Showing posts with label London. Show all posts
Showing posts with label London. Show all posts

Friday, 16 October 2015

An anonymous interview



Looking through my files, I found these interview questions. I forget what, why, who, where or when I did them, but here they are with the answers.



WRITING AND YOUR BOOKS:
1.    In 140 characters, what is your book / series about?
18th century Covent Garden prostitute solves crimes - short enough?

2.    When did you start writing?
Is this a trick question? I was about four. I was an avid reader. Writing just seemed a natural progression. At first it was just my name but I soon progressed to whole phrases. Ummm. I guess it’s not a trick question. I started writing in 1988. I was 31. My son had just been born. I wrote a ten minute script for Channel Four, which was brand spanking new at the time. I was short-listed and I just thought ‘I can do this’.

3.    What is your next project?
Never just working on one project at a time. Always got three or four on the go at the same time: French wartime tearjerker, 18th century prostitute solves crimes, ghosts in Paris and Marseilles, 17th century PParisian poisoner.

4.    What is your long term writing ambition?
To build up a body of work that will stand the test of time.

5.    How have you found the publishing process?
It’s a bloody nightmare. Agents are like gold dust and it's not getting any easier. Self-publishing on Amazon has become the slush pile. I still want to do it the old-fashioned way. I would work my socks off for an agent who believes in me.
 
6.    What did you learn from writing your first book?
To finish it.

7.    What two books would you take to a desert island?
John Steinbeck’s Grape of Wrath, and The Grifters by Jim Thompson.

8.    What was your favourite childhood book?
Muffin the Mule – it had a map. Love maps

9.    What are your three top writer tips?
Forget about waiting for the muse to hit. Just write every single day – good, bad or indifferent.
If you want to be a writer, quit saying it and just do it.
Finish what you’ve started.

10.  Why should people buy your book?
Because you can escape into another world and experience all the horrors, shocks, and excitement of that time. Because it sets your imagination free and allows you to be someone else for a short while. Because it’s a detective story and you love trying to work out ‘who dun it’.

11.  Do you plot or do you free-style in your writing?
I learned to write scripts for TV and film before coming to novels. I plot pretty much every damned thing and then I freestyle it.


ABOUT YOU:
  1. School lover or school hater?
Hated every moment of it – except for art.

  1. Who is your greatest supporter?
My son, Jacob.

  1. Twitter lover or Twitter hater? Why?
Used to hate it, then I loved it, now I hate it again. Worldwide Chinese whispers.

  1. What is the best TV series you have seen lately, why?
The Musketeers. Handsome pointy-bearded men. Do I need any other reason?

  1. Do you blog about anything else other than writing? If so, what?
I blogged about going to California in 2010. I have a website for the fountain I am rescuing along with the lovely people of the Friends of Priory Park.  On the whole though, I find it hard to blog. I'm too busy writing novels and scripts to blog much.

  1. What is your life motto?
Never give up


FUN TRIVIA

1.    Favourite flavour of ice-cream – I don’t eat ice cream
2.    Crisps or chocolate? – both but also neither – I don’t eat chocolate or crisps. I used to, but chocolate upsets my stomach and crisps are all fat.
3.    Tea or coffee? – I don’t drink either. I don’t do caffeine. I drink redbush and herbals. Aren't I boring?
4.    Wine or water? - Water
5.    Camping or glamping? – What the hell is glamping when it’s at home? I’m strictly a hotel only girl these days.
6.    Must your socks always match?  Oh yes, it is slothful to be otherwise dressed.
7.    If you were to have 5 famous people (dead or alive) to dinner who would they be? – Johnny Depp, Tom Waits, Marquis de Sade, now those three would have a ball together. James Boswell and Dr. Samuel Johnson.No women, sorry.
8.    If you could relive one moment from history, what would it be? Any of it. All of it.
9.    If you were Noah, which animal would you have left behind and why? – Humans. Do I really need to say why?
10.  Tell us an amusing secret that nobody else knows (fun not serious) – I intend on buying a derelict castle when I make my first million. When I make my second million I might be able to afford doing it up.
11.  Who would you most like to have a good rant at and why? – Women doing their make-up in public. Cheesh, finish your ablutions at home will you?

