Sunday, 19 May 2019

Stormy times......


Another fabulous image from Tez Marsden -- this time from Pwllgwaelod.  Click to enlarge.

Check out his gallery for more wonderfully evocative images from Martha's world.......

Wednesday, 15 May 2019

The big 2019 dramas


Here is an interesting list of the big TV dramas for 2019 --  some of them have of course already been shown, or are in progress....

https://www.radiotimes.com/news/tv/2019-05-14/best-tv-shows-2019-coming-soon-drama-comedy-documentaries-air-dates/

Can we pick up on any trends?  It's not easy -- one might be a trend towards more modern or present-day dramas, which might be explained partly on cost grounds alone, since they are much cheaper to make than costume dramas.   But the big shows -- like "Good Omens" will be so complex that they will cost well over £1million per episode anyway.

Is there a drift away from costume drama?  Difficult to say -- there are some big costume dramas in the mix, including Gentleman Jack, Summer of Rockets (is there a trend towards post-WW2 and Cold War dramas?), The Luminaries, War of the Worlds, Peaky Blinders, Poldark (the final series), and Year of the Rabbit.  Lots of cop shows / crime shows  written to a familiar formula -- there seems to be an insatiable demand for thrillers with nasty (and complicated) villains, troubled police and unconventional investigators.

Witch this space....

PS.  Several others missed off the Radio Times List:  Beecham House, Catherine the Great, Dracula and Tom Jones

Friday, 10 May 2019

Moments later.........


This is one of my favourite portraits from Steve Mallett's fabulous photo gallery of "Martha Morgan" images -- featuring Rhiannon James in the role of the heroic heroine.

This is a reminder of one of the most difficult passages in the saga -- because moments later Martha enters the kitchen with the basket of logs, trips over and loses her baby.  No man can ever hope to portray a miscarriage and its aftermath in print -- and it was probably presumptuous and foolhardy to think that I could do it with due respect and sensitivity.  But that is how the story came to me, and I had to try.........


Wednesday, 8 May 2019

Enchanted Land


Just for fun.  I have discovered this amongst assorted ancient papers.  It's a little poem I composed in 1994 as a Prelude to a "Celtic Entertainment" based on local mythology and folklore, presented here in Newport during our 1994 Spring Festival.  Enjoy!

ENCHANTED LAND

Now come to our enchanted land
Where dragons roar and monsters roam
And down upon the golden sand
Amid the breakers and the foam
A water horse looks out to sea;
For there amid the noonday haze
A mermaid combs her hair, and she
Knows all the distant ocean ways.

On sunlit crags sit holy men
Like David, Brynach and their friends
Whose shadows now and voices then
Have blessed us all, and made amends.
And heroes, giants, princes, kings
Ride through the flaming sunset west
With silver spears and golden rings
Upon some grand Arthurian quest.

The sun goes down, and now we hear
The phantoms of the deep dark night.
And goblins growl, and in our fear
We dread the witch with second sight
Who flies across the winter moon
And casts her spells and leaves, they say,
Poor folk bewitched; and as they swoon
The devil talks while others pray.

The hounds of hell, do they exist
As great black beasts, with glowing eyes?
Who hears the battles in the mist
Or overhead, in moonlight skies?
Who sees the flickering candle glow
Beneath the trees or by the stones?
Who knows the knocking? Who can know
The dusty rattle of dry bones?

But now the growing light of dawn
Sends all our morbid fears away.
We wake and stretch, and with a yawn
We open eyes and see the day.
The fairy folk have come to town
With magic food and purest gold,
With dainty shoe and jewelled gown
And gifts for mortals young and old.

We know the eagle and the wren,
The dancing stones, the prancing steed.
We know the giants and the men
Of mighty word and mightier deed.
Hear Shemi Wad and Aby Biddle
Who tell tall tales of days gone by
While fairies come and madly fiddle
For dancers under azure sky.

Where is this land of moon and sun,
And dark and light, and present past?
Where’s golden girl and man of fun
With magic first and truth at last?
Why, this is our enchanted land,
And nothing is quite what it it seems.
We have our ways, and by our hand
We weave our magic in your dreams.


Brian John
Prologue to a Celtic Entertainment, 1994.


Is Amazon trying to kill off small publishers?


This is based on a post I did a couple of years ago, after Philip Pullman complained about heavy discounting on cover prices.

Virtually all authors have stories of the impact of price cutting at the point of sale. One of the worst offenders is of course Amazon, which is a monster so big that we have to deal with it, like it or not.

Let's take a typical novel from the Angel Mountain series.    I'm a small publisher who also happens to be a self-publisher.  If my print run has been 2,000, the invoice I have to pay is around £4,000 and the printing price per book is about £2.  The cover price will generally be set at £7.99,  giving a 4x markup.  That's smaller than a large mainstream publisher would be satisfied with, because I have low overheads and no author royalty to pay to somebody else.  My profits come from sales, to the book trade at 33.3% discount on the cover price, and to wholesalers at 45% discount.  

When I sell my novels to Amazon, I use a scheme called Amazon Advantage.  The retail monster hardly ever orders more than 6 copies of a title, even for a book which is brand new.  I have to pay the full costs of packaging and postage.  Amazon insists on a 60% discount and insists on taking 3 months to pay following acceptance of the delivery. If I want faster payment, I have to give the monster a 65% discount. So on a £7.99 paperback, it pays me just £3.19, allowing it plenty of room for discounting the book and for selling it for under my RRP. 

The next piece of iniquity is that Amazon pretends, for the sake of its customers, that it has just one copy left of this particular book, and that there are more copies on the way. That's being rather economical with the truth. The real situation (at least, until recently) is that it only ever has two or three copies in stock, and that when one is sold, it orders another copy from me as a replacement. 

The huge Amazon warehouse at Ridgmont in Bedfordshire  (which used to do all the ordering for books) may contain a lot of stuff, but it sure as eggs doesn't hold many copies of my books! Then it gets even worse, since when I get my order for one new copy to be sent off, I have to deal with it immediately (if I don't the monster starts hassling me straight away) and as mentioned above I have to pay the package and postage costs, in this case amounting to £2.40. So to send one copy of the book off to Amazon, it costs me  £2 + £2.40 = £4.40, in exchange for which it pays me £3.19. Not a very good commercial deal? Too right.......

Recently I notice that there have been two changes in the Amazon business model.  For a start, they have now opened up several vast warehouses in different parts of the UK, which operate as independent purchasing centres.  A few months ago I received three orders for the same title -- with each copy to be shipped to a different warehouse.  I complained about this, and got the response that this was a temporary situation, with an assurance that ordering would be centralised once again into the Ridgment warehouse once things had settled down.  That has not happened -- I still get very small orders from different Amazon warehouses all over the UK.

The second change is that they have clearly changed their algorithm so that  for "backlist" titles (which sell in small quantities, and intermittently) they are maybe now not holding any stock at all -- and expect suppliers to ship off single copies to them immediately, as and when orders come in from customers.  They have also started sending back "requested returns and returns of overstock inventory" to suppliers, with no discussion and no advance warning.  Today, without any warning and with no explanation,  I received a parcel containing two copies of one of my most recent and best-selling titles -- and I wouldn't mind betting that before long I will get an order for one copy of the same title from the same warehouse.

The only reason for selling books through Amazon is that I get publicity from it -- the Amazon web-site is where most initial Google searches end up. If you are a new writer and you think it's brilliant if Amazon is "prepared to stock" your paperback or hardback books, think again. You probably won't make a single penny from the deal, and had better budget for considerable losses.  

