Golden Sponge-Stick Comp 2012!

Are you a budding young writer?

Could you create the next Flavia Gemina or Falco?

Well, here's your chance.

Burgess Hill School presents to you a national writing competition for all UK and international school and college students, The Golden Sponge-Stick Competition.

To enter the quest for this coveted prize, please read on:

The story itself:
1. Your story should be a Roman story and based in Roman times. It can be set in any part of the Roman world. It can be either a Roman short story or a Roman mystery/detective story/thriller.
2. Your story should be an individual entry and written entirely by you. Please would a parent or guardian/carer sign your entry at the end or on the back to verify this.
3. Your story should not exceed 1500 words in length. Handwritten and typed entries are both welcome but please ensure that the handwriting is legible.
4. Knowledge of Latin is certainly not essential but you should display some historical research and/or knowledge of Roman daily life in you story. If you do study Latin then it would be excellent to use some in your story or dialogue.
5. Your story should have a clear, logical point, a set of characters, possibly including a hero/heroine and ideally a series of twists and a striking ending!

Please send your entries by email or post to:

Jerry Pine
Burgess School for Girls
Keymer Road
Burgess Hill
West Sussex
RH15 0EG

email: j.pine610 [at] btinternet.com

Good luck in your quest for the golden sponge-stick!

COMPETITION RULES AND DETAILS:

1) A panel of judges will choose the winning entries for each age category.
2) The age categories will be split into four:
ages 8 and below; ages 9-11; ages 12-13; ages 14 and above.
3) In each category three prizes will be awarded; the best in each will receive the prestigious golden sponge-stick. Other classical prizes including books and vouchers will be awarded.
4) Entries are welcome now and the closing date for all entries is Friday December 21 2012.
5) The judges reserve the right to keep all entries unless a stamped addressed envelope is included for return of your entry.
6) All winners will be notified of the result by Friday January 18 2012.

Note from Caroline: Although I am posting details of this competition here on my blog, it is run entirely by Jerry Burgess and is his invention. I can neither read submissions nor give advice, but I can point you to my WRITING TIPS page.

And three points of clarification:
1. The competition is open to children from all over the world, not just the UK. But the submission must be in English. 
2. The competition is open to home-educated children as well as those attending day or boarding schools.
3. The cut-off age is 18 (i.e. entrants should still be 18 years old on 31 Dec 2012)

I will be announcing the winners here on this blog in February 2013. Bona fortuna! Good luck!

P.S. If you don't know what a sponge-stick is, go HERE!
P.P.S. You could do this for NaNoWriMo for Kids! 

7 Tips for Writing Historical Fiction

"The past is a foreign country: they do things differently there"

mural in Virginia City Nevada

This famous opening line from L.P. Hartley’s The Go-Between is my key to writing historical fiction. I want my readers to really believe they are in the past and I also want them to learn about history. So whenever I start a new novel, I make use the following items, just as if I were going to a foreign country.

1862 Directory

1. Guide Book
Before I travel to a new country I always read a guide book about the history and customs. I do the same thing with travelling into the past. At the moment I’m reading books about the history of the American Civil War and the Silver Boom in Nevada. One of my best guide books is the 1862 Directory to Nevada Territory, an exact facsimile of the Wild West version of the yellow pages... or should I say 'Google'?

Bret Harte 1836-1902

2. Phrase Book
Just as it’s good to learn a few phrases when travelling to a foreign country, I like to get the speech patterns of the past down. For my Roman Mysteries, I made the language modern but used lots of Latin words. For the P.K. Pinkerton Mysteries I’m storing up choice phrases from the letters of Mark Twain and the diaries of Alfred Doten. (e.g. Americans in the 1800s didn't use many contractions, but they loved the word ain't.) I also listen to audiobooks to get the speech rhythms right, just as I'd listen to some language podcasts before going to Italy or France. One of my current favourites is Great Classic Westerns read by marvellous narrators like Bronson Pinchot. I also love the stories of Bret Harte.

