A winter let in Sandbanks

Sandbanks in Dorset is famous for its eye-wateringly high house prices. A narrow peninsula jutting into Poole Harbour, it boasts golden sands, vast mansions, stunning views across Poole Bay to the Purbeck Hills and a plethora of luxury yachts sailing by. A chain ferry clanks across the harbour mouth to Studland all day long, so within a few minutes you can be strolling along glorious Shell Bay, one of the loveliest beaches in the country. 

Houses at Sandbanks don’t come up for sale very often but there’s bound to be loads of interest in the latest, a five-bedroom beauty that’s right on the beach and has been in the same family for 44 years. The only downside is that it costs £5 million.

If I owned a house at Sandbanks (if only) I’d never move. My family lived there for six months when I was 11 and it was completely glorious. Our garden backed straight on to the beach and me and my sister spent hours building sandcastles on the shore, skimming stones and leaping into the waves. We could see the sea from our bedroom and watch dinghies tack back and forth as we did our homework.

Our house was a very ordinary-looking white-washed bungalow called Flintshore. We rented it over the winter, when the beach was deserted and rents were low. Sadly, when Easter came and the summer rental season burst forth, our short, blissful sojourn at Flintshore was over.

Funnily enough, Flintshore hit the headlines a few years back when it went on the market for a cool £4 million. With a location like that, I’m sure some billionaire or other snapped it up in a trice.

Jane Shilling, middle age and House With No Name's birthday

If I’m honest, the main reason I booked to hear Jane Shilling’s talk at the Oxford Literary Festival was because she’d been teamed up with Rachel Cusk.

Cusk is the writer whose recent memoir about her divorce, Aftermath: On Marriage and Separation, has prompted a flurry of criticism and debate.

But at the start of the discussion, the audience (like me, mostly middle-aged and female) was told that Rachel Cusk had had to pull out. No reason was given, but instead, the session on Women in Middle Age would be Jane Shilling in conversation with writer and journalist Rebecca Abrams.

Abrams got the event, held at Christ Church, off to a cracking start by telling us that while Shilling calls her book about middle age “a monument to introspection,” she reckons it's “a call to arms.” She also referenced two brilliant quotes from a couple of Hollywood stars. While Doris Day said “the really frightening thing about middle age is that you know you’ll grow out of it,” Lucille Ball declared that “the secret of staying young is to live honestly, eat slowly and lie about your age.”

Jane Shilling began writing her own book, The Stranger in the Mirror, in her 40s, when it suddenly struck her that she was becoming middle-aged. Her frank memoir garnered plenty of headlines when it came out, largely because of its cover (above). There can't be many 40-something women who would countenance posing naked in front of a mirror - but that's what Shilling did.

“It’s very painful to relinquish youth,” she said. “But part of living a good middle age is to embrace it. At some point you arrive at the realisation that what remains is more important than what has been lost.”

And despite newspapers’ stereotypical view of middle-aged women as either desperate to look younger or grumpy old women, she reminded us all that the middle aged are in the majority. Not only that, interesting role models are “coming out of the woodwork” – women like Helen Mirren, Tilda Swinton and Cate Blanchett.

Ending the discussion on an upbeat note, a woman in the audience piped up and said she wanted to “put a more positive spin on things.” Middle age isn’t all empty nests and worries about ageing, she said. “I have just hit 50 and there are some very good things to be had."

PS. Today is House With No Name's first birthday! It seems no time at all since the very first post, but thank you so much to everyone who's read House With No Name over the last 12 months and here's looking to the next 12.

William Boyd at The Sunday Times Oxford Literary Festival

The massive marquee at Christ Church was full to bursting for William Boyd’s talk at the Oxford Literary Festival on Saturday night. The event was a sell-out and fans were so keen to hear him talk about his latest novel, Waiting for Sunrise, that an orderly queue formed outside – just in case there were any empty seats.