Tuesday, 7 May 2019

Literary Atlas Wales


The big Literary Atlas Wales project appears now to have finished, and the essential data is all on the web site.  It has been a peculiar exercise, partly geographical and partly literary, largely focussed on 12 selected novels which are probably the standard texts examined in literature courses in the Welsh universities.  (The locations for these are shown by red dots on the map above.)  We can argue till the cows come home about whether these 12 texts are "representative" of English-language literature written or based in Wales -- but they were not chosen to give visitors a cross-section or a rounded impression of what makes Wales tick.  As we can see, none of the 12 novels was based in west Wales -- a strange omission since Pembs and Carms are not exactly literary deserts......

But "literary tourism" does not seem have been the objective of the organizers of the project -- and it's interesting that Visit Wales does not seem to have been associated with the project at all.  There will be varying opinions on whether £500,000 of taxpayers' money has been well spent.  Was the project really innovative and worthwhile, or was it an academic indulgence?

This is a statement of the objective of the project:

Literary Atlas is an interactive online atlas of English-language novels set in Wales.

Literary Atlas also includes maps which locate the main geographical locations of all English-language novels in the Welsh collections of Cardiff University, Swansea University, and the National Library of Wales. Explore these locations.

Literary Atlas includes 'distant' maps and 'deep' maps which locate all geographical references (or 'plotpoints') in twelve English-language novelsprimarily set in Wales.

Literary Atlas includes artistic 'maps' of these twelve novels which offer unique and provocative interpretations of what we might call the 'literary geographies' of these books.

Literary Atlas includes maps which locate all the blue writer's plaques which commemorate the links between particular geographical sites and famous Welsh writers.

Through using 'distant', 'deep' and 'artistic' variations on mapping, Literary Atlas hopes to stimulate new understandings of literature and place and the geographical nature of the human condition.

Anyway, there is some interesting material on the web site, particularly associated with the "library map."

http://www.literaryatlas.wales/en/library/#library

As we can see, 571 "Welsh" novels were published between 1800 and 2019.  That's quite an impressive output.  On the interactive map you can click on any dot and see the author and title.  But Wales's literary output was very slow to start with, since only 16 novels were published between 1800 and 1900:



After 1990, things started moving, with 315 novels published between 1900 and 2000:


And the rate of publication speeded up even more after the year 2000, with no less than 254 novels published in the first nineteen years of this century. 

 

There are plenty of talking points here; and I imagine that there are scores -- if not hundreds -- of other English-language fiction titles written and published in Wales that do not appear on any databases or in the publishing catalogues of the main publishers.  Many self-published or small press titles are omitted.   However, to their credit the organizers of the project have said that if readers or authors send in the details, other titles can be added to the database and the map.

One interesting question relating to the 254 novels (at least) published since 2000 -- in the era of subsidies and publishing grants. How many of these modern titles are truly commercial, in that reasonable numbers of people actually buy them and read them?  Another interesting map would be one showing sales figures for the titles plotted -- but perhaps that would be too much to ask........


 

Friday, 26 April 2019

Better than Poldark, different from Game of Thrones....


We have been pondering on the “unique hook” which might bring in a production company or broadcaster to take on the Angel Mountain Saga.  

In any pitch there is a need to demonstrate that your project has quite enough uniqueness in it to make it appealing.  In the case of On Angel Mountain, a young widow sees off all her enemies one by one — and kills some of them with her own hands — with the aid of her own “special powers” and the assistance of a wizard, an eccentric assortment of guardian angels, and a strange raven which is the spirit of a sacred mountain. By comparison, Poldark is distinctly mundane…..

This is an interesting list:
http://britishperioddramas.com/lists/best-new-british-tv-period-drama-series-2019/
Worth looking at carefully to see what the USP might be in each case…..

It's a salutary exercise to look through this list and ask what the USP might be in each case.  Anything by Julian Fellowes is wonderful.  Popular and even perennial themes involve posh people doing silly posh things, quirky troubled detectives solving crimes, poor people having a hell of a tough time, young people coping with rites of passage, etc.

Our project migh be suffering a bit -- in a negative way -- from the Poldark effect. Commissioners may think On Angel Mountain is too similar — same period, same rough coastal landscape etc. Poldark is doing its last season this year — and although the BBC has hyped it up, it's success has not been spectacular, and while there has not been a big fall-off in viewing figures, many critics and outside observers have started to feel bored.   By all accounts, the actors have been bored too, and have wanted to go off and do other things.

Friday, 19 April 2019

Good Friday at Ceibwr


I thought I should share this one.... the thrift is just starting.  Give it a week or so more and it will be at its best along the coast path.....

Monday, 15 April 2019

Martha the shipowner


Martha was a shipowner...........

We attended a jolly event the other evening, commemorating the voyage of the "Albion" from Cardigan to New Brunswick in 1819, carrying 160 souls from Ceredigion who were intent on making a new life in a new land.  Mike Francis's lovely painting of the brig was inspired by the work of the Russian artist Aivakovsky.

No painter has ever mastered the art of painting waves in the same way as Aivakovsky -- how on earth did he manage to capture their translucent quality?  Sheer genius.  The painting below is one of his best.

Sunday, 14 April 2019

Game of Thrones and the Northern Ireland economy


Here we are in the midst of the latest hype -- the last series of Game of Thrones is just starting, and the marketing process is well under way.......

Three years ago the economic impact in Northern Ireland was estimated at c £150m, and the figure by now will be substantially higher.  Tourism NI has worked hard at flagging up the key locations and in promoting a vast range of "ancillary" tourism-related activities, but of course there are very large economic impacts too in all sectors of the supply chain.  Filming a big series is an immensely complex business, providing incomes for many thousands of people in the filming neighbourhoods and much further afield.
  

For years I have been trying to flag up the potential significance for Wales of a big drama series set in Wales and telling the story of Wales --   but neither BBC Wales nor Visit Wales seems particularly interested, and I am not sure that the Welsh Government is either.

People keep on complaining about the very poor media portrayal of Wales and its story (see below) but nothing ever seems to be done about it.  There is more to Wales than natural history and rugby.

Fine words on all sides, but no initiatives.  The word "irritating" doesn't even begin to cover it........

https://www.iwa.wales/click/…/11/bbcs-portrayal-wales-welsh/

https://nation.cymru/…/the-pitching-in-disaster-shows-that…/

https://www.walesartsreview.org/sex-education-accidental-e…/

https://www.bbc.co.uk/news/uk-wales-politics-47310251#

https://www.bbc.co.uk/news/uk-wales-politics-44385773

https://www.walesartsreview.org/tv-the-story-of-wales/…

https://nation.cymru/…/we-must-fight-back-against-a-popula…/

https://www.bbc.co.uk/news/uk-wales-politics-47231099…

https://www.walesonline.co.uk/…/raymond-williams-question-w…

http://www.bbc.co.uk/news/uk-wales-42871831

https://theconversation.com/were-seeing-plenty-of-welsh-loc…

Wednesday, 10 April 2019

Children of Nature - Soundtrack



Why this soundtrack here?  No reason, other than that I love it -- my favourite film of all time, set in Iceland.  Wonderful simple story and a fabulous soundtrack.  Enjoy.......

Sunday, 7 April 2019

Another sleeping giant.....


We have spent some time on this blog pondering on the sleeping "Mother Earth" or the sleeping goddess -- with reference to Carningli.

But there are those who are equally fascinated by Carn Ffoi,  adjacent to the Bedd Morris road at the eastern end of town.   The above picture has been much discussed on Facebook, and some folk are very convinced that what we are looking at is a sleeping giant, with head at the highest point, folded arms (maybe) and then rather large feet quite a way down the slope.

Some people see slumbering figures everywhere.......


Cinema and Welsh national identity

I came across this -- from 2007, but nonetheless still relevant. 

