Francesca and Elaine have a look at two aspects of the Romantic Novelists’ Association’s recent conference that sparked their imaginations.
Francesca: I know many of the RNA conference attendees will be writing about the occasion (brilliant as always), so I thought I’d cover something related but a little different, namely our location. Location, or setting, is, of course, very important to writers. The conference this year was held at the Queen Mary campus of the University of London in Mile End. Unlike some of the other locations for the conference, this is smack bang in the middle of a busy and built up area. However, running alongside it is the picturesque Regent’s Canal.
On the second evening I took a walk along the canal with writers Karen Aldous and Wendy Clarke. Gone was the noise of the surrounding streets, evident even from our bedrooms, to be replaced by the tranquil sound of lapping water.
A little further along we had a surprise, as the barges came to life and revealed what amounted to a village strung along the water’s edge. Many of the owners were sitting on their crafts, enjoying the evening, watching the world go by, eating, drinking, and in one case, strumming a guitar. In the centre of this was a barge set up as a mini pub, with its punters sitting on the grassed area next to the path, enjoying a glass of something. I guess this was the equivalent of a village pub. Several of the residents wished us, ‘Good evening,’ as we sauntered past (and it had been such a warm, busy day we were definitely reduced to sauntering!).
It isn’t surprising that we found it an inspiring setting. Many books have included barges or houseboats: Elizabeth Goudge’s The Herb of Grace and Elizabeth Haynes’s Revenge of the Tide are two that come immediately to mind. It will be interesting to see if this setting ever makes it into one of our novels.
Photos can be enlarged by clicking on them.
Elaine: Writers set the stage, time period, season and setting with clothing and accessories. As many of you know, my current work in progress is a Victorian saga. I’m sure you can imagine my delight when the Romantic Novelists Association (RNA) Conference paperwork came through and Mireille Weller was holding a workshop on how to dress a Victorian woman. It was at 3:15pm on Sunday, when most of the delegates were travelling home. There were less than a dozen of us watching Mireille layer herself in clothing.
She started with her under garments and small ankle boots, because the boned corset wouldn’t have allowed her to reach her feet. The corset had taken an impressive inch and a half off her waist before she added three petticoats, one with wired hoops and bustle, with layers of frills to give it bounce. Then the overskirt was added, followed by a decorative apron that sat over it to give more decoration. There was a jacket for daywear and if the lady of the house intended going out in the evening, only the top would be changed to make it look more formal.
Mireille explained that the gentleman had to hold the back of the chair while the lady lowered herself down onto it, otherwise she couldn’t sit.
Ladies also had to lift their skirts and shuffle over the toilet to go, so in modern terms they would be facing the cistern.
It was a wonderful way to spend an hour and I haven’t touched on how the poor sold their hair for money and the rich wore it as hairpieces. The whole thing was fascinating and not only gave a real insight into how the Victorians dressed, but also how they lived.
I would like to thank Mireille for allowing us to take photographs while giving us an informative and enjoyable time.