Dressing the west

3. Clothing
Take the right clothes for climate and culture. Wearing period clothing can really get you into the mindset of your characters and make them seem real and immediate. For my Roman Mysteries, I wore a linen stola and woollen palla, plus leather sandals based on a Roman template. For my new Western Mysteries series, I have bought a buckskin jacket and cowboy boots. At the Santa Clarita Cowboy Festival, I learned my buckskin was actually pigskin! And one of my best experiences was a demonstration of what western women wore under their skirts during the 1860s. This took place during a Civil War reenactment weekend in Virginia City at the Tahoe House Hotel. (left)

4. Food and Drink
The 19th century diarist Alf Doten tells me what he ate and drank on the Comstock in the 1860s. When I go to a foreign country, I want to eat what the locals do. Otherwise I may just as well stay home. Same thing when writing about the past. However, I do draw the line at grizzly-bear-cub mince-pies and oysters from tin cans, both dishes which Alf Doten appreciated. And I won't try the Pousse L'Amour drink in Professor Jerry Thomas's book on cocktails published in 1862: How to Mix Drinks, Or: The Bon-Vivant's Companion. If I did, I'd never get anything written!

Anne Dinsdale, weaver

5. Eyewitness - Talk to Someone Who’s Been There
It’s always a good idea to talk to a native of the foreign country if you can. The historical author has a wonderful resource in re-enactment events. Men who dress up as Roman legionaries usually know exactly what each piece of armour is for. Women who wear corsets and hoop skirts can describe how itchy and dusty they get. A Nevada Cowboy Fast draw expert told me why you usually only have five bullets in a six-shooter; it’s safest to leave the first chamber empty. Living history experts are the closest you’ll get to interviewing a person from the past. There are a lot of amateurs and experts eager to share their knowledge with you.

Virginia City rabbit

6. Go there!
Even if your story takes place centuries or millennia ago, it’s always useful to visit the site of the event if possible. You’ll meet people who are experts on the history of their region and who might know things not in books or on the internet. Also, you’ll get an idea of climate: wind, air, light, pressure, humidity, etc. I always like to make a note of what food is in season, what flora is blooming and fauna are migrating. Research is a great excuse to travel. Writing an historical novel gives you lots of fun goals as well as icebreakers for starting conversations with the natives.

7. Souvenirs
Whenever I visit the setting of one of my historical novels, I try to bring back a period artefact. It can be a genuine antique or a convincing replica. There is nothing like handling an object from your time period to bring it alive. If you write for children you can bring some of these artefacts to festivals, libraries and schools and let the kids handle them. My three favourites are my replica sponge-on-a-stick (ancient Roman toilet paper), my as of Domitian (an antique coin) and my brass spittoon from the 1890’s. (left)

paperback cover

These seven factors all contribute to making your setting real and your research fun. Employ them when you write and your book will become a time machine to transport your readers to another place and time.

The first book in my P.K. Pinkerton Mysteries series is The Case of the Deadly Desperados. It is available in hardback, paperback, Kindle and MP3 audio download. 


Book #2, The Case of the Good-looking Corpse and book #3, The Case of the Pistol-Packing Widows, are out, too!

And you can find out about all my books on my website www.carolinelawrence.com

12 Useful Writing Tips for your Second Draft

University of Westminster

On a recent glorious sunny summer Saturday in London I attended a Raindance course with Linda Seger on writing SCENE and DIALOGUE.

Yes, I've been a published author for over a decade but it's always good to have reminders, things to check as you go through a draft. And no, her class wasn't for novelists like me but for screenwriters. Still, I reckoned I might be able to adapt some of her tips. "Great writers are both artists and craftspeople," said Seger at the start of her one-day seminar. "Technique is what you fall back on when the writing doesn't flow naturally."

She didn't really give us techniques, but she did show examples of good scenes and dialogue. While she was speaking, I swished her advice around in my head with stuff I already know from studying John Truby and Blake Snyder, and came up with the following DOZEN USEFUL WRITING TIPS which I will apply to the second draft of my current work in process.

TIP 1. The main job of a SCENE is to move the story forward. If a scene doesn't move the story forward, bin it! A scene should also be specific, accurate and visual thus letting the reader/viewer know WHERE & WHEN the story is taking place. One of Seger's favourite CATALYST SCENES is the murder scene from Witness.

TIP 2. A TURNING POINT in a scene is when circumstances make it impossible for the character to keep doing what he's doing. Most scenes have two but some have more. We watched the Rolling Bus/Oncoming Train scene in The Fugitive.

TIP 3. Don't forget to ESTABLISH where your action is taking place and show the GEOGRAPHY of the location (house, town, spaceship, etc) if necessary. Seger showed us the opening sequence of Downton Abbey as an impressive example of this.