I had not realised that these film categories existes:  Welsh Coming-of-age genre films, Welsh Magical Realism, Welsh Grotesque cinema, the Welsh Chapel 'Gothic'.  So now we know.......  


ABSTRACT

The National cinema of Wales is a contested site of representation and identity, which has struggled to 'overcome systemic and historic obstacles to scholarship, as well as to funding, production, exhibition and distribution of its products, related organizations, agents and services. This study considers Welsh filmic product (produced from 1963- 2007), produced by independent producers for prominent broadcasting entities, including Channel Four Films, BBC Wales, S4C, or HTV/ITV Wales; a review of relevant literature regarding Welsh national cinema by Berry, Blandford, Ffrancon and others; the historical context of the Welsh film industry, was followed by an assignment of new aesthetic and industrial categories, including Welsh Coming-of-age genre films, Welsh Magical Realism, Welsh Grotesque cinema, the Welsh Chapel 'Gothic' in cinema, 'Outsider' filmmakers in Wales, and Welsh filmmakers in exile; the use of Welsh myths and legends in films, and how this contributes to a national identity." Consequently this study locates Welsh national cinema in a critical milieu inflected by feminist, Queer, post-colonial and national cinema analysis approaches.
https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.575490&fbclid=IwAR36yQx1oiDqKqUa6NqHdhvofwLOAefAdcwgYBWDD5l8Kat9aN1E3TeFdy8



An evaluation of the national cinema of Wales and whether the cinema constructs or represents a national identity
Author: Woods, Mark Leslie
ISNI: 0000 0004 2743 4669
Awarding Body: University of Glamorgan
Current Institution: University of South Wales
Date of Award: 2007
Doctoral Thesis.
2 vols, 365 pp

Friday, 5 April 2019

BBC and the portrayal of natural Wales


Last night we watched the first of 4 episodes of the new BBC Wales blockbuster programme called "Wales: Land of the Wild."  It was big and brash, following the now standard format of 50 mins of documentary and 10 mins of "how they did it" stuff at the end.  Great photography, with some stunning landscapes, and plenty of variety (horses, dippers, black grouse, natterjack toads, daffodils, badgers, puffins etc.)  This was BBC Wales taking seriously its brief to portray Wales to the nation and to the world -- so they went for it with gusto, maybe determined to do justice to our spectacular natural history...............  maybe the bit about the human beings can come later.   

In the programme itself, there is a thunderous score by Sir Karl Jenkins and the BBC Welsh National Orchestra, and the commentary was enunciated with huge declamatory effect by Michael Sheen.    Don't get me wrong -- these two are great heroes of mine -- but in my view the whole thing was way over the top, and not helped at all by either the over-dramatic music or the pompous and rather banal commentary, which was all spectacularly mismatched with what was going on on the screen.  In truth, not very much happened.  We saw horses pottering about, puffins pottering about, and badgers pottering about, which would have been fine if we had had an intelligent commentary from somebody like the great Sir David, Iolo Williams or Chris Packham, but here it did not work at all.  In fact it was all so pretentious that it became ludicrous, and at times Inger and I were laughing out loud at the absurdity of it all.  Was it all a great spoof?  Or was it aimed squarely at an American audience, which maybe just loves this sort of stuff?

This would not have been a cheap series to make -- you don't hire in Michael Sheen and Sir Karl Jenkins for peanuts.  But I wish that more money could have been spent on the filming.  We are so used, these days, to seeing incredible wildlife sequences on TV that prolonged episodes lasting several minutes, with nothing exceptional happening, do tend to fall flat.  We, the viewers, demand action and excitement, and things never seen before.  Unfair, I know...... but sadly that is the way of the world.  I suspect it's all to do with budget.  In all the great series fronted by the indomitable Sir David, they probably use no more than 1% of the footage shot.  They can afford to pay cameramen to sit in one place for weeks on end, waiting for a few seconds of spectacular action.  Here, I got the impression that they were working to a very small budget and using maybe 10% of the footage shot.  I wouldn't mind betting that both the producers and the cameramen were desperate for more time, but that they did not get it.

Anyway, the series of 4 programmes will probably throw up some memorable sequences, and credit is due to the BBC for at least making an effort to show the wildlife of Wales to a global audience.  That having been said, I think Iolo has already done it better! 




Thursday, 4 April 2019

The Supporting Cast




This is one of the big issues that all writers have to confront. How many members of the supporting cast should there be? This is a problem even in a shortish novel of 100,000 words. Too few characters, and a novel can feel introverted and introspective -- even self-indulgent or sterile. Too many, and there is a danger of a narrative becoming superficial and confusing. Somewhere in the middle is the place to be-- unless you are trying do do something rather risky or think of yourself as a writer of "literary fiction", inhabiting a place which is unoccupied by those who write unliterary and hence "inferior" fiction.

We all know that this problem -- is it a problem? -- is exacerbated in a literary saga of multiple volumes or in a long-running TV series. Thinking of the latter, "Game of Thrones" is famous for having vast numbers of important characters, who get killed off with alarming frequency and apparently no regrets. That's the business model. "Outlander" goes rambling on, with too many characters and too many locations. "Downton Abbey" was in my view beautifully written and cleverly structured, as a good soap opera should be. There were scores of important characters over several series, many of whom the viewer grew to love, and who had fully developed back stories which cleverly intersected. They were killed off too, but not at an alarming rate. That's life -- people die every now and then. Some were bad, and some were good, but I liked the way that even the baddies had interesting back stories which -- eventually -- the viewer was allowed to share. So initial negative responses to the behaviour of certain disruptive characters were slowly manipulated by the screenwriters, the director and the cast into something more akin to empathy and sympathy. There were few real baddies in the series -- and that is why, I suspect, it struck such a chord across the globe. OK -- it glorified an upper-crust paternalistic way of life that is long gone -- but it was somehow life-enhancing in that it stressed the triumph of virtue over evil and the importance of loyalty and compassion (and mutual support mechanisms) within one small community in one small place. People can relate to that, whatever their own personal circumstances may be.

In the eight volumes of the Angel Mountain saga, there are probably around 50 important characters who make multiple appearances and whose personal stories intersect and who are either friends or enemies of Mistress Martha Morgan. Then there are more than 200 other characters, who drift in and out of the stories and for whom I had to create personal histories. That involved keeping a very accurate character list, with dates of birth and death, family relationships, places of residence, and key life events. During the full narrative I mostly got things right (people in the right places at the right times, and doing things that were "in character"). What I had not reckoned with when I embarked on the series was that there would be people who seem to do not much else, other than read the full series (all million words of it) from beginning to end.over and again. Inevitably, they know the books far better than I do -- and THEY HAVE DISCOVERED MISTAKES! Shock, horror! Not really -- it's rather entertaining. Somebody pointed out to me that some character or other lived in farm X in one volume and in farm Y in another, and that one character was beautiful and black-haired in one book and plain and blonde in another. Well, nobody's perfect........

But I have derived great pleasure from giving life to the 50 or so characters whose characters, opinions and actions give depth to the stories, influencing Martha Morgan in a multitude of different ways. I had to work hard, in their portrayals, to make them all slightly eccentric, to the point of making them interesting, but not pushing their portrayals over the boundary into the realm of caricature. Here are two short portraits of two of them -- the prostitute Patty Ellis and the self-made man and rough diamond called Wilmot Gwynne:

Patty Ellis


Patty Ellis appears for the first time in House of Angels, and becomes a key character in the stories from that point to on. Although she is a prostitute when Martha first meets her, the two women are immediately drawn into a close and affectionate relationship. It would have been socially quite unacceptable for the mistress of an estate in the early 19th century to have been seen in the presence of a prostitute, but it is one of Martha’s great strengths that she cares nothing for wagging tongues and disapproving looks and soon after they meet she even flaunts her friendship with Patty. Initially the relationship might seem to be a very one-sided one, but there are in fact great mutual benefits in it. Early on, Patty offers to help Martha because she has information which is of use to her, and she has no thought at all that she might be repaid in some way. But as the friendship blossoms, Martha realizes that Patty has suffered appallingly at the hands of the evil Joseph Rice, and she also comes to appreciate that Patty is a very strong young woman, with an instinct for survival.

