Stories in maps by Catherine Randall

I’ve always loved books with maps in the front, so that you can really picture where the action takes place.

Some books don’t tell you in the text exactly how different places in the story relate to each other, so a map is an extra way into the story. I love the map in the front of the classic Winnie-the-Pooh, so I can see exactly where Pooh and Piglet live, and where Eeyore’s Gloomy Place is (‘rather boggy and sad’, as it says on the map). Maybe it’s my lack of imagination, but I have always found that maps really help me to visualise the world I am reading about.

The endpapers in my 1970 edition of Winnie-the-Pooh by A.A.Milne, published by Methuen

When I was a child, I was a bit obsessed with the Swallows and Amazons books by Arthur Ransome, about adventurous children having a wonderful time sailing and camping on an island in the middle of a lake, without any adults. The map at the front of Swallows and Amazons shows that the lake where these adventures take place bears a very strong resemblance to two lakes in the English Lake district. As well as showing me the geography of the stories, there was an extra thrill in this map as I tried to work out which bits of the fictional lake were taken from which bits of the real lakes, Coniston and Windermere.

 

The map in the front of my 1974 Puffin Books edition of
Swallows and Amazons by Arthur Ransome

In the second book of the series, Swallowdale, the map in the front does not just show the setting for the story, it also shows exactly where some of the events in the book take place.

It is not very easy to read, partly because it is drawn as though by one of the characters themselves, but that adds to its charm.

The endpapers from my father’s 1943 copy of Swallowdale, published by Jonathan Cape

When I am writing a book, especially a book based on real events, I like to have a map in front of me so that I can see exactly where my characters are playing out the action of the story. Although the characters are fictional, the setting is not, and it is important to me to get things right.  When I was writing about the Great Fire of London in The White Phoenix, I spent a long time looking at maps showing how fast and how far the fire spread, so that I could work out where my characters needed to be and when, and also how quickly they would have been able to get from one place to another.

 

Part of a famous map drawn by Wencelaus Hollar in 1666,
showing the extent of the fire damage in London after the Great Fire.
You can see the shape of St Paul’s Cathedral just to the left of the centre

Maps can be just as helpful when you are writing about an imaginary place. Creating a map of your own can help you to write the story. Drawing a map – however basic – is a great way of getting to know your setting, and as you do that you might see where somebody needs to be, how the villain escaped, or where the treasure had to be hidden – important plot stuff. You may not be able to work out the whole story in a map, but it can certainly spark ideas, help you to solve plot problems, and put you with your characters right in the middle of the action.

 

Example of a map drawn to help work out the characters’ movements in a story

WRITING CHALLENGE

Imagine you are an explorer visiting a distant island, or a mysterious valley, or maybe an ancient forest - anywhere you think you might have an adventure. It could be a place that might really exist or a magical place with extraordinary creatures and strange beings. Using your imagination, draw a map of this place, including all the important features like mountains, rivers and caves and any houses, palaces or creepy castles that you find there.  Then write little labels on the map, showing where things happen in your story – where you first arrived, where you met that mysterious stranger, where you had to stay the night, where you ran away from whatever strange creature you come across in your adventures. It doesn’t have to be beautiful, although it is helpful if you can read the writing! If it grips your imagination, you might want to write it up afterwards as a written story, or maybe a comic strip.

Catherine Randall is the author of The White Phoenix an historical novel for 9-12 year olds set in London in 1666. The White Phoenix was shortlisted for the Historical Association’s Young Quills Award 2021. Catherine is currently working on her second novel, an adventure set in Victorian London.

 

 

Here be dragons! - by Ally Sherrick

I do like a good dragon! The fearsome, treasure-loving Smaug in The Hobbit has got to be one of the best ever. His creator, the celebrated writer and Oxford Professor of Anglo-Saxon, J.R.R. Tolkien modelled him on the vengeful, treasure-hoarding dragon in the epic Old English poem, Beowulf which the legendary monster-slayer and hero must face in the final, epic battle of his life.

