Danish Invasion

During the Dark Ages, with the Vikings at their belligerent high-water mark, the English used to pay the Danes to stay away: Danegeld.  These days, it seems, the boot is on the other foot.  Now we pay them to come over here - or at least to send us their best television.  The two series of The Killing are among the best crime dramas in recent years; and last weekend saw the final episode of something even better: Borgen, a compelling and incisive study of the insidious effects of power, starring the magnetic Sidse Babett Knudsen.

Knudsen plays Birgitte Nyborg, the leader of a minority Danish party who, to the despair of her spin-doctor, throws away her script and speaks from the heart.  This moment makes a connection with the voters, and she scores an unexpected electoral success which makes her Staatsminister (Prime Minister) heading a fragile coalition.  She soon finds, however, that gaining power is the easy part; as the series unfolds, she is forced into a series of compromises and betrayals that take her ever further from the idealism which swept her into office.

You may have difficulty in believing that a subtitled drama about the intricacies of Danish coalition government can travel.  But Borgen uses this backdrop to explore themes of Shakespearean breadth: the nature of power, the corruption of ideals, loss of trust and betrayal.  Any temptation to soften the ending is resisted: the finale is bleak, and the price of power is exacted in full.

If you only watch one subtitled programme this year, make sure it's Borgen.

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If so, this special offer from Lulu is just for you.

Simply follow this link before 31 January, buy the book and enter the promotional code LULUBOOK305 at the checkout for a 25% discount.  It also works for all my other books except The Dog of the North - that's The Zael Inheritance, Dragonchaser or any of the omnibus editions.

What's keepin' ya?

Pop over to Macmillan New Writers...

...where a number of us are displaying extracts from our recent works - including an excerpt from The Last Free City which you will only have seen if you've bought the book.

Why not nip over and have a look?

Strange Books of Our Times

If ever a book qualified for the description "niche market", it's one which I got hold of last week: Les Compagnons de Villehardouin, by Jean Longnon.  Longnon has trawled, I suspect over many decades, through the primary sources of the Fourth Crusade.  His goal: to identify and provide capsule descriptions of all the Frankish crusaders who accompanied Geoffrey de Villehardouin on the crusade to Constantinople.  The historical record is scanty, and most can be summed in a paragraph, invariably ending in their death at the battle of Adrianople in 1205.  Longnon also throws in a few non-Frankish crusaders, including our old friend Boniface of Montferrat; he avoids death at the battle of Adrianople by the sensible expedient of being elsewhere at the time, but the reaper catches up with him two years later when he's killed in an ambush.

Les Compagnons de Villehardouin is described somewhere on the internet (the book is almost impossible to source) as "for serious students of the Fourth Crusade only".  That must mean me, then.  It has no narrative as such, but as a source of minor characters for a novel it's invaluable (and also a good way of summarising what happened to the major ones).  It's also in French, which is less than ideal for someone's who's only had a glancing acquaintance with the language since my O-Levels.  But with a bit of perseverance, it's surprisingly easy to extract the main information.

My researches, then, continue.  Next time, we'll look at women in the Middle Ages, where information is not always easy to mine.

The Historical Novelist's Choices

My research into the Fourth Crusade has been going very well (and so it should be - I've been reading nothing else since mid-September).  Knowing a lot of facts about the Crusade doesn't get you very far as a writer, though.  It's like buying a pet sheep and expecting to get a jumper out of it.  You have the raw material but you need a lot of skill and labour to turn it into the end-product.

After the critical "when and where?" question has been addressed, the writer of historical fiction has at least two other critical decisions to make.  These are the proportion of genuine historical characters in your story (the peerless HBO series Rome adroitly mixed the giants of the late Roman republic with fictional characters), and the balance between character and action (which we can also think of as the extent to which the drama is internal or external).  I've plotted a few historical novelists on the graph below to suggest where their work falls against both of those criteria:

A writer at the top left, like Bernard Cornwell, writes mainly action-centred stories built around fictional characters.  Depth of characterisation will be sacrificed for pace and excitement, and appearances from characters from history will be rare.  At the other extreme, Marguerite Yourcenar's Memoirs of Hadrian is a largely interior drama imaginatively recreating the psyche of a genuine historical character.  Closer to the middle we have writers like Dorothy Dunnett or CJ Sansom, who in their different ways interweave historical and fictional characters while balancing character and action.

