towards my partner website guernseynovel.com. Perhaps you’ve seen it? This is a true test-the-water exercise, as tweeting can be like whispering in a crowded room where everyone else is yelling.
Anyhow, Mr Putin, I’m sure you’d love Glint so if you could get your army of fembots to re-tweet this 20,000 times I’d be most happy.