Monday, 14 September 2015

What happened when the old Covent Garden theatre burned down?



In 1808 the old Covent Garden Theatre burned to the ground. Although this is slightly outside the time period of the Venus Squared series of novels, I was so taken by this description of that event I’ve posted it here, in its entirety. In 1810 a new theatre was opened on the site of the old one. The 'new' theatre also suffered at the hands of a fire, burning down 1856. If you want to know what happened to it, well, it's where the Opera House is today.
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The Covent Garden Journal by John Joseph Stockdale, Report dated April 28th 1810 – for George, the Earl of Dartmouth

THIS noble building, which was built in the year 1733, and enlarged, with considerable alterations, in 1792, was, on the morning of the 20th September, 1808, reduced, by a most tremendous conflagration, to a heap of shapeless ruins. The performance of the preceding night was Pizarro, a spectacle wherein all the creative powers of the machinists and decorators had been exhausted at both the theatres. It is supposed, that the melancholy catastrophe occurred in consequence of the wadding from a gun (fired in course of the performance) having lodged in some part of the scenery, which the prying eye of the strictest investigator, could not possibly have provided for. The portrait of Cervantes was the afterpiece, and both performances were received with eclat by a crowded and elegant audience. 

 Inside the old theatre - circa 1804

During the representation, which was over by eleven o'clock, nothing transpired indicative, in the least degree, of the mournful sequel. About twelve, Mr. Brandon paid his usual visit of circumspection to all parts of the house, and, conceiving that everything was perfectly secure, retired shortly after to rest. The same unsuspected tranquillity prevailed at two o'clock in the morning, at which time the watchman sedulously "paid his sober round" and discovered nought whereon to ground alarm. About four, however, a poor frail sister of the Cyprian band perceived the flames bursting forth with concentrated impetuosity, and communicating her terrific tale to the guardian of the night, the latter instantly called up Mr. Brandon.

Now a dense volume of smoke, and, shortly after, wreathed columns of flame, were seen to issue from the ventilator, on the topmost part of the roof. Within the space of ten minutes, this portion of the building was, distinctly, observed on fire in different parts; and, in half an hour, the whole edifice presented to the view a fiery furnace, from which the flaming pillars rose, forming, in the most awful style of destructive elemental architecture, a truly worthy temple of the sun. Though it was then broad day, so intense and furious was the conflagration, that it was perceivable in many of the most distant environs of the metropolis. The alarm became universal. The engines of every fire-office in town, and of all the adjacent parishes, rattling through the streets, with busy din, awakened the inhabitants to the view of this scene, which rivalled, in ruddy splendour, the glory of the opening day.

Thousands presented themselves before the theatre, eager to manifest their zeal in arresting the baleful progress of the raging element. In vain; — for, the houses, which so deeply surrounded the building on every side, prevented the ardour of exertion from being attended with success. The roof fell in about six o'clock ; and, so unexampled was the progress of the consuming invader, that, before eight, the whole interior of this splendid building, audience-part, stage, different entrances, treasury, music-room, &c. were totally annihilated.


 The Remains of the Old Covent Garden Theatre after the fire 1808


Perhaps there is no recorded instance of so complete a destruction, of similar extent, in so short a space of time. Every composite material of the building was, however, fuel to the fire, and the large area served to ventilate it to that unsubdued pitch at which it had arrived. All hopes of rendering service in this quarter be coming now unavailing, the firemen directed their efforts to prevent the increase of the calamity, as the houses which squared about the theatre were manifestly endangered. Owing to their height, it was found impracticable for the engines to play over them; but, the leather pipes being conveyed up the stair-cases to the third floors, and their ends being thrown down and fastened to the engines below, an ingenious facility of effective action was contrived. Nothing, however, could prevent the communication of the flames with the houses in Bow-Street, to which side the "Malus Auster" had an unfriendly inclination. Several of them were connected with the theatre, by a respective appropriation to different parts of the establishment. They, with some others, became victims to the manes of the mother-edifice.