"Crossing the Threshold"

TIP 4. You often get a SHOW STOPPER scene at the end of Act One. Christopher Vogler would call this CROSSING THE THRESHOLD, Snyder would call it Fun and Games and Truby might remind us that act divisions are irrelevant. Seger showed the Family Dance Scene from Billy Elliot. She also talked about what she called MAGIC & WONDER scenes. These all seemed to involve flying and music. Her example was the flying and music scene from Out of Africa.

TIP 5. Be creative in transitions from one scene to another, try using an EMOTION instead of an OBJECT to ease the segue. A relative of Seger's claimed people only have four main emotions: MAD, GLAD, SAD OR SKEERT (scared). However, the emotion Seger chose for her example was more subtle; she showed us transitions showing characters being REFLECTIVE (i.e. pensive) from the Paul Haggis film Crash.

TIP 6. When in doubt, use an odd number of pages/minutes, turning points, or characters in a scene. Seger claims the optimum length for scenes seems to be 3 1/2 minutes or multiples thereof: 7 minutes, 14 minutes or -- rarely -- 21 minutes long. (eg. the Opera Scene in Moonstruck)

TIP 7. Like SCENES, the job of DIALOGUE is to advance the story. Your main character will often have a MISSION STATEMENT (e.g. Jerry Maguire). Truby would call this the PLAN. Sometimes it can be stated quickly and simply.

TIP 8. Seger then breaks her own rule by suggesting an easy trick of making EXPOSITION dialogue more interesting: have two characters question your protagonist, (or bring him the problem), instead of just one. Then they can bicker, interrupt each other, show different agendas, etc. A good example of this is the exposition scene in the lecture hall near the beginning of Indiana Jones and the Last Crusade. (I kept thinking of Blake Snyder's POPE IN THE POOL technique.)

TIP 9. Add excitement to a scene by giving some of the characters ATTITUDE. (Presumably this increases conflict, which is always interesting.)

TIP 10. We all know about using different rhythm, sentence length, vocabulary, dialect, etc, to differentiate one character's dialogue from another but what about introducing SOUNDS? A character could sniff, snort, slurp, grunt, even imitate animals as Helen Mirren and Christopher Plummer do in The Last Station. (A good example of this in literature can be found in True Grit, where author Charles Portis has one of Lucky Ned Pepper's gang make animal noises instead of speaking. It's funny and memorable.)

TIP 11. Dialogue can even communicate a story's THEME, via two characters putting forth their world views: Character A is the mouthpiece of the author and presents the theme, while Character B presents the contra-theme. Seger showed us a scene from Amadeus, where Salieri defends his hatred of Mozart to a priest. Truby would call this the OPPONENT ARGUMENT and suggest that a story's TAGLINE is another way to present THEME. Blake Snyder would argue that this is the job of the OPENING IMAGE. I say: why not use all three?

TIP 12. As the author of a series where my hero has to learn how to understand people, I especially liked Seger's reminder that SUBTEXT in DIALOGUE could be expressed in non-verbal BODY LANGUAGE. She ended by showing us clips from the episode of Frasier where Frasier and Lillith have an innuendo-packed debate on television, with amusing hair-loosening and body language.

Unlike many of my more talented writer friends, writing rarely just flows with me. I need all the techniques I can get. I hope you find some of these useful as well.

For more info on Raindance Courses visit www.raindance.com

Story Structure Masterclass

John Truby gives his Master Class in London 9 -11 July 2011

I have just finished attending my third Master Class with Hollywood script doctor John Truby. I came away with a list of ten practical tips to keep in mind as I plot out my next book. Most of them are things I already know from using Truby's principles over the past dozen years. A few are new to me. 

1. Be aware of the "character web" In a great story, all the characters are connected to each other in some way. This seems obvious, but it will be a good point for me to keep in mind as I start writing my third Western Mystery, which is a detective story set in a community.

2. Not every hero has a "moral need". Especially in children's fiction, the hero's weakness does not have to be one that hurts the people around him. Examples of great heroes without a "moral need" are Rocky, Harry Potter, WALL-E, The Dude and any "travelling angel" like Mary Poppins or Crocodile Dundee. My hero, P.K. Pinkerton, has plenty of psychological weaknesses and doesn't necessarily need a moral weakness. 

3. When writing Detective genre, figure out the opponent's plan first.
This also seems obvious but is easily forgotten. 

4. The evolution of the Story World should reflect that of the hero.
This is new to me and it's going to be exciting to try to do this. I already have some good ideas.

5. 3-track dialogue is a valuable tool.  

