TOP TEN OF VENICE INSPIRED BOOKS 2017

top ten

My book THE RETURN OF THE COURTESAN has been listed in the top ten of Venice inspired books for 2017 by The Venice Insider website. I am needless to say honoured and delighted! Check out the link for other fantastic books and all kinds of fascinating information on Venice. I will be celebrating later and clinking goblets with The Man with the Blue Sleeve.

 

Here is the link:

https://www.theveniceinsider.com/2017-top-10-venice-books/

 

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MY DESERT ISLAND BOOKS

Here’s a piece I did for the Historical Writers Association (HWA) on what my five desert island books would be. Tricky deciding but I went a bit for laughs on the assumption that I’d need them. Don’t worry, you won’t find The Brothers Karamazov here, but maybe some books you might enjoy. They contain the following: rats, playwrights, an actor having a nervous breakdown, a woman with webbed feet, a war hero and the magnificent city of London. Sorry about the dolphins by the way – don’t know what came over me!

http://www.historiamag.com/desert-island-books-victoria-blake/

 

A SHAMELESS PLEA!

Darlings, I know you’re longing to nominate me for The Guardian’s NOT THE BOOKER PRIZE. The idea of the prize is to uncover hidden gems. If I win  I will receive a lovely Guardian mug and lots of publicity. If I get shortlisted  I will also get some lovely PUBLICITY for my lovely book. HURRAH! How can you resist? If you do I will take my hat off to you or I might even post a picture of myself wearing this hat in a burst of sunny gratitude.

hat and book

Hat and book

My friend Maggi has brought this to my attention and already nominated me. Thank you darling Maggi. So join Maggi in propelling THE RETURN OF THE COURTESAN into the public eye.

To nominate me you have to use the word nomination and name my book in the comments of the link below and also name the publisher. Because my book has changed title it would probably be good to say something like this. Nomination: The Return of the Courtesan by Victoria Blake first published as Titian’s Boatman (Jan 2017) by Black and White Publishing. The deadline is 30th July so that gives you nine lovely days.

Sending you kisses in advance…

https://www.theguardian.com/books/booksblog/2017/jul/17/not-the-booker-prize-2017-needs-your-nominations-now

COINCIDENCE IN LIFE AND ART

As readers haven’t we all at some point felt that a writer has stretched our credibility to breaking point. That, ‘Oh come off it!’ moment when, however much we’ve enjoyed the book up to then, we draw back and think ‘Well that would never have happened.’ Speaking for myself (with my writing hat on) this is usually because I’ve got myself into a corner and am now doing something ridiculous to get myself out of trouble while hoping the reader won’t notice. It’s akin to a cat which has climbed a high tree and is now howling for the fire brigade. However, weird coincidences do happen. Here’s one example from my life – a strange day earlier this year in London, a city of 9 million people.

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The lovely cafe at Foyles

I’d arranged to meet an old school friend in the café in Foyles in central London. It had been lovely to see her but after we parted I started thinking rather negatively about how I am with maintaining friendships – rather bad – and why that was. Then, walking back to the bus stop with diminishing feelings of regard for myself, I made the mistake of going into Waterstones, Piccadilly to see if I could find my book. This is generally not a good idea because if I can’t find it I feel despondent. In this case it was nowhere to be seen but I noted that the book of someone I know only very slightly, from a party we both go to at Christmas, was there and I felt, shall we say, a little more despondent. That is, despondent with a neon green tinge, I’m sure you understand. I then went and gazed at the stationery.

Image result for pictures of stationery department in waterstones piccadilly

Brightly coloured stationery failed me

For some reason staring at and indeed buying brightly coloured stationery usually cheers me up. It didn’t in this case and so I went and got myself some coffee and a cake in the café which looks down onto the stationery department.