There isn't one right way to do this, and the reader's enjoyment will be conditioned by the author's execution and personal taste.  I myself found Memoirs of Hadrian one of the most boring novels I've ever read, but I love the work of Allan Massie, which sits very close to it on my quadrant.

These are choices I still need to make for Sons of the Devil.  My thinking at the moment is somewhere round about Robert Graves or Sharon Penman on the graph.  Once that's sorted, I'll need to consider some more plot-specific questions: the identity of my protagonist(s), starting point of the story, narrative tone.  But for now, those things can wait.  Instead, I must continue my journey through Charles M. Brand's compelling Byzantium Confronts the West, which explains in convincing detail just why Constantinople was ready to fall to a group of quarelling opportunists in 1204...

What's In A Name?

Ye are of your father the devil, and the lusts of your father ye will do. He was a murderer from the beginning, and abode not in the truth, because there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it.

John 8:44

Last time we looked at some of the material available on the Fourth Crusade (there is plenty more - this is a subject historians made whole careers from).  Today I'm starting to explore how that might express itself in fiction.

The Crusades, however their original intentions became perverted, sprung from a religious impulse.  Any attempt to write about them in our largely secular age is doomed to failure unless it recognises that people had a fundamentally different world-view at the time of the Crusades; sober and reliable chroniclers can mix accurate eyewitness accounts with tales of miracles and spiritual apparitions.

With this in mind, I thought a title drawn, directly or indirectly, from the Bible would be a good place to start.  I ended up with the passage quoted at the head of the piece (taken from the never-bettered King James version - the progressive enfeeblement of subsequent contemporary versions can only be deplored).  The quotation above readily fits the Fourth Crusade, whose participants may have felt they were inspired by God, but whose achievements were rather less elevated.  The working title for the first instalment paraphrases the verse to become: Sons of the Devil.

Future volumes--if this is not looking too far ahead--have titles that similarly take their inspiration from the same source.  The second volume, covering the sack of Constantinople, is The Land Desolate.  Again the King James version gives us the crispest prose.

Behold, the day of the LORD cometh, cruel both with wrath and fierce anger, to lay the land desolate: and he shall destroy the sinners thereof out of it.

Isaiah 13:9 

The final volume treats the early days of the Latin Empire of Constantinople, and resolves the stories of those characters who survived the first two volumes.  In this case I set aside my fidelity to the King James version; the New American Standard version has greater force.

For the fate of the sons of men and the fate of beasts is the same. As one dies so dies the other; indeed, they all have the same breath and there is no advantage for man over beast, for all is vanity.

Ecclesiastes 3:19

This gives us the title for the last part of the story as The Fate of Beasts.

All that remains now is the little matter of finishing research and writing the book(s).  Next time, we'll look at some of the narrative choices I'll have to make before I can start.

The Fourth Crusade - a Selective Bibliography

My recent research into the Fourth Crusade has been making good progress.  I have learned--and unlearned-- a lot more than I did a month ago, although inevitably there is always more...  

The Siege of Constantinople

The mutual incomprehension and different motives between the Pope, the Franks, the Venetians and the Byzantines led to a tragedy of accelerating inevitability.  There were no Christian winners of the Fourth Crusade: Constantinople, immeasurably the greatest city in the world, was all but gutted and its empire emasculated; few of the Crusade's leaders survived to return home.  Those Crusaders who pressed on to the Holy Lands achieved next to nothing, and Jerusalem remained in Muslim hands.  The Crusade mounted three successful assaults on cities: Constantinople twice, and Zara once; all were Christian.

Those who are interested in the topic may find my reading list helpful.  There is no shortage of well-written and researched material on the subject, although it has surprisingly rarely featured in fiction.

Primary Sources

The Conquest of Constantinople, Robert of Clari

This account of the conquest, by a humble knight, neatly counterbalances Villehardouin's "official" version.  Not to be relied on facts, but his awe on arriving at Constantinople is palpable.

The Conquest of Constantinople, Geoffrey of Villehardouin

One of the Crusade leaders, Villehardouin is not always to be taken at face value.  His negotiations with the Venetians at the outset set in train many of the horrific consequences of the Crusade, and he understandably keen to push responsibility elsewhere.