The fire-breathing Smaug from ‘The Hobbit’ by J.R.R Tokien,
in an illustration by the author. Can you spot Tolkien’s hobbit hero,
Bilbo Baggins bravely doffing his cap to him? (Authors own photo of postcard)

My own wartime adventure, The Buried Crown has a dragon or two in it too. The book tells the story of two brave children – London evacuee, George Penny and German Jewish refugee, Kitty Regenbogen – who get caught up in a desperate race against time to find and rescue a priceless piece of Anglo-Saxon treasure before a bunch of Nazi treasure-thieves can get their hands on it in a bid to change the course of the war.

 

It was inspired by the discovery of the now famous Anglo-Saxon Sutton Hoo Ship Burial treasure in the summer of 1939, a few weeks before the outbreak of war. Excavating at a site just outside the town of Woodbridge in Suffolk, archaeologists unearthed the remains of what turned out to be an early 7^th century long-ship buried deep beneath the largest of a series of ancient burial mounds belonging to local woman, Edith Pretty.  

The archaeological excavation of the largest burial mound at Sutton Hoo
revealed the impression of a ghostly ship the length
of two double-decker buses (Author’s own photo of postcard)

Though the timbers of the ship itself had rotted way to leave nothing but a ghostly imprint and lines of rusty rivets in the soil, a wooden shelter inside contained goods which ranged from humble domestic objects such as cups, bowls and spoons, to weaponry and gorgeous items of treasure including a purse filled with gold coins, a great golden belt buckle and a magnificent helmet. At the time it was described as the British equivalent of the celebrated Tutankhamun discovery and remains one of the richest archaeological finds in Northern Europe.

Following decades of research by archaeologists and historians, the most widely-held belief today is that the ship was the burial site of the pagan ruler, Redwald, King of the East Angles and High King of Britain and that the goods it contained were intended for use by the king in the afterlife.

One of the many fascinating things about the treasure is the appearance on some of the most precious items, including the famous Sutton Hoo helmet, shield and sword-belt, of dragons. These are very stylised and not at all like the modern idea of dragons as depicted in the movie version of The Hobbit and HBO’s Game of Thrones. But, if you know how to look, they will reveal themselves to you, emerging as creatures with red garnet eyes, beak-like faces and wings either tucked along the length of their body or spread wide, as in the case of the helmet, to form the eyebrows of its awe-inspiring, mask-like face. They are also a part of the celebrated animal interlacing – a trademark feature of much Anglo-Saxon art – and of which the priceless Sutton Hoo belt buckle is a stunning example.

 

Shield boss – Replica of the boss from the king’s shield ringed
by a circle of ‘beaked’ dragons heads with red garnet eyes (Author’s own photo)

Gold and garnet dragon - This highly stylised dragon is one of the shield
mounts and features a fearsome set of spiked jaw, a red garnet eye
and a line of ‘winglets’ fringing both sides of its body. (Author’s own photo)

Replica of the famous Sutton Hoo helmet -
Can you spot the dragons? (Author’s own photo)

The Anglo-Saxons loved – or perhaps I should say lived in dread – of dragons. They believed there were two types. ‘Drakes’, who breathed fire and could fly like Tolkein’s Smaug, and wingless ‘wyrms’ who slithered across the landscape like giant reptiles. The creatures lived inside burial mounds like the ones King Redwald’s ship was discovered beneath at Sutton Hoo, and guarded the treasure buried inside them, exacting the most dreadful revenge on anyone who dared try and steal it away from them.

 

Beware a burial mound like this one at Sutton Hoo – it might be the home of a dragon!
(Photo used by kind permission of The National Trust)

This idea of an ancient and angry treasure-guardian, so powerfully depicted in the Anglo-Saxon epic poem, Beowulf, provided the inspiration for my own ‘story within a story’ in The Buried Crown. Known as The Legend of the Dragon-Headed Crown, it became the ‘foundation myth’ for the magic which leaks into the world of my heroes, George and Kitty as the story progresses.

And the dragons depicted on the treasures at Sutton Hoo – perhaps as protection against thieves? –  gave rise to my own piece of dragon treasure which – spoiler alert! – might just have special powers of its own.

You can visit the real-life treasures found at Sutton Hoo in the Early British Medieval Galleries at the British Museum in London. Or if you can’t make it there in person, check them out on the excellent museum website. And if want to visit the site of the excavations at Sutton Hoo, view the burial mound field and see more exhibits on the treasures and the life and times of the Anglo-Saxons who made and buried them there, why not take a trip to Sutton Hoo itself, now in the property of the National Trust.