In a way, Boyd, with slicked back hair and wearing an immaculate dark suit and dazzling white shirt, was back on home turf. He spent three years as an English literature tutor at St Hilda’s in the 1980s and said his time there coincided with the start of his writing career. In between, he told us, he’d done just about every writing job going – “from restaurant criticism to Hollywood movies.”  He’s written 17 novels to date, along with a myriad of screenplays and short stories, and been awarded the CBE.

For me, the most enthralling part of Boyd’s hour-long talk came when he outlined the details of how he writes. Famed for his amazing settings – from 1920s Berlin to Africa to Vienna before the First World War, he admitted that he doesn’t necessarily go to these places before writing about them.

“It’s the power of your imagination that makes it work and makes it feel real,” he said. “I send my imagination as a proxy traveller, and recreate a city in my mind. I have never worried about visiting a place. I do it from my armchair. Sometimes the use of imagination is more true than the documentary evidence that your eyes and ears provide you with.”

He reckons you need three things for a novel – the ability to express yourself lucidly, a relish for observation (“I take enormous pleasure in the cinema of everyday life”) and a well-functioning imagination.

It was fascinating to hear that before Boyd writes a word of his novels, he’s often spent two years planning them and thinking them through in very precise detail.

“I have a particular working method,” he explained. “Iris Murdoch talked about periods of invention and periods of composition. I have a long period of invention and maybe two years will go by before I start writing. I maybe travel a bit, acquire a small library of books that will help me, fill notebooks of ideas and think about the characters.

“It’s only when I know precisely how the novel will end that I start on page one and the period of composition begins. I write with confidence because I have done all my thinking and have a very clear plan. I add flesh to the bones but the actual writing of the novel is done, not with ease exactly, but with peace of mind.”

Unlike many writers and thanks to his tried and tested method of writing, he never finds his characters suddenly doing something he hadn’t expected them to do either. “My characters are my creatures and do my bidding,” he said firmly.

Elizabeth Noble, Jane Fallon and Fiona Neill at The Sunday Times Oxford Literary Festival

Three bestselling writers. Three great novels. And three very different pairs of shoes. Those were the first things I spotted when I went to an enthralling Oxford Literary Festival talk by Elizabeth Noble, Jane Fallon and Fiona Neill yesterday.

So, just for the record, Noble wore beige ballet pumps, Fallon sported strappy Louboutins (the distinctive red sole was a bit of a giveaway) and Neill was in Converse.

The trio have given talks together before and this one, chaired by Oxford academic Sally Bayley and titled Emotional Flashpoints in Women’s Lives) was a cracker. I’ve read novels by all three novelists and they really are at the top of their game. Fallon was there to promote The Ugly Sister, her book about sibling rivalry, Neill spoke about What the Nanny Saw, set during the banking crisis, while Noble’s latest, Between a Mother and her Child, explores the impact of grief on a family.

The conversation flowed easily as the writers talked about the backgrounds to their novels, how much research they do and how they write. “I write erratically,” admitted Noble. “I am more productive in panic - I have very tidy drawers towards the end of the writing process.”  Ex-journalist Neill sits down to write once she’s taken her children to school and says she “bores” friends by talking about her plot-lines (I’m sure she doesn’t). Meanwhile Fallon, whose partner is Ricky Gervais, doesn’t show anyone a word till it’s finished. “At the very end I give it to my best friend Anna,” she revealed, “because I know she’ll never criticise anything I’ve written.”

Fallon writes in complete silence, Neill sometimes writes in a local café (a la JK Rowling) and Noble often switches on the TV and works with her back to it because she likes “ambient noise.” 

When it comes to planning their novels, all three women write a synopsis before they start and know what their endings will be. Asked for tips by a wannabe writer, they came up with the following insights:

Neill: “Write a five-page plot synopsis and make sure there is a beginning, a middle and an end. Write three chapters and then start getting feedback.”

Fallon: “Keep writing. I spent years saying I wanted to be a novelist and writing bits of novels. There came a point when I just had to keep going.”

