Researching Shakespeare in Stratford

I've been in this lovely cottage this week, researching Shakespeare's home life in Stratford upon Avon for the second book in my Tudor trilogy, written under the name Victoria Lamb.

I'm also writing that book at the same time and researching 'on the hoof', as it were, which is the best way to do it with such complicated historicals. It may seem easier to do all the research beforehand and then start writing. But that tends to make people research the spirit out of a book, procrastinate endlessly - just one more trip to the library! - and never begin the writing itself.

It's also a massively inefficient method for a novelist.

This is because you never know precisely what detail you may need until you start writing a scene and hit a snag - what soap would a Tudor lady have used in her bath? (Castille scented soap); how old was Kit Marlowe in the summer of 1586? (he was 22 that year) - at which point you would turn naturally to a book at your elbow or the internet. So I'm both researching and writing this week.  

Although I love being here in Stratford upon Avon, with its quaint narrow streets and distinctive black and white half-timbered houses, my favourite topics for research so far have been the Tudor spy network and the brave new world of London theatres. The theatre in particular is a fascinating area for research, being a popular entertainment that was just beginning to expand in the late 1580s, though still dogged by plagues, repressive laws, and a dearth of good writers.

His Dark Lady - the second book in my Victoria Lamb Tudor trilogy - is due on my editor's desk on October 1st.

There's still quite a mountain to climb, even with the help of this stay in Stratford. Will I make it?

You can also follow my Tudor-writing progress on Twitter, where I am @VictoriaLamb1

Warwick Castle: a first visit

My version of The Wanderer continues. Slowly, painstakingly. About four lines a day on average. This must be the longest it's ever taken me to write a single poem. Perhaps I ought to be worried. Still, this being a translation/version, I suppose it should be possible to take a good month over the composition without losing the thread ... after all, this poem's been kicking about for so many hundreds of years, it's not going anywhere.

The big news is, I finally organised myself to visit Warwick Castle this weekend. And I was impressed. The place had an immediate and profound effect on me; I could feel lines and phrases carving themselves out on the air as I wandered about its high-ceilinged halls and narrow stone passageways.


For those unsure what this visit is all about, I decided back in October - on becoming Poet Laureate for Warwick - that I wanted to write some poems about Warwick Castle - once in decline, now beautifully restored and one of the best examples of a 'working' medieval castle in England.

My friend Julie Boden, based here in Warwickshire and herself a former Birmingham Poet Laureate, advised me early on to decide what sort of legacy I wanted to leave behind once my stint in the Laureateship was over. And while I had all sorts of grandiose schemes in mind, the only one that's really stuck has been this simple idea of writing about Warwick Castle.


Oddly enough, David Morley was also there this weekend, a major Warwickshire poet and the writer in charge of the creative writing programme at Warwick University; I spotted him in the 'medieval' cafeteria, lunching with his family, and went over to say hello.

Apparently fancying himself as the man from Porlock, David stopped for a quick word a few minutes later while I was scribbling down some notes and phrases over a latté. Luckily, I have no intention of starting to write any of the Warwick poems until much later this year, so his efforts were in vain!

Basically, my visits this weekend have been purely preliminary, just looking about the place and setting my mind in motion. But it's proved an extremely worthwhile thing to do, far beyond what I had initially envisaged.

At first, I thought Warwick Castle might provide inspiration for two or three poems. But having received such strong vibes both from the castle and its grounds, I've got a hunch this could easily become a much longer-term project.

Time to start blocking in 'Warwick Castle poems' on the calendar, perhaps.

Arthur: from the Mabinogion to John Heath-Stubbs' Artorius

Being slightly closer to Birmingham now - all of five miles closer! - I took a trip there this week and bought a newish guide from the Oxford stable, this time the Oxford Guide to Arthurian Literature and Legend, by Alan Lupack.

This respectably thick paperback weighs in at just under 500 pps of dense text and covers more or less everything you could possibly want to know about King Arthur and his associated knights, relatives and hangers-on. Most interestingly, it also includes details of how these stories have been retold and repackaged through the centuries, from the Middle Ages (i.e. the likes of Marie de France and Chretien de Troyes) through to the latest (up to about 2004, that is) versions of the stories, including Arthurian-related poems like Gawain and the Green Knight. Different versions of some of the most popular stories and legends are compared for similarities and differences, and some explanation for each differing version is usually given.

I've always been interested in the Arthurian complex of stories, and I'm not alone in that, of course. At the moment, I think it might be interesting to take one or even several of these Arthurian stories and reinvent them for the twenty-first century, either in poetry or prose, as so many other writers have done, but hopefully putting my own individual stamp on them.

My personal inclination is towards creating a collection of poems around one central character or theme. Probably one of the less well-known female characters, but not necessarily. It all depends on what I need to say at the time of writing and how well the story or character in question fits that need. With Boudicca, the choice was simple. But with Arthurian legend, writers wanting to work with such well-worn material soon find themselves drowning in a sea of other versions, with no clear way 'in' to something original and worthwhile.

I'm still reading, researching and mulling this over, of course. When the right idea strikes me, or rather when the right angle into the legend opens up for me, one which will fit my style and voice as a poet, that will be the moment when I can finally start work. And there's no hurrying that process ...