So together the two women plot to achieve the downfall of Rice and his companions, and after that is achieved Martha and Patty develop a much more comfortable friendship. That friendship also has a business side to it, for as Martha gets older she comes to value greatly her contacts among the most disreputable elements of local society. She often needs information, and Patty often knows where it can be obtained. And as a sign of her affection - and indeed respect - for Patty, she helps her in a number of ways, including the setting up of the church wedding, when Patty and Jake Nicholas decide that they wish to be married.

Patty is of course very beautiful, and it is not surprising perhaps that Jake, who was originally a client, should fall madly in love with her and should then decide to make her a respectable woman. Their wedding is quite a bizarre, and Martha loves every minute of it and the celebrations which follow. Later on, as Jake expands his little fishing business and eventually moves into trading activities, Patty does indeed become a notable member of the Parrog community and raises a family of two boys and two girls.

I had a lot of fun developing the story of Patty and Jake through the Saga, telling the reader about her initial fall from grace, about her steely determination to defeat her tormentor, and about her subsequent rehabilitation. She is a strong character and a steadfast friend to Martha, and all good stories need characters like her.


Actually this is a cartoon of George IV, or some such fellow. Wilmot might have had a similar girth, but a much jollier face......

Wilmot Gwynne


Wilmot Gwynne breezes into the story in 1845, and plays quite a prominent part in Flying with Angels during the last ten years of Martha’s life. In some ways he is a comic or a buffoon, and indeed he is part of the comedy duo of Wilmot and Delilah; but he is also much more than that, for as the story develops he shows that he is a multi-faceted character. He is a rough sort of fellow, with very few airs and graces, who has made his fortune in the Swansea Valley through hard work and good judgement. He is a nouveau riche entrepreneur who moves into rural Wales for health reasons, and maybe also because he fancies the idea of being a squire rather more than being an industrialist. But he is generous to fault, and when he takes over the Plas he shows great sensitivity in allowing Martha to remain in the house she loves and to maintain her status in the community. He could have sent her packing, and in the process destroyed her life and her family; but he chooses not to do that, maybe because like most of the other men in the Saga he is more than a little in love with Martha. As the final chapter in Martha’s life unfolds, and moves inexorably towards its tragic conclusion, Wilmot again proves to be a steadfast friend to Martha, Amos and the Morgan family.

What does Master Gwynne expect as payback, after the provision of so much moral and financial support? Possibly some enhanced status in the community, which is what he needs in order to establish himself as a respectable squire. Maybe he is also seeking to demonstrate to his family and acquaintances that he has that almost indefinable quality called sensibility. That too, above all else, is what marks a member of the gentry out to from the mass of the population - and it is assumed very often in the literature of the day that sensibility comes only with good breeding, and cannot simply be acquired by those of low breeding who suddenly become rich.

Part of my purpose in developing Wilmot as an important character in the last story of the Saga was to demonstrate that, of all the members of the gentry who hobble or stamp across the pages of Martha’s diary, Wilmot is one of very few who can truly be referred to as noble man. The others are Lord Cawdor, Richard Fenton, and John Bowen of Llwyngwair. Wilmot Gwynne, with his portly frame, calloused hands, and rough way of speaking, has every right to to sit at the same table as those famous characters from Pembrokeshire history.

(This short article first appeared on Linkedin)

Wednesday, 3 April 2019

Visit Wales consultation: lots of tactics but no strategy


Visit wales is running a big consultation on its future marketing strategy.  It's one of these "directed consultations" which I hate, asking 10 questions and guiding respondents to work to the template.  OK -- I can understand the logic, in that vague rambling letters from all sorts of different respondents can be a nightmare to analyse and collate -- but all of the questions are about tactics and none of them are about strategy.  So either the strategy is set in stone, or there just isn't one.........

This is the response sent a few days ago:

In response to your new consultation…….. I was not very inspired to answer those ten questions, since not one of them addressed what is in my mind the key issue.

https://businesswales.gov.wales/tourism/sites/tourism/files/documents/TourismSummit2019_-_10_Questions_Lets_Shape_the_Future.pdf

Does Wales have a USP? It would appear not — in the document inviting comments, it seems that the Visit Wales satrategy is simply to sell Wales to the world as “more brilliant at everything than everywhere else”.  Sadly, that’s not a very smart strategy, since the great majority of other countries try to sell themselves in exactly the same way.  The clever ones identify something UNIQUE and use that as the main focus of branding and marketing strategy.

Will you please consider the following points? They arise from a number of round-table discussions in St David’s in 2016 (involving around 20 tourism operators) at which concerns were expressed about the Visit Wales strategy at that time. Not much seems to have changed between then and now.

There is no sign that Visit Wales seeks to capitalise on a unique Welsh narrative. Here is one attempt to define it:

"Wales is a small country on the Celtic fringe of Europe with magnificent landscapes and rich natural resources. It is too close to England to have remained truly independent, and not far enough away for bloody rebellions ever to have taken hold. Throughout its history it has fought to resist the depredations of powerful neighbours; and against all the odds it has retained its language, its culture and its pride whilst encouraging toleration and liberal values and adapting to dramatic change. It has learned how to be subversive and seductive, and how to be spiritual and mischievous at the same time. In its history it has not suffered the same deep traumas as Scotland and Ireland. Its people are romantics, prone to wild swings of emotion; both melancholia and euphoria feature in the national psyche. Welsh people have a powerful "sense of place" and an abiding fondness for family histories, legends, ceremonial and ancient traditions. Eccentricity is embraced, while great value is placed upon learning. There is a tendency towards radical protest and an ever-present desire for social reform. Ultimately, Wales wants the respect of others -- and to be left in peace to enjoy and endure the ups and downs of the Welsh rugby team."

1. The Visit Wales new “brand” does not seem to owe much to the Welsh narrative. It steers well clear of anything that can be construed as negative in marketing terms, and concentrates on “positive” buzzwords including these: authentic, creative, innovative, alive, epic, memorable, inspiring, fresh, legendary, iconic, rich, distinctive, accessible, contemporary, immersive, inclusive. The immediate response to this, from many in the tourist trade, is that it’s all very modern, bright and breezy -- but that every other tourist authority in the world uses the same words and sells the same message. Nobody seems very clear what it is about Wales that makes it unique when compared to everywhere else, and more particularly, what makes it different from Scotland and Ireland. Some of the old tourism straplines might have got closer: so near and yet so far, familiar and yet foreign, two hours and a million miles away, life on the edge.......

2. It’s accepted that the Welsh narrative and the Welsh “brand” are not the same thing -- the former is about identity and the latter is about marketing. But there does need to be a relationship between the two. The brand should emerge from the narrative, and visitors to Wales should ideally be made aware of the history and character of the country. Those who are involved in the tourist trade should be proud of their heritage, and should sell it to visitors as part of the tourism experience.

