83 Books Like Hours of Idleness

I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. In Beneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!

I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. In Beneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!

I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. In Beneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!

I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. In Beneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!

After 15 years as a screenwriter (and some heartbreaking near misses with the big screen), I turned my pen to novel writing, with an adaptation of a script I’d sold four times. My new book, Love and Fury: A Novel of Mary Wollstonecraft, is hot off the press this year and tells the story of one of the great writers and thinkers of the late 18th century, mother of Mary Shelley, and widely regarded as the mother of feminism. I’m drawn to larger-than-life, brilliant, charismatic, complicated figures whose own trajectories have altered our own. I’m now at work on a collection of short stories and an adaptation of Mr. Dickens and His Carol for the stage.

I started my professional writing career in 1987 having founded the small press writers’ magazine, Quartos, which ran for nine years until its merger with Acclaim in 1996 to become The New Writer, as well as authoring several creative writing how-to books – including Horror Upon Horror.  In addition to acting as judge for national writing competitions, I've also tutored at writers’ workshops including The Annual Writers’ Conference (Winchester College), The Summer School (University of Wales), Horncastle College (Lincolnshire), and the Cheltenham Literature Festival.  Having been a staunch supporter of the Gothic Society and a regular contributor to its quarterly magazine, Udolpho, I have also created the series of The Vampyre’s Tale novels.

My life is one of two halves; I spent the first half living in the industrial West Midlands, at school and then training to become a doctor, and the second half living in rural bliss in the southwest of England. For the day job, I’m an anesthesiologist, but my true passion, thanks to my mother being an English teacher, is reading romance and writing my own. I am well-travelled and spend a quarter of each year in France, so my books often have characters from all over Europe as well as characters working in the medical profession or overcoming/ living with a variety of health conditions.

I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.

If you ask people to name a book set in the Regency period, your money is safe if you bet on them picking a Jane Austen. But the Regency was about much more than manners and matrimony. In my own areas of interest – justice, money, and financial crime – everything was changing, with the widespread introduction of paper money and cheques, the recognition that those on trial should have a defence as well as a prosecution, and the creation of modern police in the form of the Metropolitan Police. Dickens made the Victorian era famous, but the decades before good Queen V ascended the throne are equally fascinating.

I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.