Writing prompt

Take a look at dragons in other cultures – either writings or images; historical or modern. How might their depiction inspire you to create a dragon of your own? What might you borrow and what would you discard? What is their purpose, their power, their name? Happy dragon-hunting! 

Ally Sherrick is the author of books full of history, mystery and adventure including Black Powder, winner of the Historical Association’s Young Quills Award 2017, The Buried Crown and Tudor-Set adventure, The Queen’s Fool. She is published by Chicken House Books and her books are widely available in bookshops and online. You can find out more about her and her books at www.allysherrick.com and follow her on Twitter: @ally_sherrick

 

Finding stories in old places - tips from author Jeannie Waudby

For as long as I can remember, old buildings have filled me with a longing to know who lived there before. Very often, there is no way of knowing, and for me this meant trying to think up their story for myself.

I grew up on a little island in Hong Kong. It had been taken to be a leprosy treatment centre and most of the buildings were built in the 1950s. But the old ones, from hundreds of years ago, always fascinated me. As a child, I thought that the people had left long ago – whereas in fact they had to leave not long before the hospital was built.

Jetty valley

One of the oldest buildings was a little temple. It’s the tiniest building at the bottom of this picture in the middle, near the steps.

Then there were the graves. These were beautiful white tombs, shaped like the moon, always on a hillside. I wondered whose graves they were, and what their lives had been like on this island that was home to us now. The tombs made a deep impression on me so that years later, when I was studying art, they slipped into my pictures.

Moon grave

This woodcut shows a tomb with some burial pots. Most of the tombs were in the emptier part of the island where it was wild and grassy.

And in this watercolour the tomb is on the left, looking over the sea towards a neighbouring island.

Hillside tomb

Although we lived in Hong Kong, every few years we visited the UK, which to me was a huge exciting foreign land. On my first visit we travelled by ocean liner because planes were still very expensive. I remember the journey well even though I was little. It took one month, and one of the places we visited was Pompei. I recall arches, painted walls and the fact that life had stopped suddenly and tragically here because of a volcano.

When we went to the Highlands, where my mother came from, I felt at home straight away. To me, the mountains and sea felt just like the ones back home in Hong Kong. Even the rocks on the shore had the same yellow lichen and green seaweed, like hair. But I did get to see something I had never seen before: castles.

Eilean Donan

This aquatint shows Eilean Donan Castle and the Five Sisters of Kintail, with my impression of the light beaming onto the loch. A house where we often stayed had a cannon ball in the fireplace, from a battle long ago that left the castle in ruins.

Later, when I was older, my dad, who was English, would take us to visit famous historical places in England: the Tower of London, a Roman villa, the Victory warship and the wonderful Roman baths which you could still have a warm dip in if it was allowed. Inside the Victory, I smelt for the first time the sharp tang of centuries-old wood. To me it felt as if stories were humming just below the surface of the walls.

 

I started writing novels when I was a child, although I didn’t ever finish them. This is the first page of one I started when I was 11. It was set in England in the nineteenth century because we had just come back from the UK and while we were there, we stayed in a flat in a Victorian house.

For me, old places have always been doorways to stories.

Ickworth

Writing Prompt

When I am somewhere old, I can never shake off the possibility that it might turn out to be a time machine… and where would it take me? Think of an old building or place that you know. If it was a time machine, where would it take you? Who would you be? What would you be doing there? Would there be a hidden danger? 

 

One Of Us by Jeannie Waudby is a YA thriller/love story, published by Chicken House. It was shortlisted for the Bolton Children's Fiction Award and the Lancashire Book of the Year 2016 and has been adapted by Mike Kenny as a play in the Oxford Playscripts series.
One Of Us is published by Chicken House
The Oxford Playscripts play is published by Oxford University Press

 

For more information about Jeannie and her books visit her website.

