The Chessmen Thief: Action scenes and how to write them - by Barbara Henderson

Viking stories are exciting, aren’t they? All that fighting and pillaging and exploring. And who doesn’t love a Viking ship? Sleek and iconic, we tend to think of them as pulling into some bay or harbour and wreaking havoc in nearby villages and settlements. We sometimes forget that they were also often attacked by others at sea – they definitely lived a dangerous life! One of the great things about historical fiction is that the stakes are often so high – with no rescue service, or hospitals, or mobile phones. Basically, life was a lot more dangerous in the centuries gone by.

 

A viking ship (Illustration by Annie Glennie)

When my Viking book The Chessmen Thief was sent off to the printers, I asked my editor: ‘Now that we’re done, can you tell me – which part of the book do you actually like best?’

She thought for a moment. ‘The action scenes,’ she answered simply.

‘Me too.’

It’s true: a memorable action scene works like a quick turbocharge of energy, giving your story new momentum.

I am not suggesting that I am an expert at all – there are far more talented and experienced authors for children around. But I am more than happy to share what I have learned so far. Ladies and gentlemen, for what it’s worth, here is how an action scene should work. I am drawing on chapters 13 and 14 of The Chessmen Thief to show what I mean. 😊

To give you some context, Kylan (my slave boy and protagonist) is on a Viking longship sailing from Norway to Scotland with his boss, Jarl Magnus.

Step 1: You need one or two sentences of calm atmosphere. Then introduce the threat.

When the wind picks up and carries us in the exact direction we want to go, we step away from the oars and relax. I climb the first level of the mast where I like it the best. No one judges me there or asks me questions.

Until I see it in the distance. Unmistakeable: another vessel, making straight for us.

 

 The Chessmen pieces at the British Museum that inspired my book

Step 2: Take a moment to describe your character’s reaction. It works best if the other characters do not recognise the danger. This technique is called dramatic irony – the reader understands more than most of the characters do, which makes for great tension.

My stomach tumbles and my lungs do something they have never done before: refuse to inhale and exhale. Instead, a strange kind of panting is all I am capable of, with the weight of all the oceans in the world on my heart.

‘Raiders!’ I shout, but all that emerges from my throat is a croak. The men below are singing and sharing a quick horn of ale before their muscle power is required again. ‘Raiders!’ I yell, a little louder, but still no one pays me any heed.

Step 3: Crank up the jeopardy. The reader needs to understand what is at stake.

As the ship approaches, I can see the straggly beards of men who have lived long apart from any kind of company. Their swords are rusty but sharp. There are spears, axes and halberds, and all manner of weapons.

At the front, almost leaning over the hull of their galley, are three raiders with coils of rope around their bodies, ready to throw weighted hooks across—and only now do I see what the front of their ship is made of! It’s not water glistening on the wood—it is reinforced with iron spikes, and they mean to ram us! ‘TURN THE SHIP!’ I yell down with all my might.

Step 4: Give your protagonist something to do.

Suddenly, I am pulled off my feet backwards, the huge hand of the Jarl on my shoulder. ‘Here, boy!’ He thrusts something into my hand, slicing into my palm a little as he does: a dagger, and oh Lord, it is sharp!

The beautiful Isle of Lewis where the chessmen were found

Step 5: The best action scenes have a brave protagonist.

With a terrible clang, a huge metal hook lands over the side of our ship, a rope attached. It tautens almost immediately: the raiders are pulling our ship towards theirs, weapons in hand.

Our men scatter and take refuge, but something possesses me to do exactly the opposite. Darting to avoid the missiles and arrows, I run towards the hooks and slash at the rope attaching the ships to one another.

Number 6: You can’t beat a cliffhanger.

With a final gasping effort, this rope, too, snaps. The enemy ship is only two horse-lengths away. Soon a warrior of strength and stature will be able to jump. Oh no: they are readying themselves!

But then something happens that I have not foreseen. Behind me, there is a commotion; a box is knocked over, heavy footfalls thud on the deck. And then, right past me, Jarl Magnus raises his shield as he runs, mounts the gunwale and, literally, leaps into the air over the whirling waves.

Number 7: Know when to stop.

Relentless action scenes can be exhausting to read. Follow any action scene with a chapter or so of calm – your readers need a break. Let them have it! Once everyone is safe, my protagonist Kylan is going to spend the next chapter learning to play chess!

Writing Task:

Now have a go at writing your own action scene set on a Viking ship. It doesn’t have to be an attack – how about a storm, or a whirlpool, or a shipwreck? Plenty more dangers to invent. I’d love to see what you come up with!

The Chessmen Thief is a Viking adventure inspired by the iconic Lewis Chessmen which you can see at the British Museum, The National Museum of Scotland and The Museum nan Eilean on the Isle of Lewis. The famous hoard of walrus-ivory-carved chess pieces was found in the Outer Hebrides in 1831, but the figures were likely carved in Trondheim in Norway during the second half of the 12^th Century. If they came to Scotland soon after, they are likely to have travelled by sea in a Viking/Norse ship. Some Viking ships actually survive to this day and can be viewed in a museum in Oslo.

Barbara's books are published by Cranachan. They are available from bookshops and online retailers.

 

Barbara Henderson

For more information about Barbara's books visit barbarahenderson.co.uk

Follow Barbara @scattyscribbler 

 

 

 

 

 

How the Blackpool Illuminations proved a lightbulb moment for author Susan Brownrigg

  

Last Friday was the annual Blackpool Illuminations Switch-On. This year they event took place in the Blackpool Tower Ballroom, with Strictly Come Dancing judge, Shirley Ballas turning on the ‘Lights.’