Track 1 dialogue is exposition or drives the story; 

Track 2 dialogue presents values and concepts; 

Track 3 dialogue employs key words and symbols. 

6. Make each "reveal" bigger than the previous one.

7. Start the hero's "desire" low and raise it with each "reveal".

8. Indirect & direct approach in dialogue.

9. Figure out the theme and main plot points before you start writing. 
As Truby says, once a story is written "it's like cement. It hardens in your mind and is much harder to fix the problems." 

10. The seven beat structure (with added "ghost" & "story world") rules. 
More detailed that the three-act structure but simpler that the Hero's Journey or Truby's own 22 plot beats, the seven beat structure is the one that works best for me. Its power lies in its accuracy and also in its simplicity. There is plenty of room for "right-brain" creativity, historical detail and real events.

Writing is like baking a cake while at the same time juggling the ingredients and implements. There are so many aspects to keep in mind and you've got to get the proportions and timing exactly right. Every book is a fresh adventure and a new challenge, and it never seems to get any easier. That's why being a writer is such a great job.

Storytelling in Star Trek

Narrative techniques used by the makers of Star Trek

Apart from the fact that one character is called Nero and another Tiberius (kind of) the new Star Trek film really doesn’t have anything to do with ancient Rome or The Roman Mysteries. So why a blog entry about it?

Because I love thinking about the craft of storytelling and Star Trek is an example of Hollywood storytelling at its best. Here are some of the tools the screenwriters used to make it fun, exciting and emotionally satisfying.

Caveat Lector: Spoilers adsunt!

1. RE-BOOTING - By invoking time travel, the makers of the franchise have pulled a brilliant coup. They've literally re-booted the whole series. The writers have taken the characters many of us know and love and by changing events in the future which affect the past they have given them the chance to start a whole new raft of adventures.

2. BREAKING THE RULES - In every sci-fi film ever made we all know that if you go back to the past and meet yourself, then the ENTIRE FABRIC OF THE SPACE TIME CONTINUUM will disintegrate. This film pulls a masterstroke by saying actually it's OK. This means wise old Spock can be a mentor to hot-blooded young Spock. This gives us potential for new set-ups and pay-offs we have rarely seen before.

3. RESPECTING & REFERENCING THE PAST – The original Kirk was randy and brash. The original Spock was logical and conflicted. Bones was a compassionate pessimist. Checkov had trouble pronouncing V’s. The film makers give nods to all these well-known traits of the characters we love, often in funny and clever ways. New fans won’t necessarily get the references, but old faithfuls will nod in approval.

4. HERO’S JOURNEY - The plot follows the classic steps of the Hero’s Journey, as articulated by Joseph Campbell, Christopher Vogler and others: the Hero’s World, the Call to Adventure, the Refusal of the Call, the Mentor (Pike: ‘I dare you to do better’), Crossing the Threshold, Collection of Allies, the Training, etc… However, they aren’t afraid to abbreviate steps in order to keep the pace clipping along. The Training is dealt with in two seconds by the title: THREE YEARS LATER, then jumps to a scene which shows us how brilliantly Kirk has combined skills he learned with his rebellious think-outside-the-box nature.

5. SINK OR SWIM - By taking young recruits and promoting them very quickly we get both a VERY YOUNG CREW and also the SUSPENSE that comes with characters possibly out of their depth.

6. DRAMEDY - The term ‘dramedy’ is applied by some screenwriters to a tense scene is tempered or relieved by humour. This is done brilliantly in many places in the new Star Trek film, but especially in the scene where Kirk has trouble imparting life-or-death-info because his fingers and tongue are swollen by an injection. Bones: ‘You have numb tongue?’ This scene also works brilliantly because the funny obstacle also adds suspense.

7. ARCHETYPES – the film makers use some of our favourite archetypes from myth and legend. The Hero – Kirk - who serves and sacrifices. The Mentor – Pike, who tells the hero his capabilities and calls him to adventure. The Sidekick - Bones - who supports the hero and acts as his conscience. The Trickster or Funny one – Scotty – who does the impossible. The Wild One – Spock – the ally with a wild side who often starts out by battling the Hero. He is destined to become a Sidekick, but not in this story.

8. SCENE DEEPENING – stuff going on in the background adds depth to a scene. E.g. the lugubrious alien in the Iowa bar scene between Kirk and Uhura gives a delicious and funny depth to the scene.