Histories of the Crusade

The Fourth Crusade, David Nicolle

This Osprey illustrated history, only 100 or so pages, is an excellent primer.  The battlefield diagrams, as one would expect from Osprey, are invaluable.

The Fourth Crusade - the Conquest of Constantinope, Donald Queller and Thomas Madden

Perhaps the definitive history of the Crusade.  Queller and Madden judiciously assess the sources, clearly outline the sequence of events and delineate the key players.  Indispensable for students of the period.

The Fourth Crusade and the Sack of Constantinople, Jonathan Phillips

Covers much the same ground as Queller and Madden, in equally engaging fashion.  In line with most modern scholarship, Phillips acquits the Venetians of the charge of wilfully aiming the Crusade at Constantinople.

Enrico Dandolo and the Rise of Venice, Thomas Madden

Working on his own this time, Madden gives a fascinating insight of Venetian society throughout the 12th century and shows how the Venetian doge Dandolo was shaped and constrained by his environment.  Impressive scholarship and a stimulating tale.

The Fourth Crusade, Michael Angold

Angold approaches the Crusade thematically rather than chronologically, so this is not the place to start your crusade researches; but once you understand the events and the sources, this study offers some telling insights.

Histories of the Middle Ages

The Middle Ages, Morris Bishop

A high-level study of a lengthy period by its nature offers little detail, but this is a good overview for the beginner.  Bishop, an American career historian, bizarrely dismisses the Emperor Frederick 'Stupor Mundi' (perhaps the first 'Renaissance prince') as "not really a very nice man", which is perhaps not entirely to the point.

Daily Life in the Middle Ages, Paul B Newman

This one does exactly what it says on the tin.  Food, drink, underwear, armour, medicine: all human life is here.  Well worth a read for anyone interested in any aspect of the Middle Ages.

Although the Fourth Crusade is fascinating, the book titles display a dismal lack of variety.  The logic of calling your book "The Fourth Crusade" is undeniable, but in fiction we can allow ourselves a little more latitude.  Tune in next time to see my working title...

"Where Do You Get Your Ideas?"

This is notoriously the question that irritates writers the most.  I'm never sure why  (Personally I'd rather hear that than some clown on my doorstep asking "Can you spare £2 a month?" or "When did you last speak to God?").  I think perhaps it's because the question so fundamentally misunderstands the nature of the creative process.  A novel is a synthesis of influences and stimuli and there's very rarely a "ping" when the essence of the thing springs into existence.  For various reasons, I doubt that Melville was slumped in front of  the Discovery Channel eating pretzels one evening watching a documentary about whales and was thus inspired to write Moby Dick.

That said, sometimes there is an identifiable moment when a notion pregnant with possibilities leaps forth.  This is rarely in a very usable format but, with suitable polishing, the rough diamond may eventually turn into a jewel for all to admire.

Such a moment occurred for me a month or so ago.  At last year's Chichester Writing Festival, one of the panellists was Jonathan Phillips, Professor of the History of the Crusades at Royal Holloway University of London.  He was there to plug his latest book, Holy Warriors: A Modern History of the Crusades.

Professor Phillips was an engaging speaker and his book also seemed interesting, and made its way onto my Christmas list, from where it languished unread for many months.  The Crusades are of interest to all students of the Middle Ages, and in the past I've read Runciman's three-volume account more than once, and Norwich's popular histories of Byzantium and Venice have also treated the topic.  But it was not until I read Phillips' brief examination of the Fourth Crusade that I realised how magnificently it would lend itself to fiction.

The Fourth Crusade, preached by the choleric and dynamic Pope Innocent III, set out to recover Jerusalem from the Saracens, who had taken possession under Saladin some years previously.  Things did not go according to plan.  The predominantly French crusaders contracted with the Republic of Venice to transport them by sea to the Holy Lands; unfortunately they had somewhat overestimated the number of crusaders, and the wily Venetians (led by the scarcely credible blind nonagerian Enrico Dandolo) had negotiated a fixed price contract.  With no way to pay, they instead agreed to stop off and besiege Zara, a city coveted by the Venetians, but inconveniently a Christian one.  Having circumvented the further obstacle of excommunication by a furious Pope, they then found themselves inveigled into another side-project, this time the restoration of the claimant to the (once again Christian) Imperial throne of Byzantium.  This involved another siege and assault, this time of the impregnable walls of Constantinople.  The Crusaders' valour was unquestioned, but their political skills were more dubious, and they had failed adequately to assess the credentials of their candidate, the worthless Alexius Angelos.  And that  takes us merely to the end of the first volume of our tale...