Noble: “Let your work be read. It’s not going to get published if you leave it in your knicker drawer. Come up with a clever idea of explaining your book and find an agent.”

From intrepid reporter to chronic worrier

What on earth has happened to me? I’ve trekked across the Masai Mara to discover who murdered a beautiful young woman in the prime of her life, stood on the doorsteps of drugs barons and murderers and covered court cases that gave me nightmares. Yet, here I am having sleepless nights over the slightest things.

The bottom line is that I need to give myself a firm talking to – and stop all this worrying nonsense. I was thrilled a couple of weeks ago when Yummy Mummy? Really? asked me to write a Mother’s Day meme. As I said at the time, I didn’t have a clue what a meme actually was but once I’d worked it all out I jumped at the chance. Anyway, one of the questions was “what's the hardest thing about being a mum?”

Without even thinking I wrote the following. “Worrying. I always reckoned being a mum would get easier as my children got older, but now they’re almost grown up I worry about them even more.”

I didn’t bat an eyelid as I typed the words but reflecting in the cold light of day I realised I was on to something. The carefree girl I once was has turned into a worrier of the first order. For goodness sake, I worry about everything – from my teenage son’s scary bike antics to his dreaded exams to the fact that my daughter’s currently living it up in Berlin with friends. It all sounds wonderful, except she’s staying in a youth hostel dormitory with people she doesn’t know.

I’ve met lots of fantastic bloggers online recently, most of them years younger than me and many with babies and toddlers to look after. As I read about their chronic lack of sleep and how on earth you ever find time for yourself and looking chic on the school run I’m torn in two. I feel half relieved that my 24/7 parenting days are over and half nostalgic for those far-flung times. I made a right meal of them but the truth is that I don’t think I worried quite as much then as I do now.

Ian Rankin at The Sunday Times Oxford Literary Festival

The sun’s shining, the blossom’s out and one of my favourite literary events of the year is underway.

The Oxford Literary Festival always attracts a galaxy of writing superstars and this year is no exception. Last night I hurried down to Christ Church to hear bestselling crime writer Ian Rankin in action. He was there to talk about The Impossible Dead, the second in his gripping new series featuring Inspector Malcolm Fox, a cop who investigates other cops. But he also spoke about Inspector Rebus’s retirement, his view that “a cop is a good tool for dissecting society” and his long abandoned PhD on the novels of Muriel Spark.

Like me, several members of the audience did a double-take when they walked into the grandly-named Master’s Garden Marquee. Ian Rankin was already ensconced onstage but instead of looking at notes he was busy filming us lot. The reason, he explained later on, was that Alan Yentob is featuring him in a forthcoming edition of BBC2’s Imagine series and has given him a video camera to capture his writing life. Considering that novelists spend most of their time shut away by themselves, Rankin reckoned that a film of him out and about in Oxford would make more interesting footage.

Tantalisingly, Rankin waved around the first draft of his new novel, due out in November. The contents are so top secret, he said, that he’s not even allowed to reveal the title yet. But he lessened the blow by giving us a different exclusive. He read an extract from a short story set in 1930s America, the first draft of which he’d finished the night before. “I loved doing it,” he said. “I didn’t realise what fun it was writing American PI (private investigator) stuff.”

Other revelations along the way included the fact that he chose the name Rebus because it means puzzle – after all, if Inspector Morse’s name is inspired by a code, why shouldn’t Rebus come from a puzzle? He revealed that his new protagonist, Malcolm Fox, is far more like him than Rebus. “I like writing about his family – his dad and his sister,” said Rankin. “And Fox is open to seeing Edinburgh as a beautiful city whereas Rebus sees it as a series of crime scenes.” Most telling of all, Rankin admitted that he feels a sense of unfinished business about characters like Rebus, his sidekick Siobhan and the notorious Edinburgh gangster Cafferty. Does that mean they might one day reappear in his work? Like millions of Rankin fans, I do hope so.