I'm not the Crowvus writer who publishes horror. I've appreciated the brilliant books by Judith Crow, but I know it's not something I can write. The supernatural is different. People will - quite rightly - tell you that horror can encompass the supernatural, but the supernatural is not only confined to that genre. The supernatural, by definition, have their roots in the natural. In the case of ghosts, they were once alive, now having transcended from the natural (i.e. worldly) existence, into the supernatural on an unknown plain. The best ghost stories (my opinion only!) are the ones which unite the natural and the supernatural, looking at the shadows and imprints left on the natural world by those now occupying the supernatural one. In essence, when I read through the submissions for the Crowvus Christmas Ghost Story Competition , I'm looking for the human aspect of the story. I love the idea of ghosts trapped in time, I love the idea of ghosts trying to commune with ...
Sir Thomas More by Hals Holbein
(Accessed via Wikipedia)
What does this have to do with historical fiction, I hear you say? Well, during March 2020, we went into lockdown and suddenly I went from working ten-hour-days to ten-hour-weeks. I met up with my class on Google Meet, I put work up for them on a meticulously designed Google Classroom, but I just had so much more time.
Virginia, Clemency and I played games every day. We had first of all Cluedo, then Monopoly, then Game of Life set up on the table in the railway room (the spare room which was supposed to house Dad’s model railway). Eventually, we settled on Munchkin, perhaps one of the greatest board games ever, and we played several games every day. We used our daily allocated exercise time to either walk the dog or go down to the allotment. Sometimes, we’d sneakily do both providing we couldn’t be cross-contaminating anyone!
Mum’s birthday present that year was a pond which we dug from scratch in the garden, taking time out from the hard work to play with water pistols. I can’t imagine doing that in a town garden now – I would feel so conspicuous – but back then it didn’t matter.
Every afternoon, I would go upstairs to my attic bedroom, pull the blind down across the Velux window, and take a nap. I’m not even much of a napper, but it became part of my daily routine throughout the months of that first lockdown.
But, still, there was Time. My days had been painfully and impossibly stretched by my abandonment of a work/life balance, and now I had extra hours in the day to fill. So, I began to binge watch things. I started with The Tudors.
Prior to lockdown, I had only ever watched one episode of this series but, within a couple of episodes, I was hooked. I love characters more than plot, so the way that the series followed the relationships between individuals made it a must-finish series. There’s great chemistry between many of the characters, and the bromance between Henry and the Duke of Suffolk is better than any of the physical relationships which take place in the series. I have to admit, I was less keen on the final series, which I felt went a little more into shock-and-gore than the others. Of course, it was a violent era but, despite being not very squeamish, the depiction of the hanging, drawing and quartering of Francis Dereham took the graphicness too far for me.
There were also historical inaccuracies: the main one which comes to mind is Margaret and Mary Tudor being mashed up in a pot together and churned out as someone who is not particularly like either of them.
But this was the series into which I inserted Walter Cavendish and his story: Passing Bell.
Sir Thomas More, excellently played (in my opinion) by Jeremy Northam, appears in the story. He is not simply the historical figure: he is the historical figure as portrayed by Jeremy Northam. Natalie Dormer plays Anne Boleyn in the story too – a clever and scheming individual, rather than the sadder, more innocent and immature, portrayal by Claire Foy in Wolf Hall. When I wrote the fate of Father Matthew (which is not actually referenced in Passing Bell), I could see Jonathan Rhys Meyers as King Henry pleading with him to change his stance. My Henry was, I hope, a 3D character, akin to the one portrayed in The Tudors.
Having seen the characters playing out in front of me, I didn’t find it too difficult to develop my story around it and, although Walter’s tale is new and different, there are elements of the secondary characters which owe aspects of themselves to The Tudors. I am ready to watch the series again, to see how accurate my memory of the character depictions were, but next time I might just stop after the penultimate series!
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