The fire raged with more violence at the eastern side of the upper part of Bow-Street, where the house, No. 9, belonging to Mr. Paget; Nos. 10 and 11, attached to the theatre; No. 12, belonging to Mr. Hill; No. 13, the Strugglers Coffee - House, wherein Mr. Donne lost almost his whole property ; No. 14, belonging to Mr. Johnson, the fruiterer; and No. 15, the house of Mr. M'Kinlay, a book-binder ; were all completely destroyed, and scarcely " left a wreck behind." The three latter houses, with the exception of Mr. Donne's part of the property, were insured in the Hope, for, £2650. Some of the others were entirely uninsured, and some only partially so. Nos. 16 and 17, in the same street, were seriously damaged. In Hart-Street, four houses opposite to the theatre attracted this firey magnet at the same instant, and were only, by the greatest activity on the part of the firemen, secured from farther damage than a severe scorching.

The " proximus ardet Ucalegon," and the " tua res agitur," were promptly attended to with respect to Drury-Lane Theatre, which, it was apprehended, from the number of flakes carried thither by the wind, would share in the sacrifice to the god of fire, and receive the Salmonean punishment for a priority, in imitative effects, to outshine the enraged deity. A great number of people had mounted the roof of the Theatre of Drury-lane, in order to open the large cistern of water there in case of necessity. The windows of that building were also stopped with wet cloths, to prevent the entrance of the flames, — a precaution by no means unnecessary. All the people in the immediate vicinage kept their servants employed on their respective roofs to pick up the flakes of fire as they dropped on them.

This has been the whole extent of injury sustained in the neighbourhood; but as to the theatre itself, it wa6 totally consumed; and even the walls on the Hart-street side were not left standing. In that angle of the edifice, the Ship- tavern and part of Mr. Brandon's, the box-keeper's, office, are the only remains. The amount of the insurances did not exceed 60,000/. and the savings from the Shakespeare premises amounted to about 3500/. the entire being but one-fourth of the sum necessary to replace the great loss sustained. In addition to the usual scenic stock was a great quantity of beautiful new scenery for a melodrama which was to be shortly forthcoming.

Of the original pieces of music of Handel, Arne, and many other celebrated composers, no copies had been taken; and of many others, which had also been destroyed, only an outline had been given. Several capital dramatic productions, the property of the theatre, were for ever lost. The organ, left by Handel as a bequest to the theatre, which was valued at 1000 guineas, and never played but during the Oratorios, was likewise consumed. Mr. Ware, the leader of the band, lost a violin worth 300/. which for the first time in ten years he had left behind him. Mr. Munden's wardrobe, which cannot be replaced under 300/. shared the general fate; as did Miss Bolton's jewels, and other performers' property, in the aggregate amounting to a very considerable sum. 



We now come to the most painful part of the narration, — the dreadful havoc committed on human life by the falling of the burning roof. At an early stage of the fire, the great door under the piazza in Covent-garden was broken open by a party of firemen, and an engine belonging to the Phoenix fire-office, being introduced within the passage, was directed towards the galleries where the flames raged most fiercely : horrid to relate, the burning roof of that same passage, in which they were, fell in with a tremendous crash, burying the unhappy and too daring firemen, with others who had rushed in along with them, under its ruins. A considerable time elapsed before the rubbish, which now obstructed the doors of this fatal pas sage, could be removed. When effected, a scene of horror was presented to the view. The mangled bodies of dead and dying appeared through the rubbish, or were discovered in each advance to remove it. At twelve o'clock that day, eleven dead bodies had been carried into the church-yard of St. Paul's, Covent-garden. Some miserably mangled creatures, with broken limbs and dreadful bruises, were conveyed to St. Bartholomew's, and some to the Middlesex, hospital. It would shock humanity to draw a faithful picture of the situation of those wretched persons who were dug out of the ruins alive; they were, in general, so much burned as scarcely to be re cognized by their nearest relatives; and in many instances their flesh was literally peeled from the bones. The dead bodies taken from the same place were nearly shapeless trunks. The strictest examination, for the purposes of identity, was vain, in those who came to claim the "sine nomine corpus." The coroners for London, Middlesex, and Surrey, sat on 19 bodies destroyed at the fire; viz. 12 at Covent-garden, 3 at St. Bartholomew's, 2 at the Middlesex- hospital, and 2 at St. Thomas's.