9. SET-UPS & PAY-OFFS – ‘I might throw up on you,’ says Bones to Kirk soon after they meet. ‘I might throw up on you,’ says Kirk to Bones a few scenes later. (Sadly the set-up of a prize beagle transported into space is never paid off.)

10. SUBTEXTS & REVEALS - Whoa! Who's Uhura dating? It's unexpected but not too unexpected. Because they did set it up and for a few scenes there was a nice little subtext. (Subtext is when a character is hiding something and we sense it on an unconscious level. This gives a nice depth to characters.)

11. KEEPING ACTION SCENES SIMPLE - Even in a highly advanced society, nothing gets the pulse pounding like fist-fights (I counted four) and cliff-hangers (at least three). They are also a lot easier to follow than complicated Transformer-esque battles, etc.

12. USE OF SYMBOLS – to name just a few:
1. THE PHOENIX - Kirk is born out of flames, like a Phoenix. Also, the escape pod is expelled from the mother ship as he is expelled from his mother.
2. THE MOTORCYCLE - Put a guy in a leather jacket and on a motorcycle and it says: Rebel without a Cause.
3. THE UNIFORM - Kirk does not put on his Starfleet uniform until the very last few scenes, by then he's earned it.
etc...

However there were at least FIVE THINGS that didn’t work.

1. OLD SPOCK - When Kirk is sent to the ice planet and just happens to meet Spock – HUGE coincidence - this should be a powerfully moving moment, but isn’t. This might have something to do with Leonard Nimoy’s mushy diction: a case of bad false teeth.

2. NERO - We are not really interested in the villain or his motives. The attempt to give him a backstory of his own doesn’t really work. Villains are very hard to get right. My favourite villain of all time is probably The Mayor, from Buffy the Vampire Slayer.

3. LINGERING NEAR A BLACK HOLE – come ON! Everyone knows when a black hole starts you have to skedaddle!

4. NO REVELATION FOR THE HERO - My mentor John Truby talks about establishing your hero’s need at the beginning. This is something in the hero that needs to change near the end, as the hero has a revelation about himself. Kirk’s need is to be less of a brash rebel and more a team player, Spock’s is to control his repressed human anger. Neither of them have a clear moment when they realise their need and then show that they’ve changed, (though there are hints). I think if these beats had been clearer the end of the story would have had more impact.

5. FLAT ENDING – the famous Star Trek monologue combined with the theme song at the very end of the film should have been a transcendent moment, but it was just kind of… flat. Why? Possibly the structure (see previous flaw)... but who knows? Will have to think about it.

A Writer's Life

Sometimes people ask me what its like being a writer.

The room where I write

I am really blessed because about five years ago my husband Richard and I moved to a riverside flat here in London. It has been a lifetime dream of mine to live by the River Thames. To quote the actress Joanna Lumley, 'If I wasn't married to my husband, I might be married to the river Thames.'

We're on the second floor so the Thames is right there, flowing back and forth, two tides a day, always different. There is also a huge sky and my arched window faces northwest so I can see the sunset in summer. Sometimes in the winter when I get up early to write, there is a huge full moon sinking down towards the apartments over on the other side, it makes a silver path in the inky water. There's also a disused docking platform outside our window, from when these flats were warehouses receiving goods from the East Indies. This wooden platform is abandoned by people, but not by birds. At any one time I can see cormorants, ducks, geese, swans, coots and usually a heron.

On Saturday and Sunday mornings the skiffs and eights slide by, a coach with a megaphone urging his oarsmen on up the river. I also see tugboats carrying London's garbage up and down, and the occasional river cruise boat. But usually it's very peaceful and unbelievably quiet. At the moment all I can hear is a goose calling to his friends on the foreshore; it's low tide.

The river is on my left. At first I couldn't take my eyes off it but now I'm content to glance over and reassure myself that it's still there. I sit at a table with my iMac facing a wall covered with images.

I am a very visual person so I need to SEE what I'm writing about. I have images of things like a Roman ship, a calendar of the year 80 AD showing phases of the moon on each day, frescoes, mosaics, film posters and portraits of people I base my characters on. I often use jazz musicians rather than actors to inspire me. I don't know what they're like so I have to deduce it from their faces. For example, in my fourth book The Assassins of Rome, I base a character called Simeon on a jazz bass player called Slim Man. Actually I did see him play in a jazz club and that informed his character as it appears in the book.

