What the Dickens? Sunday Post interview with yours truly about The Author Who Outsold Dickens with Sally McDonald William Harrison Ainsworth is the 19th-Century writer most of us haven’t heard of. Literary historian, editor and novelist Dr Stephen Carver tells Sally McDonald The Honest Truth about why the great man is so unknown nowadays. Why did… Continue reading Forgotten Author Who Once Outsold the Literary Giant – Interview
My latest for the Wordsworth Blog... Well, here we are again. With the festive season comes a slew of costume dramas and literary adaptations from the BBC, most prominent among them new versions of A Christmas Carol and Dracula, hot on the heels of The War of the Worlds. This winter, dark Victorian fantasy rules,… Continue reading A Christmas Carol 2019 – Review
My latest for the Wordsworth Blog, on writing tips from M.R. James... ‘There must be something ghostly in the air of Christmas,’ wrote Jerome K. Jerome in the introduction to his darkly comic collection Told After Supper (1891), ‘something about the close, muggy atmosphere that draws up the ghosts, like the dampness of the summer… Continue reading How to Write the Perfect Christmas Ghost Story
A new post for the G.W.M. Reynolds Society... As a child, I possessed a morbid passion for nineteenth century gothic literature. I had inherited this trait from my mother, a Catholic turned Spiritualist with a taste for true crime and horror film and fiction. My parents had me late in life and my grandparents were… Continue reading G.W.M. Reynolds & Me
THE AUTHOR WHO OUTSOLD DICKENS: The Life and Work of W.H. Ainsworth By Stephen Carver Published by Pen & Sword History, January 2020 Now available from Pen & Sword here William Harrison Ainsworth (1805 – 1882) is probably the most successful 19th Century writer that most people haven’t heard of. Journalist, essayist, poet and, most… Continue reading The Author Who Outsold Dickens
A review of my latest book, The 19th Century Underworld, published by Pen & Sword History, by the inestimable Dr. Stephen Basdeo... Everyone nowadays seems fascinated by the Victorian criminal underworld. From Ripper Street to Peaky Blinders, it seems people cannot get enough of murdered sex workers and brutal yet gentlemanly gangsters. We all now… Continue reading Review: The 19th Century Underworld by Stephen Carver
A new article for the Wordsworth Editions Blog, touching upon the subject of my next book from Pen & Sword History... When considering an author as culturally monolithic as Charles Dickens, it’s easy to forget that he wasn’t born the national author, anymore than Shakespeare was. As a young journalist in the early-1830s, although already… Continue reading The Newgate Controversy
The current fashion for talking to the dead started about four years ago. While Europe was in revolt and the Chartists were falling apart, across the Atlantic the veil was lifting. It began in a desolate farmhouse in the Hudson Valley, where the Fox Sisters, Kate and Maggie, struck up a dialogue with an entity that had been nightly tormenting the family by banging on walls, doors and windows. They asked the presence questions which it affirmed or denied by rapping, clearly indicating some sort of intelligence. The girls called it ‘Mr. Splitfoot.’ They said it was the ghost of a murdered peddler.
Jack Vincent used to be famous, part of a rising generation of literary authors that included Dickens, Ainsworth and Thackeray. Now he’s a nobody, scratching a living as a freelance journalist writing for a penny a line. Worse, the only job he can get is on a troopship bound for the frontier wars of colonial Africa. Outed as a friend of Dickens at the captain’s table, Jack recounts the events that have brought him to this fallen state. It is a journey that begins in the Marshalsea debtor’s prison and ends in the shark infested waters of the Western Cape and his berth on the HMS Birkenhead, the Victorian Titanic.
Here’s something that comes up a lot when I'm discussing structure with early-career novelists... When starting a novel, you essentially have two structural choices. You can begin at the beginning, and move forward using a linear narrative, or you can begin in medias res – ‘in the middle of things.’