Reflections on the Sapere Books’ Writers’ Retreat 2024

The third Sapere Books’ Writers’ Retreat took place at The Priest House Hotel, Castle Donington between the 28th and 31st of October this year.

Adele Jordan, author of the Kit Scarlett Tudor Mysteries and the Shadow Cutpurses Tudor Thriller Series, helped to organise a full programme over the four days.

In Adele’s words:

“For a lot of writers, it’s a solitary world. Whether you are struggling to complete your manuscript or are in love with your story and find it hard to step away, it can’t be denied that for many writers a lot of time is spent in a staring contest with your computer screen, and sometimes we need to step away from that screen.

“For the last three years, a group of authors from Sapere Books have come together to create their own writing retreat, and this year saw our biggest yet. Fourteen authors, who write across various historical genres, came together to talk about all things writing.

Photo of The Priest House Hotel by Andy Stephenson, used under the Creative Commons Licence

“From romance to crime, we plundered the depths — from the importance of accuracy in military fiction, to how we plan and approach clue-filled detective stories. What transpired was not only a shared enthusiasm for our craft, but the reassurance we sometimes need that we are not alone — that there are others out there with the same passion who are keen to inspire and be inspired themselves.

“This year, we had some special sessions led by writers in the group. Highlights included an insightful look into the editing process by Neil Denby, author of the Quintus Roman Thrillers Series, and a debate on the accurate use of poisons in fiction and the importance of research by Linda Stratmann, author of The Early Casebook of Sherlock Holmes Series.

Adele Jordan

“Amy Durant, Sapere Books’ Publishing Director, led a popular Q&A session with authors attending the retreat. We also covered what makes a good title, how to grab your reader’s attention from the very first line, the complications around weaving a narrative with more than one viewpoint, and a friendly critique session where people were invited to bring their own work for discussion.

“Following inspiring chats, some political debates, good food and a very comfortable bar, I was delighted to see so many of the writers come away with big smiles on their faces. Thank you to everyone who came this year and to Amy Durant too for sparing the time to talk to us. Here’s hoping next year’s Writers’ Retreat is not only just as good, but the biggest and best yet!”

Some comments from the attendees:

Ros Rendle, author of The Strong Family Historical Saga and the Moondreams House Romances: ‘Thanks to all attendees at the authors’ retreat week for making it so useful and fun. Particular thanks to Adele Jordan for all the organising, the excellent programme and for keeping us on track with such diplomacy.’

Michael Fowler, author of the DS Hunter Kerr Investigations and Dr Hamlet Mottrell Investigations: ‘[The retreat] has turned the plot of my next book completely around. And it was nice to catch up with colleagues from previous retreats, as well as meet up with new ones.’

Linda Stratmann, author of The Early Casebook of Sherlock Holmes Series: ‘The sessions really stimulated the little grey cells of the brain, and I got some insights which had me rushing off to do some writing!’

C V Chauhan, author of the Inspector Sharma Thrillers Series: ‘It was a fantastic four days! Thanks everyone and a big thank you to Adele for leading and managing the four days so well.’

Researching for THE GIRL WITH FLAMING HAIR by Natalie Kleinman

Natalie Kleinman is the author of THE RELUCTANT BRIDE and THE GIRL WITH FLAMING HAIR: glittering romantic adventures set in Regency England.

Research can come in many forms, particularly when it’s for a historical novel. One of my shelves is heaving under the weight of the books I have covering my chosen period, Regency England. And those are just the research books. Another is overflowing with novels set in that era.

Unlike our predecessors, we also have access to a wealth of information on the Internet, so much that if we allowed ourselves to follow its pull we’d never get any words of our own written, so we have to be selective. All these sources have helped in bringing to the page my latest book, The Girl With Flaming Hair.

That said, there’s nothing like seeing real artefacts. Not so easy, you might think, living as we do two hundred years after the time in question. And here’s where I feel particularly lucky. I live in London with easy access to its plethora of galleries and museums. A while ago I visited the Victoria and Albert Museum and amongst its treasures I found things that not only helped with my work in progress at the time but which also affirmed why I love this period so much. One of my characters in another book is a keen artist, and this Watercolour Box circa 1820 is a particularly treasured image.

Women’s dress changed dramatically after 1785. The rich fabrics and complicated formal shapes of the late 18th century gave way to simple, lighter fabrics that draped easily. These new gowns achieved something of the effect of the simple tunics shown on classical Greek and Roman statues and vases. This beautifully elegant creation is muslin embroidered with cotton thread.

You can see how easy it is to get carried away by research when it can be so enjoyable. I’ll leave you with one more image before I tear myself away – I have another book to write!

This is an evening cap (1818-23) described as silk and net embroidery with silk thread; wired paper and muslin artificial flowers. I SO want one!

 

Click here to order The Reluctant Bride

Click here to order The Girl With Flaming Hair