I never listen to music or the radio while I'm writing but when I'm not writing music is a huge source of inspiration. I like smooth jazz, chill, lounge, whatever you want to call it. I usually don't like songs with words because that gets in the way of the picture that music alone can create. One of my favourite musicians is Larry Carlton. I've based songs in my books on some songs of his from the album Fingerprints, in particular a song called Slave Song which is Nubia's theme.


On either side of my chair is a stool with papers, letters and reference books in piles. On the wicker coffee table behind me are more piles of papers, at the moment they are mixed with postcards and receipts from a recent research trip to Athens.

Richard's map of Ostia Antica

My husband is a non-fiction writer and graphic designer and he works out of the living room next door. He does all the little maps and diagrams at the front of my books. We have a game where he brings me what he's done in his mouth – like a dog – and drops it on my desk. I mark up the changes and tell him to 'fetch!' A moment later he is back, wagging his tail, with the latest version in his mouth.

The one thing a writer must have is self-discipline. You have to fashion a routine that works for you and this can take years. Over the five years I've been writing full-time, this is the routine I've developed.

I get up between 5.00am and 6.00am, go straight to the computer and write until 10.30, 11.00 or 12.00 noon at the latest. Of course I get up to make a cup of coffee or get some toast and an apple, and I dress in phases (preferring to stay in comfy track trousers and sweatshirt as long as possible), but by the time Richard is up and the post arrives and the phone starts ringing, I have put in five or six hours. Then I'm done with the creative, focussed part of the day.

I have made a rule, which I occasionally break, never to look at my emails until after noon. Once I'm online I'm caught up in the demands and business there.

Late mornings I either go out to the gym or go for a long walk. Writers sit around all day so you have to be self-disciplined to keep fit. Walking is one of my best ways of getting ideas or solving problems. I'll put on a jazz tape or John Truby story structure tapes and walk and ideas just come to me. I have a circuit I do along the river, over Battersea Bridge, back along the river and over Wandsworth Bridge. It takes me about an hour and a quarter and usually I come back with my problem solved or a great idea for a future book.

"Vespasian" at the BM

I have been paid an advance for ten more books in the series and I have little folders on my computer for each one. I don't know exactly what each book will be about but I have a working title and setting and at least one idea for each. If I get a good idea while I'm walking I'll decide which of the books it would fit best with and put it on my ideas document for that book. If I can't decide which of the books it would be best for, I have one hold-all document called Ideas for the Future. Every time I get a good idea or come across a great turn of phrase or see a fascinating character I type it into this document, which is now 144 pages long. Running out of ideas is NOT one of my worries.

Want an example? Here's just one of the hundreds of quotes I've jotted down in this document. It's a quote by Buffy creator Joss Whedon: 'What's your favourite movie? What's one of your most memorable experiences? Now mix them...'

After my walk I have lunch, usually a cheese sandwich and apple, or a salad.

Then, in the afternoon I maintain my website, and answer emails. They're usually either from fans or requests by schools for me to visit. I limit my months for UK school events to two per year. It's really hard work and I can't write when I'm doing promotion.

A couple of afternoons per week, during my writing period, I go to the cinema. I love movies and all my writing methods are based on screenwriting techniques and story structure used in films. Here in London we have the NFT, the National Film Theatre, so I can go see classics like Nashville and La Dolce Vita on a big screen with lots of other film buffs. On Valentine's Day I'm taking my husband Richard to see Casablanca. I love the fact that in London you can see hundreds of good films, and for a reasonable price, if you go before 4.00pm.

replica wax tablet

Another thing I love about London are the Roman re-enactment events. The British Museum and Museum of London are both great for these. I've made many friends and now can order anything from a gladiator pen-knife to a wax-tablet.


When I am doing UK promotion (usually March and October) or overseas promotion (Spanish international schools in May) my day is completely different and I have to abandon writing, though I do jot down thoughts in my little notebook. I usually can't wait to get back to my riverside flat and my writing and my movies.

My holidays are spent doing research. In the past few years I've been to Rome, Ostia, Pompeii, Sorrento, Naples, Rhodes, the Turkish coast and Athens. My holidays are devoted to my writing, but my writing is like being on holiday. So that's OK.

P.S. The Roman Mysteries books are perfect for children aged 9+, especially those studying Romans as a topic in Key Stage 2. There are DVDs of some of the books as well as an interactive game. I am also writing a series called The Roman Mystery Scrolls for kids aged 7+ and the P.K. Pinkerton Mysteries...