3. We should embrace the “negative” aspects of the Welsh narrative rather than hiding them away. Is Wales as melancholic and unhappy as it is portrayed in “Hinterland”? No way. Melancholia is a part of the Welsh psyche, but it is balanced by an undying optimism and by expressions of euphoria whenever great things happen in the country. And people may sometimes seem reserved, but there is a real warmth in the welcomes given to others. “Croeso!” means so much more than “Welcome!” Yes, “hiraeth” is about loss and longing, but it is more than that -- it is ultimately about belonging, and the unbreakable bond between people and place. The word “bro” means community or neighbourhood, and it must be understood not just in terms of geographical demarkation but also in terms of sociology, history and psychology. The word “gwerin” can be interpreted in a condescending way, as meaning “the common people” -- but it also means “folk” and “democracy”, and everybody knows that Welsh language and culture would not have survived without the determination and the resilience of the gwerin, at times when the gentry and the “educated classes” were espousing Englishness in all its forms. Certainly Welsh people can seem reticent and cautious at times, and there is no great evidence of consuming ambition or towering aspirations. There is a certain reluctance to make instant decisions and to take risks -- but therein, perhaps, lies an explanation for the survival of Wales as a special place with a unique language and a mystery round every corner........

4. There are probably many narratives, but I suspect that everybody who tries to write down their version would emphasise to some degree the complex relationship between Wales and England down through the centuries. England is seen (over-simplistically) as arrogant, over-bearing and condescending, always intent upon "the rape of the fair country”. Wales sees itself (over-simplistically) as oppressed, downtrodden, and exploited -- whereas it has of course made a specialism of internal feuding and squabbling between petty princedoms and has grown its own crop of bombastic squires and brutal ironmasters without any great help from England. Nonetheless, while the English are hated or just tolerated, there is a close bond -- born of shared experience-- with the Irish. And with Scotland too.

5. One must not get too serious about all of this. Isn’t there room for some humour in our view of Wales, or indeed in its branding and marketing? I quite like the idea of Wales endlessly subverting and screwing up the political and military ambitions of one English king after another! This suggests a national instinct for resilience, resistance, dogged determination and sheer bloody-mindedness. OK -- the Normans conquered Wales, and then the English kings defeated Llewelyn the Great, and Owain Glyndwr and put down many short-lived rebellions -- but the aspiration for independence never went away, and the mountainous heartland of Wales, facing Cardigan Bay, never really submitted to foreign rule. Ferocious Anglo-Norman feudal lords married Welsh girls and themselves became softer, gentler and kinder! Anyway, that’s what we like to think. Local loyalties persisted, and the language survived. Magic and enchantment always were a part of the Welsh storytelling tradition, but there has always been a great respect for mischief as well. Mischievous pranks abound in the stories of the Mabinogion, and in the poems of Dafydd ap Gwilym, and in the adventures of Twm Shon Cati. The ultimate prankster was Iolo Morgannwg. One might argue that there is really a sort of mischievous national plot to stop the English from ever achieving complete dominion over Wales and the Welsh, whilst lulling them into a false sense of security........

6. So if these elements can be incorporated into a Welsh national narrative, what are the positive buzzwords that might be used in future branding? Here are a few: generous, warm-hearted, eccentric, mischievous, sensitive, intuitive, whimsical, enigmatic, musical, poetic, dramatic, spirited, steadfast, ironic, ebullient, demonstrative, enduring, colourful, lyrical, resolute, mysterious, proud, faithful, accessible, loyal, adaptable, enchanting, quirky, understated, unpretentious. These words will not fit very well into a strategy of hard branding and marketing -- they are too soft and mellow. But they may just be more effective in flagging up the unique qualities of Wales, especially with the Year of Legends almost upon us.

7. It’s interesting that when we went round the table at the meeting, seeking adjectives that might describe the Welsh narrative from assorted points of view, words such as these kept on cropping up: light, mood, water, feeling, atmosphere, cosiness, “cwtchyness”, familiarity, security, comfort. All very atmospheric and even ethereal -- but significant as to how some people at least feel about Wales.

I hope that these points might be helpful to Visit Wales in identifying the way forward.

With all good wishes

Brian John

The representation of Wales on TV



It's intriguing that the Welsh Assembly Culture Committee has, after many meetings in 2018,  still not reported on its investigation of film and high-end TV in Wales. They have a committee meeting this very morning at the Senedd, and item 3.1 on "Correspondence from the BBC regarding the representation of Wales" is being discussed in private, with no streaming media coverage.

Very strange -- this is item 7. Film and major television production in Wales: Discussion of draft report
Reason for the exclusion of the public?
Answer:  By Virtue of Paragraph iv (Discussion in public of a particular item of business would be likely to cause harm to the health or safety of an individual, the public, or the environment.)

Good gracious!  That all sounds a bit dramatic -- who, or what, is being threatened?!!!

But it does look as if the Draft Report is ready, and simply requires some minor tweaking.  But it must be very critical of the BBC, if the top brass have been invited to make a further last-minute, submission.........

http://senedd.assembly.wales/ieListDocuments.aspx?CId=445&MId=5346&Ver=4

PS.  The Committee has clearly been chasing BBCWales on the matter of "Pitching In" and about concerns about the representation of Wales in its recent output.  A letter in response has clearly been received from Rhodri Talfan Davies, but that is not yet on the record.

This is ba quote from the letter to Rhodri written by the Committee Chair, Bethan Sayed, in February 2019:

I am writing after a number of people raised concerns with me about the portrayal of Wales in the comedy programme ‘Pitching In’. I would like to take this opportunity ask for an update on the work BBC Cymru Wales is doing to improve representation and portrayal of Wales both on BBC Cymru Wales and BBC network.
With this in mind, I would be very grateful if you could provide the following information.

1. In February 2017 the BBC announced “an additional £8.5m p.a. of new funding” for English language programming for Wales. What is the current level of investment against this target?

When this funding was announced, the BBC said that it would:

• Deliver more than 130 hours of additional programming each year across BBC One Wales, BBC Two Wales and BBC iPlayer.

• Generate at least a further £5m of on-screen investment through co- production agreements with other broadcasters and producers.

• Provide a full mix of programming to inform, educate and entertain – including additional comedy, drama and entertainment.

• Support a new BBC Wales iPlayer channel – providing a new home for Welsh programming available across all devices and in all parts of the UK.

• Boost portrayal and coverage of Wales on the BBC’s network channel – with the aim that at least half the additional programming should also be broadcast on the BBC’s UK network channels.

• Provide a major financial boost to the Welsh production sector with all new television funding open to full competition.

Please could you provide an update of current progress towards these aims?

Tuesday, 2 April 2019

Brian's Bibliography 1976-2019



I had to do some checking for a database, and realised that I have not updated my bibliography for quite a while.  Here it is, in the updated version, approximately in chronological order:


BRIAN JOHN’S BIBLIOGRAPHY 1976-2019
(About 90 books so far, and counting........)