Many persons were conveyed, in the most hope less situation, to their own houses. The waste of human life, on this lamentable occasion, falls not short of thirty persons. From the evidence of William Addicote, one of the stage-carpenters of the theatre, and William Darley, one of the firemen belonging to the Eagle Insurance-Office, and one of the jury, an eye-witness of the falling in of that ceiling by which the unfortunate men were burnt to death, — it appeared that the firemen and others who perished had been employed in endeavouring to extinguish the flames at the room called the Apollo, which had fallen in upon them. The surmises with respect to barrels of gun-powder having exploded were proved to be unfounded, no more of that article being ever kept in the house than was sufficient for the consumption of a single night.

On the next day, another Victim was added to the list, by the fall of the wall in Hart-street; several others were bruised severely, though they had all been warned of their danger to no purpose. The names of the deceased sufferers, as well as could be collected, are: — Mr. T. Harris, jun. Mr. R. Davis Musket William Ricklesworth George Kilby John Seyers James Stewart Samuel Stevens Richard Cadger T. Holmes James Hunt William Jones James Evans J. Crabb T. Mead T. James Richard Rushton Mr. Hewitt J. Beaumont Richard Bird James Philkins John Oakley Optician,of Hydcstreet,Blooms- bury, Serjeant of the Bloomsbury Volunteers. A Gentleman lately from Wales to London on a visit. Firemen belonging to Phoenix-Office.

 Begging after the fire


Another person, a private in the guards, was taken to the Military Hospital, where he died in three or four hours. These were the names as nearly as could be gathered. Several were still missing. Mr. Richards, clerk to Messrs. Shaw and Edwards, St. Paul's Church-yard, was so dreadfully scalded by the water falling from the burning materials, that he died about 12 o'clock the same day. The firemen and others were employed for some days in pulling down the tottering ruins which threatened destruction to the passengers in Bow-street. On the following Saturday two more bodies were dug out of the ruins. The books of accounts, deeds, and the receipt of the preceding night, were fortunately preserved by the exertion of Mr. Hughes, the treasurer. Though a considerable number of engines were in constant and prompt attendance, yet, owing to the main pipe having been cut off with the intend of laying down a new one, more than an hour elapsed before some of them could be supplied. During this defect in the supply of water, the neighbours derived the most essential assistance from the pump of the Bedford Coffee-house and Hotel. The utmost effect was perceived from the playing of the engines for about an hour, when all hope was lost by the crash which announced the falling-in of the roof, and the consequent destruction of the elegant interior.

The Bedford and Piazza Coffee-houses owed their preservation to a wall, some time since erected for the purpose of insulating the theatre from the back of these premises. Among the other losses sustained, the Beef-Steak Club, which held their meetings at the top of the theatre, and has existed for many years, lost all their stock of old wines, valued at 1500/. beside their sideboard, and other implements. Pieces of scenery and other decorations were carried through the air to immense distances. A fragment of carved wood, all on fire, fell near St. Clement's church, in the Strand. The figure of Apollo, on the dome of Drury-lane Theatre, was a strikingly-illuminated object, as the fiery shower fell around it. Great praise is due to the volunteer corps and the detachments of horse and foot guards who attended. Several miscreants, taking advantage of the confusion, attempted to plunder, but were held in custody. The whole property destroyed amounted to considerably more thau 100,000/. and, at the utmost, was covered by insurance to the amount of 75,000/. The dark prospect of the proprietors may yet be cheered by light, but "when shall it shine on the night of the grave?" A subscription was opened for the relief of the sufferers. The King's Theatre was very liberally offered to Mr. Harris by Mr. Taylor; and the Covent- garden Harris by Mr. Taylor; and the Covent- garden Company played there till the commencement of the Opera-season. The plan of a new theatre on the site of the old one, to be completely insulated, was ordered and accepted by the proprietors.