I tried to do a bit of writing but then decided to give up any pretence of writing that day and got out my paper and read it from cover to cover. My reading was interspersed with eating what can safely be described as the oldest almond croissant to have ever existed in London, (make that the universe), at any time. It was so dry that when I gave it a speculative prod it shattered and hurled an atomic cloud of icing sugar and flakes of pastry all over me, the table and the floor. This did not improve my temper.

When I stood up to go, it required a prolonged period of brushing flakes of pastry off me. As I turned round to leave there was the man whose book I had seen earlier in the shop. He at least had his lap top out and so was doing better than me that day. ‘Is it Christmas?’ he said and we both laughed. I felt awkward because I knew he had seen that I had been doing no writing. It is one thing for a writer not to be writing but it is quite another thing to be seen by another writer who is writing not writing.  And it is indeed quite another thing to have been seen having an altercation with a one hundred year old almond croissant while not writing by a man whose book is prominently displayed in a shop which does not contain mine.

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The book that was not there

We chatted and then he said the fatal words ‘How is the book going?’ And because I was discombobulated with not writing and being covered in shards of pastry and icing sugar and not being a good friend, I did not say THE RIGHT THING. The correct answer would have been, ‘Yeah, fine thanks – what about yours?’ Writers are highly strung beasts and when they get into each other’s company they can spiral into a sort of collective neurosis. Stratagems are required for such encounters and these may include – bluster, lying, weedling, ironic detachment and charming self-deprecation. Or when that gets too exhausting you can ditch all that and just get drunk and lie in the  gutter hugging each other whilst crying. Also the truth about how one’s book is going is a tricky one to answer although obviously not if you are Lee Child, J.K. Rowling, Wilbur Smith etc. One third of the time you don’t really know, one third of the time you do not have the courage to find out and one third of the time  you have been told and you’re trying very hard to forget what you’ve been told or you’re not telling anyone (other than the cat that is now not up a tree).

But what with the not writing and the not finding my book and being attacked by a violent, exploding, almond croissant which had been nosed and rejected by an Archaeopteryx dinosaur at the end of the Jurassic era and thinking I was a hopeless friend I did not manage this encounter very well.  ‘Oh,’ he said, looking rather startled ‘What’s the title? I’ll look it up.’ Please don’t bother…’ I said shortly after telling him the title and making sure he had typed it into Google correctly. Then, as several flakes of pastry fell from my eyebrows onto his laptop, I said, ‘I should let you get on with your work.’ ‘Well, see you next Christmas,’ he said which was approximately 10 and a half months away. And that was that and I went a stood at the bus stop and festered.

There are 9 million people living in London so tell me exactly how did that sequence of events happen?  Oh, and by the way my book is about to nudge Lee Child off the top of the bestsellers list. Thank you for asking. Isn’t that amaaaaaaazing? Oh God, where’s that gutter, Oscar?

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Incidentally, the book that was not there in February has now morphed into this in paperback and it will definitely be there from the 27th July… definitely… it’ll be everywhere…absolutely everywhere…

 

PEONIES AND THE MAN WITH THE BLUE SLEEVE

mwbs and peonies

The man with the blue sleeve being outdone by lush peonies. It could happen to any of us and also a nice quote from the Historical Novel Society about TITIAN’S BOATMAN:

“This book is a wonderful collection of chapters, all of them exquisitely crafted, most of them small – some very small, like the golden tesserae on the ceiling of St Mark’s cathedral in Venice, an image drawn from the book.”

THE HISTORICAL NOVEL SOCIETY

WALKING WITH THE MAN WITH THE BLUE SLEEVE

wisteria and mwbs

An afternoon walk with THE MAN WITH THE BLUE SLEEVE is always enjoyable. Here he is worried that he might be outdone by some very beautiful wisteria … Of course nothing can be more beautiful than him …

handkerchief treeAnd here he is in contemplation of the handkerchief tree or if you’re that way inclined Davidia Involucrata, a deciduous tree from SW China that happens to be in my local park. Family Nyssaceae (don’t ever get me to spell that again).

