Mark Stay Writes

We had a special episode of the Bestseller Experiment this week and Mark Desvaux asked me a bunch of listener questions about The Crow Folk. I’ve broken them up into short videos, and in this first episode I talk about how the idea developed from a contemporary TV pilot into the Second World War novel that’s out now.

You can listen to the whole podcast episode here.

Discover more about the Crow Folk and the Witches of Woodville here.

TRANSCRIPT:

MARK STAY: Hello folks, it’s here! Look! Finished, gorgeous. Thanks to everyone who bought the book, read the book, said lovely things about the book, a huge thank you to all of you. It really means a lot. What you’re going to see today… We had a special episode of The Bestseller Experiment where I answered a whole bunch of listener questions and rather than one big lump of video I’m going to do them in little chunks over time, in more digestible chunks. So the first of these, people ask me where I got the idea from and how it developed. And this has been in development for some time. Be warned: this video contains gratuitous bellringing.

MARK DESVAUX: But let’s let’s dive in because there’s a lot there’s a lot of things people want to know about this book. And the first thing the first question is from Jan Carr, and Jan asks, where did you get your idea from?

MS: Classic, classic, and just to reassure listeners, so I’m going to try and make the answers as helpful for writers as possible, and it’s not just going to be me blowing smoke up my own bum for an hour, I mean, maybe for just forty five minutes. So hopefully we’ll get some insight into working with agents, editors, development, ideas, writing for series historical fiction, stuff like that. So Chris asked the same question. Chris Lowenstein: Where did you get the idea? Matt says, of all the story ideas you likely had before you started this book, why did you choose this one? Tanya says, How do you decide if it’s a book or TV thing? What made you a great idea for a novel? A lot of variations on that. But here’s the thing. I’ve got files going back on this idea going all the way back to 2008. So it’s… and it probably dates to before that. I mean, this has been mulling around for a long, long time. And it did, weirdly, it started out as a TV idea, but it was very different.
First of all, I think the big problem with it was I had the point of view completely wrong, and it only took me about 10 years to figure that out. And the period was wrong too, because it was contemporary. Set in the here and now. So a few things had to change to sort of make the idea fall into place. And for me, it really started getting momentum in its current form when we were visiting friends in Chiddingtone in Sussex. I don’t know if you’ve ever been to Chiddingstone. It’s on the border of Sussex and Kent. And it is your archetypal English village. It’s absolutely gorgeous. Weirdly, I work with the chap who lives there called Mark Streatfeild, who is kind of Lord of the Manor at Chiddingstone castle. He’s related to Noel Streatfeild who wrote Ballet Shoes. And they have… The family have their own coat of arms and everything. And Claire was down there, bellringing And while she was ringing, me and the kids sat outside a pub and the kids challenged me to come up with an idea for Doctor Who. And I don’t know if you’ve ever heard a whole session of bellringing? But they do something at the end. They ring down the bells because the bells have to be put in a position where they kind of put up and then they’re rung down and something happens to the bells, the bells and ding, ding, ding, ding, ding. They start ringing very, very closely together, really, really closely together. And it creates this incredible sound, an absolutely incredible sound. It’s like the lost chord from the beginning of the universe. It just creates this incredible magical hum and… And I got something from that I thought that could be that could be something magical, but that’s a good MacGuffin. I could use that. And of course, we’ve been using bells to fight off evil since time began. So bells…. Bells was something… Going to be very important and also Claire hosts… The bellringers will go on journeys. They’ll go from Surrey to Kent and back for the day back or whatever. And they they use us as a base for a couple of days. So sort of twice a day they come back and I’d have to make 40 cups of tea and then double up 40 lots of sandwiches or whatever. And I joked to them, oh, this is just after The End of Magic came out. I joked that I would make bellringers the heroes in my next book. So so the whole bell ringing MacGuffin was coming together. And it does play a really important part in The Crow Folk and then the time period thing put it into place, because it was still a TV idea. My TV agent, my script agent said, why don’t you set it… Instead of making it contemporary, why don’t you set it in the Second World War? Because that period England… Downton Abbey is an easier sell to Americans and overseas people than contemporary England. And that just… Another sort of thing sorted into place. Okay, great: World War Two and… I’ve moved to Kent. Moving here made a big, big difference because… Moving to the country made a big difference. And World War Two, I mean, it happened here with the Battle of Britain right above our heads. So moving here made all the difference.

MD: I got to say…

MS: Slotted into place and then.

MD: I was going to say, yes, that’s kind of like and it’s an extreme case, isn’t it, of a book research is to actually leave leave the suburbs of London and buy a house and therefore you’ve immersed yourself in it. Must have changed a lot because immersing yourself in kind of a village kind of environment must have given you an amazing kind of sense of backdrop for the book. Right?

MS: Completely. Completely. I mean, one of the nice notes I’ve got from someone who read the book said they said you write nature really well, and it’s just being here. You become a lot more aware of the nature and the surroundings. And then the big thing that clicked into places I got the POV right. In and the original version had been the monster’s POV. With this, I created a created a character called Faye Bright. She’s this young girl. She’s your classic, you know, hero… ingenue, kind of, you know, of character. And it all kind of started to click into place. And going back to I think it was Matt who said, why choose this one? It was just the idea that just would not go away. And I couldn’t figure out why… I’d write other things. And whenever I finish those things, I came back and this idea just kept coming back: a magical wood, a village. And, you know, the other thing is I knew this had series potential, you know, that endless well of story. And for years I’ve been trying to think of a series idea, something I could come back to. Well, could it be a science fiction idea? Fantasy idea, what have you? And this it all clicked into place about a character that was able to grow with the series. You know, she’s 17 in this book, but she’ll grow as it goes on. And it just took a really, really long time to see what was right in front of me. But, yeah, that’s a very, very long answer. But it had a very, very long gestation. It’s been around for 13 years. And ten of those it was kind of swimming about and it was completely wrong. So if anyone out there is thinking, you know, I’ve got this idea and it just won’t gel, just be patient. Just if it keeps coming back, if it keeps nagging you, there’s something in there. There’s there’s gold in them thar hills. And you just have to have the tenacity to hang in there because eventually it will reveal itself.

MD: I think it’s a brilliant, brilliant testament really to that idea. And we often call it signposting where you get to you know, you get an opportunity in life where you can start something new or you can try something and you look at the signposts and the different things that you could do at that point in your life. And if there’s a signpost is always there, it’s always like this is this I’m not going away. I’m not leaving you. If you see that enough times, you really have to follow up. And it sounds like intuitively you went right now. But it’s also about timing, is it? Well, I mean, you couldn’t have written this book five, ten years ago, right?

MS: Well, I did. I did write the book. I mean, that’s the thing. I mean, we’ve got questions about development later on. I finished many, many drafts of the wrong book, you know, that eventually kind of and scripts, you know, TV pilot scripts, feature length scripts that I got to the end of. And they still didn’t work. So, you know, it’s I did write it, but it was it was just wrong. It was it was wrong, wrong, wrong era and not the right character for you to write the right book as well.

If you enjoyed that, folks, there’s more to come. I’m going to be talking about future episodes, things like development, the writing process, writing historical language, historical dialogue and comparing my experiences in crowdfunding and indie publishing and traditional publishing, all that good stuff. So subscribe and don’t miss an episode. See you soon. And happy writing.