Professor Phillips clearly shares my fascination for the Fourth Crusade, since I found he had written a volume devoted solely to that topic.

This book only cemented my enthusiasm.  The crusade contained all kinds of heroism,bizarre reversals of fortune, tragedy and triumph.  There are also some surprisingly readable primary sources, including Geoffrey of Villehardouin, essentially the crusade's chief of staff.  Even after eight centuries, his character shines through: brave, pious, but also dogmatic and humourless - and no match for the subtle Venetians.

The Fourth Crusade readily lends itself to a trilogy, for the story naturally falls into three self-contained blocks, and many of the central characters are already drawn from history with vivid strokes.  All I need is once more to tackle my ambivalent relationship as a writer with historical fiction.  Watch this space...

News on The Last Free City

Readers who previously cavilled at paying £5.99 for the ebook of The Last Free City need bridle no longer.  You can now buy it on the Kindle for £0.86, $0.75 or €0.99, depending on your country of residence.  This is surely a bargain no-one can resist!

If you need any further incentive, this encomium from Chris Turner's thoughtful blog ::Fantastic Realms should clinch the deal:

In Tim Stretton’s entertaining The Last Free City we have hierarchical and intricate organization. A tightly-knit society where etiquette and tradition rule, and tradition seal the acts of most of the characters—most, except the rebel protagonist Todarko who goes up against the grain; his emotional convictions won’t let him sit back and stay complaisant, nor the disgruntled second-in-line descendant, Malvazan, who is constantly seeking recognition. Stretton is attempting to bring life to a world which defies change. Its petty politics and machinations of the ruling class clamp individuals down, heroes and villains alike. I admire Stretton for the purity of his attack. He is not relying on magical tropes or talismans to ‘jazz up’ his world, or serve as convenient means to get his characters out of jams. No, they must fend for themselves and use their own wits. This is somewhat artful and to be admired in today’s world of ever-growing adventure and pseudo-magical tales. The strength of  The Last Free City lies in its vivid depiction of reality of its participants. They are linked together in complex ways, and are intelligently-wrought humorous characters who meld perfectly with their renaissance world.

Things We Like

Although I haven't made the progress I would have liked on any of my projects over the summer, I have enjoyed several books and TV experiences which I can recommend to my readership.

First among these was Dorothy Dunnett's Niccolo Rising, the first in a series of eight novels of Renaissance intrigue.  Why did no-one tell me about these before?  The series kicks off with Claes as a humble dyer's apprentice in Bruges, but through determination, cunning and good fortune he rapidly shakes off his humble origins.  The machinations are at once complex and understated; Dunnett's calm prose and unshowy research top off a historical novel from the upper echelons of the genre.  My only dissatisfaction was the occasionally implausible character of the eponymous Claes/Niccolo, to whose magnificent cunning was added a scarcely credible degree of sexual magnetism.  At one point he seduces a bourgeois virgin, largely out of pity, and later reproaches himself for giving her such a magnificent sexual initiation that she can only be disappointed with her future husband.  Nonetheless, I anticipate much future enjoyment from Dunnett's novels.

High praise also for the latest instalment of L.C. Tyler's latest Ethelred and Elsie novel, Herring on the Nile.  Fans will be pleased to hear that the transfer to an exotic locale (the clue's in the title) will be reassured to learn that the trademark wry humour and clever parody are never far away.

On a less exalted level, the Channel 4 TV take on the Arthurian myth, Camelot, never failed to entertain, despite some questionable casting choices, including a lightweight Jamie Campbell Bower as the legendary monarch.  On the plus side, Joseph Fiennes found the interpretation of an utterly bonkers Merlin well within his range, and Eva Green relished the opportunity to raise overacting to an art-form as Morgan Le Fay.  Sadly the series was not recommissioned and, while it was no Game of Thrones, I'll miss it.

Next on my guilty pleasures list will be The Borgias, which appears to have all the ingredients we came to know and love in The Tudors.