If you want to visit him he will welcome your attendance in Room 2 of The National Gallery in London. He always has a lot to say for himself unless he’s on loan which is wearisome.

TIPS ON WRITING SEX SCENES

back cover TB

The back of Titian’s Boatman’s jacket

1. Don’t – you fool! Are you insane? People have sex but it doesn’t mean you have to write about it. Don’t, don’t, don’t …

2. However if one of your main characters is a Venetian courtesan (as in my book TITIAN’S BOATMAN …) do not think you can skip them. Sex, after all, was the currency of the courtesan and if you avoid them everyone will rightly think you are a coward.

3. If you feel you have to, make sure you mother and father are six foot under. Whatever it takes – literally is best but metaphorically will do. Dead, dead, dead … ashes to ashes … because you simply cannot imagine them reading … oh dear God … (puts fingers in ears and closes eyes and sings la, la, la…) and you can’t afford the twenty years of Freudian therapy to call them by their first names let alone . . . No, sorry, dead parents is the only answer.

4. Now convince yourself that no one you know will ever read them. Your book will not be published. No one will ever read them other than you.

5. If you are writing Renaissance sex scenes read Renaissance pornography. Pietro Aretino’s Ragionamenti are bawdy, funny, satirical and you will pick up some useful descriptions and metaphors … ‘Rubbing his rod and olives’ was one I particularly liked and would never, ever have dreamed up. Also you will never view nuns and monks in the same light.

6. If your book is going to be published do not read through the sex scenes obsessively at the editing stage and fret about those elderly aunts who are approaching 90 who might read them. Do not do that whatever you do, especially if they disapproved of one of your earlier books in which someone swore once or twice (OK it was the ‘c’ word) … and in which your main character had sex once or … Oh good lord, she was tied to the banisters in the first scene, wasn’t she? Excuse me while I . . . delete . . . delete . . . dump memory . . . dump memory . . .

7. Now where was I? In fact who am I? It is probably best not to say to your agent or your editor when in a state of high anxiety, ‘Are the sex scenes alright?’ because it will only embarrass them and you and really what are the poor dears going to say to you? If the answer is ‘no’ where do you go from there?

8. Once the book is published if at all possible obliterate said sex scenes from your mind completely, so that when your partner after a phone conversation with a mutual friend looks at you quizzically and says ‘She’s enjoying the sex scenes…’ you can immediately respond, ‘What sex scenes are those?’ in an entirely natural tone of voice.

9. If you end up in the Bad Sex Awards blame your agent and editor and comfort yourself with the thought that at least one person has read your book and all publicity is good publicity… and then make a secret vow that you will never write another as long as you live. Never, never, never … to quote King Lear. Oh, dear and look what happened to him …

10. If you bump into your neighbour and he looks at you in a curious way and says, ‘Oh, I’m half way through and I’m … (very, very long pause here broken by his mobile going off) … excited … err, sorry I have to take this call.’ Do not overanalyse any aspect of what he has said. Just don’t. And it’s probably best to delete the whole scene from your brain immediately along with the sex scenes.

11. Make a vow that you will never write another one as long as you live.

What do you think about sex scenes in novels? Like? Loathe? Laughable? Oh, go on – do tell. I’m absolutely not looking for comments on mine because I didn’t write any, did I?

MY NON-CRINGING BIBLIOGRAPHIES …

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BOOK CONTAINING A NON-CRINGING BIBLIOGRAPHY

There’s been a bit of a debate recently about whether historical fiction writers should add bibliographies to their books or not. Hilary Mantel, a woman who likes to put cats among pigeons, commented in an interview with Diarmaid MacCulloch on her “cringing” contemporaries in historical fiction who “try and burnish their credentials by affixing a bibliography.”

She goes on to say this: “You have the authority of the imagination, you have legitimacy. Take it. Do not spend your life in apologetic cringing because you think you are some inferior form of historian. The trades are different but complimentary.”