Pembrokeshire, David and Charles, 1976
The Fishguard and Pembroke Area, Geographical Association, 1972
The Pembrokeshire Landscape, Five Arches Press, 1973 (with Robert Evans)
Scenery of Dyfed, Greencroft Books, 1976
The Milford Haven Oil Industry, Greencroft Books, 1975
Milford Haven Waterway, Pembs Coast National Park, 1981
The Rocks: Geology of Pembrokeshire, Abercastle Publications, 1973 and many reprints
Great Grandfather’s Little World, Greencroft Books, 1977
Pembrokeshire Crafts and Cottage Craft Industries, Greencroft Books, 1981
Old Industries of Pembrokeshire, Greencroft Books, 1975
Wildlife in Dyfed (editor), West Wales Naturalists Trust, 1979
Welsh Pictures from Victorian Times, Greencroft Books, 1977 (hb and pb)
West Wales Climate and Weather, Greencroft Books, 1977
Scottish Pictures from Victorian Times, Greencroft Books, 1979 (hb and pb)
Glaciers and Landscape, Edward Arnold, 1976-2000 (with David Sugden) hb and pb, reprinted many times over 25 years
Scandinavia: a new Geography, Longman, 1984
The Ice Age, Collins, 1977
Coastal Geomorphology of High Latitudes (with David Sugden), 1975, Edward Arnold
The Winters of the World (editor), David and Charles/Wiley/Jacaranda 1979
The Ice Age (pirated Russian edition), 1982
The World of Ice, Orbis, 1979
Le Monde des Glaces, Editions Atlas, 1980
Il Mondo dei Ghiacci, Agostini-Novara, 1979
L’Evoluzione del Paesaggio, Agostini-Novara, 1981
Rural Crafts of Wales, Greencroft Books, 1976, 1977
The Face of the Earth, Orbis, 1980
Pembrokeshire, Pan, 1978
Alternative Wales, Greencroft Books (editor), 1982
The Ancient Game of Cnapan, Greencroft Books, 1984
Geology of Pembrokeshire, Pembs Coast National Park, 1977
Pembrokeshire, Greencroft Books, 1984
The Pembrokeshire Guide, Greencroft Books, many editions 1984-1990
Pembrokeshire Humour, Greencroft Books, 1994 and 1995
Presely Hills, Pembs Coast National Park, 1981
Broad Haven Walks, Pembs Coast National Park, 1992
Bosherston Walks, Pembs Coast National Park, 1995
St David’s Walks, Pembs Coast National Park, 1992
Manorbier Walks, Pembs Coast National Park, 1993
Strumble Head Walks, Pembs Coast National Park, 1993
Saundersfoot Walks, Pembs Coast National Park, 1991
Dale and St Ishmael’s Walks, Pembs Coast National Park, 1994
Ports and Harbours of Pembrokeshire, Abercastle Publications, 1974
Bluestone Country: the Carningli walks, Greencroft Books / CRI, 1995
The Carningli Walks (editor), Greencroft Books, 1999 (new edition)
Nuclear Power and Jobs, SEI, 1986
Honey Harfat, a Haverfordwest Miscellany, Greencroft Books, 1979, hb and pb
The Best Cardi Jokes, Greencroft Books, 1995 and 1997
Beneath the Mountain, Greencroft Books, 1998
Funny Business Down Below, Greencroft Books, 1997
Up Among the Mountain Men, Greencroft Books, 1997
Pembrokeshire Folk Tales, Greencroft Books, 1991
The Last Dragon, Greencroft Books, 1992
Fireside Tales from Pembrokeshire, Greencroft Books, 1993
More Pembrokeshire Folk Tales, Greencroft Books, 1996
How Glaciers Move, Norsk Bremuseum, 1996
Fjaerland, a Norwegian Fjordside Settlement, Greencroft Books, 1996
The Birth and Death of Glaciers, Norsk Bremuseum, 1996
Walking in the Presely Hills, Pembs Coast National Park, 1989
Pembrokeshire: Past and Present, Greencroft Books, 1995
Pembrokeshire Coast Path, HMSO /Aurum (National Trail Guide), 1990 (in print)
Pembrokeshire Ghost Stories, Greencroft Books, 1996
The Best Pembrokeshire Jokes, Greencroft Books, 2000
Pembrokeshire 2000, Greencroft Books, 1999
Walks in the World of Ice, Norsk Bremuseum, 1999
Pembrokeshire Wizards and Witches, Greencroft Books, 2001
On Angel Mountain (fiction), Greencroft Books, 2001 (in print)
House of Angels (fiction), Greencroft Books, 2002 (in print)
Dark Angel (fiction), Greencroft Books, 2003 (in print)
On Angel Mountain (fiction), Corgi, 2005
House of Angels (fiction), Corgi, 2006
Dark Angel (fiction), Corgi, 2007
On Angel Mountain (fiction), Magna Large Print, 2006
House of Angels (fiction), Magna Large Print, 2007
Dark Angel (fiction), Magna Large Print, 2007
Rebecca and the Angels (fiction), Greencroft Books, 2004 (in print)
Flying with Angels (fiction), Greencroft Books, 2005 (in print)
Guardian Angel (fiction), Greencroft Books, 2007 (in print)
The Bluestone Enigma, Greencroft Books, 2008 (in print)
GM Crops: what you should know (editor), GM-Free Cymru, 2006, several editions
We Reap What We Sow (editor), GM-Free Cymru, 2001, several editions
Martha Morgan’s Little World, Greencroft Books, 2007 (in print)
Carningli: Land and People, Greencroft Books, 2008
Echoes and Shadows: Tales and Traditions of Newport and Nevern, Greencroft Books, 2008
Sacrifice (fiction), Greencroft Books, 2009 (in print)
The Strange Affair of the Ethiopian Treasure Chest (children’s fiction), Greencroft Books, 2010 (in print)
Conspiracy of Angels (fiction), Greencroft Books, 2012 (in print)
Acts of God (fiction), Greencroft Books, 2014 (in print)
The Stonehenge Bluestones, Greencroft Books, 2018 (in print)

================

Notes:
1. Most of the titles shown as “in print” have been through multiple printings.
2. The above list includes printed paperback and hardback editions only. Audiobook and Ebook editions are excluded. For details of these editions, see here:
http://www.brianjohn.co.uk/bookshop.html
http://brian-angelmountain.blogspot.co.uk/2016/08/audio-and-large-print-versions.html


3. Scientific journal articles and monographs are excluded from this list.

Sunday, 31 March 2019

Monday, 25 March 2019

Martha and her Mountain



Love this pic -- one of a series taken by Ken Bird with his drone, with Anna Monro playing the part of  Martha.

The relationship between Martha and her mountain is crucial for an understanding of her  and indeed the while narrative.  A sense of place is important in all novels -- but as readers will know, Carningli is, for Martha, not just a place to be protected but a place embedded in her soul -- sanctuary and even cathedral......

Thursday, 14 March 2019

The deadly game of Cnapan



As readers will know, the game of Cnapan features large in the Angel Mountain stories -- and indeed they are associated with the greatest tragedy in Martha's life, since her husband David is killed during the annual Cnapan contest on  Berry Sands (Traeth Mawr) in February 1805.  

These wonderful illustrations by HM Brock were first published in an article by AG Bradley, called "A Welsh game of the Tudor period" in The Badminton Magazine, Jan- June 1898, pp 512-524.

Here is an extract from Ch 10 of "Martha Morgan's Little World."

Cnapan

The ancient game of Cnapan, which features over and again in the pages of the Saga, has fascinated local historians, and students of the history of sport, for many generations. It has a strong claim to being the real precursor of rugby union football, although in some respects it seems to have been more akin to modern American football. George Owen, whose delightful description of Cnapan is justly famous, believed the game to have been invented by the Trojans or ancient Britons. This speculation is not as unreliable as we might think. Indeed, it is known that the Romans played a ball game called "Harpastum" which involved both carrying and scrummaging, and they also invented a game called "Soule" which survived in Brittany until 1870. It is therefore not beyond the bounds of possibility that the origins of Cnapan go back 2,000 years or more.

Where did the name come from? In north Pembrokeshire Welsh dialect the word "cnap" meant a lump. In the 1800's the word "cnappan" was used in south Cardiganshire as a verb meaning "to knock" or "to hammer away at" a person; and in Cilgerran a small section of the cliff on the edge of the Teifi gorge is known locally to this day as Gardd-y-Cnappan. Cnapan was the word given to the ball used in the game; it was made of solid wood, and was somwhat larger than a cricket ball. And just to make things interesting, it was boiled in tallow in order to make it slippery and difficult to hold! The object of the game was to smuggle or throw the cnapan, by one means or another, to the opposition “goal”. In the cross-country games this goal might be the porch of the parish church, and in games on the beach it might be a wooden pose stuck in to the sand. The labourers played on foot, and the gentry used horses; and that must have created many extremely dangerous situations. The foot players were allowed no implements or weapons, but the gentry were allowed to use cudgels or sticks, no doubt intended for striking the ball but actually used for striking opponents instead! On the great “Cnapan Days” there might be a thousand players on each side.

