Tomorrow evening I’ll be talking to the ‘Friends of Whitehaven Museum’ about the Jessie Whelan trilogy, which has the overall title ‘Between the Mountains and the Sea’. It could be quite a large group, some of whom may have read all three books and others may not even know of their existence. My appearance is part of their regular programme of speakers, and I guess I’ve been invited not as a writer but as someone who has researched and recorded slices of local history in fictional form.
So, I’m thinking: what should I talk to them about? The one thing we all have in common is the setting, and the meeting will take place just across the harbour from the site of the major backdrop event in Book 2, ‘Forgiven’, the explosion in the William Pit in August 1947 that claimed the lives of 104 local men and boys. Think of the impact of that on the local community: all those funerals, day after day, and the thousands of people whose lives were affected, children left without fathers, wives without husbands. I’ll tell them how I tracked down the transcript of the NCB report on the accident, including the accounts from the three men who survived, and how I researched another facet of ‘Forgiven’, the lives of the Displaced Persons in their camps in Cumberland in the years after World War Two. Book 3, ‘Fallout’ was set at the time of the nuclear reactor fire at Windscale, just south of Whitehaven, in 1957, and in doing the research for this book I accumulated far more detail than I could possibly have used in the story, much of which was not clear at the time, even to those who were working at the plant. That too will probably be part of what I share with the group. People are usually interested in the past history of where they live, especially when that history is as rich as ours.
As a writer I should be discussing the triumvirate of character, plot and setting, but talking about setting alone would take us far longer than the limited time I’ll have, and I must find time to say something about the process of turning local history into fiction, which presents another set of challenges worthy of conversation. I’ll try to explain how the characters were born and developed as I wrote about their lives, and how I have tried to have both setting and character drive the plot. Looking back, the process of writing looks far more rational and ordered than it felt for me at the time. I’m now learning more about how to structure and plan a work of fiction, but – in the words of the metaphor – the stable door is banging in the wind and the horse has long gone. Maybe it’ll make for a better effort for the next book. In the meantime I’ll reflect on what I thought and did at the time and not pretend that I consciously followed rules that I was mostly unaware of. Considering that admission. the books turned out better than they might have been.
I’m doing many talks to various groups around Cumbria over the summer, and each one will be different, which sounds inefficient but it’s the only way to keep things fresh. If the people I’m with seem willing to talk I’ll ask them right at the start to help me frame our discussion through their questions and interests. Managing those unanticipated expectations, adding important bits of my own and doing it all within a short time frame is enjoyably risky. It’s like really good teaching and I love it.