As a proud Lancastrian, I have happy memories of visiting the world-famous Illuminations. But I didn’t realise what a long and fascinating history they had!

When I discovered that in 1935, a fifteen-year-old girl had been invited to switch on the lights, I knew I had the spark for my debut children’s book, Gracie Fairshaw and the Mysterious Guest. 

Postcard (1930) showing Blackpool Illuminations and the Tower with light beam.

 

Nowadays, the Illuminations are spread over six miles of lights and stay on for four months rather than the traditional six weeks.

But they had a more humble beginning. Back in 1879 the corporation (council) paid the equivalent of £5000 for eight arc lamps along the seafront. These electric lights were so astounding that people christened the effect ‘artificial sunshine.’ Imagine how striking the lights must have been compared to the candlelight and oil lamps in people’s homes!

Electric light was then used to mark two special royal events in Blackpool - in 1897 they were added to five tram cars to mark Queen Victoria’s Diamond Jubilee. Then, in 1912, 10,000 lights were strung around the promenade to celebrate the town’s first ever royal visit when Queen Victoria's daughter, Princess Louise, opened Princess Parade – a new section of the promenade. The attraction was so popular it was repeated the following September and would likely have been repeated annually but for the outbreak of World War 1.

The Illuminations returned in 1925, bigger and better than ever. As well as the traditional festoon, there were now ‘animated tableaux’ – pictures created out of lightbulbs (known as lamps) that when turned on and off in sequence gave the illusion of movement.

Blackpool Illuminations postcard, showing North Shore Gardens

 with festoon and fluted pylons.

The idea of a special guest turning on the Lights, didn’t happen until 1934. Lord Derby performed the honour in that year. But then, looking down the list of later hosts, which included many famous names, I saw a name I did not recognise: Audrey Mosson.

My research revealed that Audrey, was a 15-year-old girl from Blackpool. How had she come to turn on the lights, I wondered?

Blackpool's History Centre, in Central Library, provided the answer. They have back copies of the Lancashire Gazette on microfiche and I was able to use these old fashioned machines to turn back time to 1935!

Microfiche reader at The History Centre, Blackpool (author's photo)

The Gazette explained that the Mayor of Blackpool – Alderman George Whittaker – had been all set to perform the honour that year. But an appointment in his diary changed history.

Just days before the Switch-on he met the newly crowned Railway Queen - Miss Elsie 'Audrey' Mosson.

Alderman Whittaker told the Gazette: "Miss Mosson is a charming girl, with a frank and vivacious disposition - and I thought it would be very appropriate for this to be her first official duty as Queen."

Further research revealed that Audrey had recently been crowned Railway Queen in front of a crowd of thousands at Belle Vue, Manchester. She was a ‘Queen of Industry’ attending functions across the country (and even Russia!)

Inspired by May Queens, the first Railway Queen was chosen in 1925. Other industries followed suit – among them Cotton, Coal, Wool and Silk Queens being crowned.

I was curious as to what Audrey had looked like. But the Gazette only featured this cartoon image.

Audrey Mosson cartoon (Blackpool Gazette)

Fortunately I was able to track down a photograph of Audrey at the Switch-on online. When I saw her wonderful tiara - I knew my mystery plot would include a plan to try and steal this beautiful piece of jewellery. My main character - Gracie Fairshaw - would thave to foil the plot - and would call upon Audrey to help!

And I was even more thrilled when I learned that a Yorkshire museum was holding an exhibition about Queens of Industry. Imagine my delight when I was able to see Audrey's beautiful blue velvet gown with trail and gold tassels along with her chain of office and tiara in person!

 Audrey Mosson's gown and tiara at the Queens of Industry 

exhibition (author's photo.)

There is one extra nice fact I found out about Audrey and the Illuminations - she has actually been a Switch-on host twice! The only person to have that honour.

She was invited back in 1985, 50 years after her original duty, with actress Joanna Lumley.

 

Audrey Mosson (right) with Joanna Lumley at the Illuminations 

Switch-on in 1985. Her second time turning on the 

world-famous lights. (Blackpool Gazette)

 

Discussion points for teachers/parents :

 

Blackpool became especially popular with the creation of Wakes Weeks - unpaid holiday given to workers in industrial towns, especially in the north. Each town would have a different week, with the mills and factories in the town all closing at the same time. Many families chose to visit the seaside, and Blackpool was incredibly popular. 

 

Why do you think families wanted to get away to the coast, and what attractions could they look forward to? 

 

Do any of the attractions from the 1930s still exist in Blackpool today? Why are they still popular?

 

There have been 74 Switch-on hosts (there was no Switch-on during WW2) including politicians, ambassadors, royals, sporting stars, TV presenters, TV and film stars, comedians, disc jockeys, singers and bands.

Those invited to perform the Switch-on duty often reflects the times, for example in 1976 Miss United Kingdom, 1982 the Royal Navy Rear Admiral Sandy Woodward who played a leading role in the Falklands War and in 2020 a group of NHS heroes performed the duty.

Among the more unusual hosts were puppets - Kermit the Frog and the Muppets in 1979 and a horse – the triple Grand National Winning Red Rum in 1977.

Who would you choose to switch on the Illuminations in 2022? Why? What might go wrong and how could they save the day?

 

Gracie Fairshaw and the Mysterious Guest by Susan Brownrigg is an historical novel for 9-12 year olds set in Blackpool, 1935. A sequel, Gracie Fairshaw and the Trouble at the Tower (also featuring Audrey Mosson) is published October, 2021.

Susan's books are published by Uclan Publishing. They are available from bookshops and online retailers.

 

Susan Brownrigg (author's photo)

For more information about Susan's books visit susanbrownrigg.com

Follow Susan at @suebmuseum

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.