Clearly the game was both popular and widely played in Elizabethan North Pembrokeshire, and it was a famous spectator sport as well. The main matches were occasions for huge gatherings of local people and for merchants pedlars, and traders from far and wide who would assemble to sell food, drink and other wares. They were also social occasions for the local gentry, who would turn up both to see and be seen. There was a lot of gambling. And just as modern football managers share in the glory of their successful teams, the local gentry who acted as matchmakers saw Cnapan games as important occasions for enhancing both their sporting reputations and their social status.

By the late eighteenth century the game of Cnapan was being played in a somewhat debased form. There were worries about the increasing violence of the game and the lack of respect among players for its written or unwritten rules. The use of staves and cudgels and the involvement of horsemen among the foot-players must have led to frequent injuries. And the sight of broken limbs and bloodied bodies on "Cnapan days" must have caused considerable concern. Henry Vlll had attempted to ban the game in Tudor times, and now the clamour for it to be declared unlawful increased. But it was none too easy to prohibit traditional games in the remote rural districts, especially those which were played on the great holiday or feast days. After all, those who worked on the land had only six or seven days during the year on which they could really enjoy themselves. So the decline and fall of Cnapan was probably related not so much to new legislation or safetyu concerns as to changing farming practices. Over a long period of time the ancient north Pembrokeshire landscape of open farmed fields and extensive common lands was transformed by the process of enclosure. Landowners built hedges, walls and fences in order to demarcate their territory, to provide shelter and to contain their stock. As pointed out in Chapter 7, many of the common lands were illegally gobbled up in the process, and the losers were the smallholders and peasant farmers who had depended on these lands for grazing their animals. Another loser was the game of Cnapan. Whereas it had previously been played across miles of open countryside, the game could now only take place on sandy beaches such as Traeth Mawr, Newport, or on smaller open spaces owned by members of the gentry who had sporting inclinations. Under this inexorable pressure, the game was eventually killed off in north Pembrokeshire. With the aid of a few colleagues I tried to restart the game (without the horsemen and the cudgels!) in 1985 with an annual contest between Newport and Nevern. We had a lot of fun for ten years, but then we had to abandon the game because we could not obtain insurance cover.

In each team there were three sorts of players: “Of the first part there shall be sturdy gamesmen who shall remain in the throng or main body of the game. Of the second part there shall be scouts or fore-runners who shall be exceeding fleet of foot and who shall always strive to keep before the cnapan. Of the third part there shall be borderers who shall remain at the edges of the play. These borderers shall seek by surreptition to snatch the cnapan from the contary party, and shall hinder those who break from the body of the game and who would transport the cnapan towards the cnapan post. It is said that the gamesmen of the main throng shall be men of strength in disputing, boldness in assaulting, and stoutness in resisting; the scouts or forerunners shall be lusty hurlers of the cnapan and also men of agility and good footmanship, able to fly swift as an arrow and be able to show skilful deliverance of the cnapan to those that be with them; and the borderers shall with wondrous invention prevent those who run against them, leaping upon them without fear to take them out of the game.”

There were great scrummages involving the “sturdy gamesmen” or forwards, and if the game was stopped for any reason it was restarted by throwing the ball high into the air so that it could be caught by a man leaping high. No kicking of the ball was possible, so this game was not like the primitive “street football” contests that occurred in many parts of the British Isles. But there were so many similarities with modern rugby football that Newport in Pembrokeshire lays a good claim (better than Rugby School, at any rate) to be the place where rugby really began.

In the Saga I have based my descriptions of the game, and of what went on around the edges of it, quite closely on George Owen’s old account. I knew right from the beginning that David’s violent death would have to take place on Traeth Mawr, at the water’s edge, at a time when Martha, and the reader, might least expect such a tragedy.

Saturday, 9 March 2019

Kindle free book promotion this weekend





In celebration of World Book Day, International Women's Day, and our sales milestone of 100,000, we're doing a big Kindle promo for the 8 best-selling Angel Mountain novels - featuring the incorrigible Martha Morgan. All free, just for this weekend! Get them, enjoy, and please share....

If you have an Amazon account and a Kindle reader, you can find all the books in one place, here:

https://www.amazon.co.uk/gp/product/B00XM2KK5S/ref=series_rw_dp_sw?fbclid=IwAR1T3IS9LC2sD3knOdjhG7z-7RmE37frNzgDVQduIoSEmumohB1u0AvUYqQ

Sorry about the inaccurate (and outdated) information on this Amazon page -- it is apparently impossible for me, as the author and publisher, to put it right......



Wednesday, 6 March 2019

The chorus of angry voices....



Here is an update on some of the recent articles dealing with the portrayal of Wales (or lack of it) by the TV production companies and the broadcasters like the BBC, ITV and Netflix.

https://www.iwa.wales/click/…/11/bbcs-portrayal-wales-welsh/

https://nation.cymru/…/the-pitching-in-disaster-shows-that…/

https://www.walesartsreview.org/sex-education-accidental-e…/

https://www.bbc.co.uk/news/uk-wales-politics-47310251#

https://www.bbc.co.uk/news/uk-wales-politics-44385773

https://www.walesartsreview.org/tv-the-story-of-wales/…

https://nation.cymru/…/we-must-fight-back-against-a-popula…/

https://www.bbc.co.uk/news/uk-wales-politics-47231099…

https://www.walesonline.co.uk/…/raymond-williams-question-w…

http://www.bbc.co.uk/news/uk-wales-42871831

https://theconversation.com/were-seeing-plenty-of-welsh-loc…

Angela Graham on the BBC portrayal of Wales



There are rumours that the Assembly Culture Committee will soon be publishing its report on Film and High-end TV production in Wales.   That's great -- but it has taken a very long time.........

I discovered this article from Angela Graham -- speaking on behalf of the Institute of Welsh Affairs -- in which she makes the same complaints as everybody else about the very inadequate portrayal of Wales by the BBC -- and she takes some pretty feisty digs at the men in charge -- Tony Hall and Rhodri Talfan Davies.

In the two years or so since this article was published, nothing much has changed.  Let's see if the Culture Committee picks up on some of Angela\s points.

Quote:
Although seeing Welsh characters portrayed, hearing Welsh voices and seeing Welsh locations are legitimate and welcome types of portrayal there should be, alongside these, an attempt to share the experiences and viewpoints of people in Wales, emerging from the country’s experience of itself. Lee Waters is right to be worried that the BBC may opt for material produced in and set in Wales but not about Wales in the deeper sense. That would be to treat the country as little more than a set or location-shooting opportunity with novelty value. We have yet to reach a stage at which seeing Wales portrayed, incidentally or directly, in drama and other genres is unremarkable.

=====================

The BBC’s portrayal of Wales and the Welsh
https://www.iwa.wales/click/2016/11/bbcs-portrayal-wales-welsh/

On November 2nd 2016 the Assembly’s Culture, Welsh Language and Communications Committee scrutinised the Director General of the BBC. Angela Graham singles out the issue of portrayal.
November 21, 2016

His State
Is Kingly. Thousands at his bidding speed
And post o’er Land and Ocean without rest…….



This month the Director General of the BBC appeared before the Assembly’s Culture, Welsh Language and Communications Committee. The night before, the University of South Wales described his BBC role in terms so imperial that Milton’s deity came to mind. At this conferral of an honorary doctorate on Lord Tony Hall we were reminded of the Corporation’s magnitude and complexity. To be at its head must require an uncommon set of talents underpinned with relentless determination.