My immediate response was a highly sophisticated one. ‘Fuck right off dearie.’  I mean – what got into her? A case of getting out of bed the wrong side? Too much steak for breakfast?

A few things come into play here for me:

  1. My father was a historian and I spent a great deal of my childhood listening to him grumbling about inaccurate historical detail in TV dramas. At the time I remember wishing he’d shut up so I could follow the story
  2. I studied history at Oxford not particularly happily
  3. My last two books – FAR AWAY and TITIAN’S BOATMAN have been historical fiction and I’ve attached bibliographies to both of them.

The reason why I do it is not particularly to “burnish my credentials”. I mean what the hell does that mean anyway?  It’s because I think the reader might be interested to read some of the books that have fired my imagination. As a reader I like bibliographies and often track down books from them. I appreciate the fact the writer has taken the trouble to do it. It is work to put together a bibliography. It would be much easier not to do it.

I do not in any way feel cringing.

There is of course another element in play here. In creating a bibliography you are giving away your sources. I like that because there’s a part of me that likes to demystify the process of writing. I want you as my reader to know that fiction writing is not a mystery carried out by magicians. You too could read these books and you might write this sort of book. It sort of democratizes it in some way. Sometimes it does occur to me that a reader might read the books in my bibliography and go, ‘Well, you got that wrong didn’t you?’ Or even, ‘So that’s where you pinched that from,’ but so what?  Bring it on!

far-away

… AND ANOTHER ONE.

As a reader of historical fiction I give the writer a fair amount of latitude. After all it’s fiction. I did a history degree and I know the difference; fiction is much more enjoyable! When I read it I do not assume every little thing is accurate. I expect the main big things to be right i.e. the date of a battle or the date of some one’s death but sometimes things can be disputed. For example no one knows exactly when Titian was born so as a writer you take your pick within a certain range and stick to it.

However I very much like the idea of someone who has read my book then reading the things I have enjoyed in researching the book: Pietro Aretino’s letters are great fun – he’s fantastic and I’d like as many people as possible to have the pleasure of reading him. And aren’t you curious to read the letters and poems of a Renaissance courtesan, Veronica Franco? Those closest to me have had me banging on about them for years so why not spread the love? Don’t we all take pleasure in word of mouth recommendations? Why not make that easy for the reader? Books I have read and not enjoyed like Paul Morand’s Venices, an unbearably portentous book, I didn’t include.

One of the characteristics of a cult leader is that it all comes from them personally. It is their genius as opposed to the fact that they might have cobbled together a bit of CBT, a bit of EST and a bit of mindfulness and mixed it with a bit of charisma and bobs your uncle. Never trust an individual who doesn’t acknowledge their teachers, who doesn’t acknowledge their sources, who makes it all about their genius. I don’t want you to think it’s all me. I don’t want you to think it’s all my talent as a writer because that’s not what I believe.

I like the idea of you following your nose into my research material and may be thinking, ‘Oh, look at this juicy element. Why didn’t she use that?’  I’d quite like that. I’d like to know what your story might be. I  don’t want it to be mysterious because it isn’t. I remember when I was in my twenties and all I knew was that I wanted to write but I had no idea what to do or how to do it. I did courses, I had teachers, I read books on writing, I joined writing groups.  I still have teachers. All those elements contributed to me becoming and staying a published writer.

So what do you think about bibliographies? Apologetic cringing or an act of generosity to the reader? Do you think I have been burnishing my credentials? I’d be very interested to know and when I say interested that’s in a slightly Tony Soprano/horse head in the bed sort of a way. Only joking. I just want you to realize this is an entirely cringe-free zone from a non-cap doffing person. Excuse me, dear reader, while I walk backwards away from you in a suitably groveling, servile manner while begging you for comments … Oh God, what happened there?  Maybe Hilary was right all along. PS You should all read her books – every one of them. Every single one. She’s a genius, she really is. She’s just completely wrong on the subject of bibliographies.