 The new theatre built after the fire, pictured in about 1828. This too burned down.


Angela Elliott's book The Finish, being the first in a four part series about Covent Garden prostitute Kitty Ives can be found here.

Sunday, 30 August 2015

What about location - Covent Garden

Kitty Ives, the main character in The Finish, lives in Covent Garden, which still exists today in pretty much the same state that it did back in the 18th century, save that in the middle now, there's what is called the Floral Market, and some of the buildings have been rebuilt, albeit on the same footprint.

Here, I take a look at Covent Garden then and now in this series of photographs and prints.


Covent Garden - Hogarth - It's often shown the other way round. Prints were copied and reprinted many times and the image flipped. The writing above the door on the left reads correctly, and if you compare the present day photograph below, you can see that the church and the building on the right are still in situ. Also, check out that square column on the church's portico. See above there it is? Now look at the photo I took. Yes, there's that square column. Hogarth had a good eye for detail. Btw, you can visit Hogarth's house for free in Chiswick.  I'll be paying it a visit soon to report back.



Here's another take on this, below. 
Here you can see the arches of the Piazza to the West of James Street


And here's those same arches today.

The arches below are those on the east side of James Street, in the Great Piazza.


And below, the same today, although now rebuilt.


At the end of this row of arches is an entrance to the Opera House, although in the 18th century this corner of the Piazza would have had the entrances to both the Bedford Head Coffee House on the right, and on the left the Shakespeare's Head Tavern. The Covent Garden Theatre, as the Opera House was called, was situated behind these establishments. There may have been a entrance here to the theatre too, but it would have been nothing more than a door. Well, in fact, that's all it is today.

 Here' then you can see Covent Garden from the east, looking West to the Church. King Street runs off the north side of Covent Garden and to the south side is Henrietta Street. 

Here's the Church today. The 'entrance' is actually just a blank. There's no door there and there never was. The door is at the rear, in the churchyard. 

The actual entrance to the Church in Covent Garden. It's accessed through this quaint alley from King Street. Just to confuse visitors to London, The Covent Garden Church is called St. Paul's, like the cathedral about a mile to the east.


On the corner of Henrietta Street was the Unicorn Tavern, where Kitty attends a coroner's inquest. Below is the building today - rebuilt as a Nat West Bank.


Here's the Floral Hall in the centre of the square. It wasn't here in the 18th century, but it was occupied by a large number of wooden shacks, of which one was called the 'Finish', so  named because it was the last place to close, in the early hours of the morning. The square building in the centre of the pic shows the location of the 'Finish'. In the pic above you can also see down the east side of the square. The little Piazza, on the far right of this pic, burned down in March 1769, so this is all rebuilt.

Opposite the 'Finish' was the brothel run by a Mother Gould. It was over a distiller's by the name of John Bradley. In my book, Mother Gould has been renamed Mother Shadbolt, but John Bradley and the distillery are one and the same. This is it today.


We've already seen the picture below, but this is now a blown up portion of it, which shows the little Piazza as it would have been before the fire.


Continuing into the corner of the Little Piazza, in the 18th century we would find the alley way to the privies, which also connected Charles Street with Covent Garden. Next to the alley was the Bedford Arms tavern.

Today, the London Transport Museum occupy this space in the corner, but there are still toilets here in what was then Tavistock Court.



The Finish is part one of a four part series called Venus Squared. Set in 1769, it tells the story of Kitty Ives, a prostitute, forced to solve a murder for fear of swinging from the gallows.