 

How the Great Fire of London sparked my debut book! - Catherine Randall reveals the inspiration behind The White Phoenix

355 years ago today, on 2 September 1666, Londoners woke to the news that a fire was raging in the southeast of the City and spreading rapidly. In an early draft of my children’s novel, The White Phoenix, set in a London bookshop in 1666, I had my characters living by St Paul’s Cathedral, and finding out about the fire when hordes of people started streaming past them through the narrow streets, pushing handcarts piled high with children and furniture.

Londoners flee the burning City in September 1666

Then I realised that it would be far more exciting to put my characters slap bang in the middle of the action, so in the final version, 13-year-old Lizzie Hopper and her family are staying with their uncle in Pudding Lane when the fire breaks out. They witness first-hand the efforts of the firefighters to put out the flames, becoming part of the human chain passing leather buckets up and down the lane from where someone had pierced the water pipes running below the streets. They hear the bells of St Magnus’s church ringing backwards – the equivalent of an emergency siren sounding today - and experience the fierce heat and falling embers blowing around in the wind. They also witness the failure of the one person who might possibly have been able to stop the fire at this early stage and prevent it becoming the Great Fire of London – the Lord Mayor, Sir Thomas Bludworth.

Seventeenth-century firefighters using buckets and firehooks to fight a fire in Tiverton, Devon

The firefighters wanted Bludworth’s permission to use firehooks to pull down some of the unburnt houses nearest the blaze, creating a firebreak. The Lord Mayor said that he couldn’t do this without the permission of the owners, but as most of the houses were rented, the owners were not around to ask. Bludworth then famously declared that the fire wasn’t that bad anyway: ‘A woman could piss it out,’ he said and went home. Later that day, he did start to pull down houses but by then the fire was burning out of control. Who knows what would have happened if he had been more decisive?

In The White Phoenix, my character Lizzie experiences what actually happened next. Like thousands of other Londoners, she and her family flee east to Tower Hill, then an open green space near the Tower of London, on the outskirts of the City. Many others fled north to Moorfields, another wide open field. Remarkably, according to contemporary accounts, all the refugees had gone within four days – some leaving the City for good, others returning to see what they could salvage from their burnt homes, or moving to stay with family and friends in untouched neighbourhoods.

Nevertheless, the Great Fire was a deeply traumatic experience for Londoners. Samuel Pepys records in his diary on 2 September how he wept to see the City burn. In my book, Lizzie and her brother Ralph have tears streaming down their faces as they watch St Paul’s Cathedral engulfed in flames.

Near the end of my story, Lizzie goes back into the burnt City. She finds it almost impossible to work out where the streets had been because there is so much rubble and fallen timber everywhere. The ground was too hot to walk on for several days after the fire died out.

Of course today barely anything remains of the City that Lizzie knew - many of the buildings rebuilt after the Fire were destroyed in the Blitz during World War II. The exception is some of the City churches, many of which were rebuilt after 1666 by Sir Christopher Wren, and rebuilt again after the Blitz. You can still visit St Magnus, for instance, at the south end of Pudding Lane, where the bells first rang out to warn of the Fire. The street names and the line of the streets also remain broadly the same, so it is possible to trace Lizzie’s footsteps through the City, both during and after the Fire. The sketch map below shows the extent of the Fire, as well as Tower Hill and Moorfields where Lizzie and the real refugees fled. It also shows the fictional site of the White Phoenix, the bookshop that Lizzie Hopper fights so hard to save in my novel.

Discussion points for teachers/parents :

The people who lost their homes in the Great Fire of London often did not travel far from the City, but they were still refugees, relying on the goodwill of others to feed and house them. What places can you think of in the world today where people have been forced to become refugees in their own countries because of natural disasters?

For what other reasons, besides natural disasters, might people have to flee their homes?

In 1666, lots of towns across England sent money to Londoners to help them rebuild their homes. Often, money was collected at Sunday church services. Other people opened their homes to the refugees while they rebuilt their homes and businesses. In what ways can we help refugees today?

What possessions would you save if you had to leave your home very quickly? Do you think they would be the same sort of things that fleeing Londoners took with them in 1666?

The White Phoenix by Catherine Randall is an historical novel for 9-12 year olds set in London in 1666, and is shortlisted for the Historical Association’s Young Quills Award 2021.

Published by the Book Guild, it is available from bookshops and online retailers.

For more information, see www.catherinerandall.com.