Was this, then, why, at the next day’s scrutiny session with the AMs, I had the impression of repeated collisions as the progress of the BBC ship was impeded by reefs of objections in Welsh waters? Lord Hall ‘gets’ Welsh concerns, he so frequently reassures us, that it may irritate him to find that dissatisfactions and concerns remain. Surely by now we should all have got happily on board?

No. The AMs are right to press him hard on the implications for Wales of the BBC’s decisions on funding, governance and portrayal. Precisely because the BBC enterprise is so complex Wales must help the DG see through its eyes. What can seem crystal clear from afar may look murky at home. Portrayal – how Wales and its people appear and are depicted in BBC media − is a case in point.
Lord Hall referred to quarterly meetings, begun a few months ago, between Charlotte Moore, Director of BBC Content, and the Directors of the Nations and Regions at which the BBC’s ‘portrayal objectives’ are analysed. He promised a report and data which would allow an examination of the justification for, and effectiveness of, one element or another. The portrayal objectives are not public knowledge. Their existence is a welcome sign of how far up the agenda portrayal has moved but why keep them away from scrutiny?

And how frank will the report be? Lord Hall appeared to give with one hand and take away with the other. Yes, there will be information but ‘we need to find it in a way that makes sense for us and sense for you too…’

Rhodri Talfan Davies, Director, BBC Cymru Wales added, ‘And just to be clear on that, in terms of our reporting, the key thing is to tell you about the programmes and the series that are being delivered. It’s not so much the data – the real test is what’s on screen. I think what we can do routinely is to actually publish what it is that is portraying Wales on screen – rather than the metrics on volumes and hours…’

‘We might…’ Bethan Jenkins responded drily, ‘be interested in both.’

Lee Waters immediately pushed further on criteria for portrayal and its relation to production by noting Lord Hall’s citation of the BBC One series Ordinary Lies as an example of portrayal of Wales. Claiming that the series ‘could be set anywhere’, Lee Waters asserted that Belfast-set, Belfast-made series, The Fall is ‘not about Northern Ireland. So how are we going to get that portrayal – rather than just the production, which is very welcome − how are we going to make sure that portrayal happens?’

Lord Hall agreed The Fall is not about Northern Ireland but ‘it goes down very well’ there. Hardly a sophisticated response.
Comparisons between Wales and Northern Ireland require some scrutiny because Northern Ireland has had a great deal of attention from tv drama focused on its political conflict, so material that stresses that it has problems common to the rest of the UK is not unwelcome. Wales is in a different position. It has seen so little drama originating from its own specific circumstances that it must be very cautious about scripts – and a drama slate taken as a whole − which portray it as just like anywhere else, and nothing more.
Although seeing Welsh characters portrayed, hearing Welsh voices and seeing Welsh locations are legitimate and welcome types of portrayal there should be, alongside these, an attempt to share the experiences and viewpoints of people in Wales, emerging from the country’s experience of itself. Lee Waters is right to be worried that the BBC may opt for material produced in and set in Wales but not about Wales in the deeper sense. That would be to treat the country as little more than a set or location-shooting opportunity with novelty value. We have yet to reach a stage at which seeing Wales portrayed, incidentally or directly, in drama and other genres is unremarkable.

Lord Hall did move on to offer a ‘serious answer’, asserting that the BBC has done so well for Wales on hours and money that ‘we’ve even overshot the target’. Not pausing to explain that, he endorsed Rhodri Talfan Davies’s look-at-the-screen approach and added, ‘then I suspect we’ll have disputes about – or proper arguments, rather, debates about – whether Ordinary Lies is really about Wales or is about anywhere else or whatever.’

This was not a helpful answer to Lee Waters’s reasonable point and seems to put cart before horse.

Lord Hall’s ‘whatever’ is revealing. Is it tiresome that Wales wants to be seen as being distinguishable from the rest of the UK? Many circumstances are indeed common to, and therefore filmable in, any British city, any village. It is easier to produce network drama that makes use of the commonalities among the nations and regions of the UK than to work from the local and specific outwards towards the universal. The easier path can mean a tokenistic inclusion of a few regional identifiers and the loss of a distinctive lens through which universal circumstances are seen. The plots work but the depth of focus is shallow. We’ve all encountered drama which has been bled of local complexity, leaving it eminently digestible but insipid and ersatz. Hovering around Lord Hall is the ghost of the infamous, perhaps apocryphal, London commissioner’s response − ascribed to Alan Yentob − to a Nineties BBC Wales drama proposal, ‘It won’t be too Welsh, will it?’

The politicians must also be wary of any tendency to regard portrayal as something that applies only to drama. Portrayal happens across genres, as Lord Hall pointed out: ‘Every network genre now has a portrayal objective.’ That is certainly something to keep an eye on and – pace those metrics – to quantify too. The BBC knows the value of the measurable and we are all capable of dealing with assessments of both quantity and quality. We would like both.
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Angela Graham is Chair of the IWA's Media Policy Group.

Tuesday, 5 March 2019

Cholera cemetery


Some places really have atmosphere........ what a sad place!  Found it on Facebook -- a cholera cemetery on the moors above the Rhymney Valley.

I wonder if they buried the victims of the Newport cholera (or was it typhoid?) epidemic up on the wide open spaces of Carningli Common?

That's the one that Martha and Joseph had to deal with in "On Angel Mountain"..........

Monday, 4 March 2019

Top Welsh authors 2011



This is a rather interesting article from 2011 -- I am not sure that The Bookseller has done another analysis since then.  Some rather interesting things in there -- did you know that Carol Vorderman,  Roald Dahl,  Dawn French and Sarah Waters were all Welsh?  Or sort of?  Some big sellers in there .. although Iris Gower is out of the top ten.  So is Catrin Collier -- but that may be because she publishes under a number of different names.

Note that these figures are based on EPOS figures collected by Nielsen from big bookstores across the UK.  Within Wales, very few bookshops have these electronic systems, so it's difficult to collect data.

But one thing stands out -- not one of these big authors (or big titles) was published in Wales.   The big London publishers are the only ones that feature.  So that does make me rather happy in the knowledge that I have sold around 85,000 paperback copies, mostly within Wales, with no subsidies and no big teams of marketing and publicity people working for me.......

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Welsh publishing: the charts

Published October 4, 2011 by Tom Tivnan
The Bookseller
https://www.thebookseller.com/feature/welsh-publishing-charts


Nielsen BookScan breaks down book sales throughout the UK roughly along the lines of the old television regions. Welsh sales, therefore, are part of Wales and the West—the West meaning Bristol and parts of Somerset, Dorset, Wiltshire and Gloucestershire.

Though we cannot strip out Wales, it makes up the majority of the region’s population (around 3.1 million out of five million people), and the figures can be a broad guideline for Welsh book buying patterns. Wales and the West makes up about 8% of the UK population; it accounts for slightly less of the entire country’s sales through BookScan—around 7% by value in each of the past five years. Just over £117.5m was spent through the tills in Wales and the West in 2010 out of £1.722bn throughout Great Britain.

The UK as a whole has experienced a 9.6% drop in value sales through BookScan since the trade’s high-water mark in 2007. Wales and the West has bucked that trend—but only marginally: the market has dropped by 9.3% since 2007 in the region.

The bestsellers thus far this year in Wales and the West more or less correspond to BookScan’s overall UK charts. A couple of authors do seem to be a bit more popular out west. Maeve Binchy’s Minding Frankie (Orion) is the 10th bestselling title book in Wales and the West thus far this year, shifting 14,666 copies; it is the 21st ranked bestseller UK-wide. Meanwhile, Philippa Gregory’s The Red Queen (Simon & Schuster) is 20th in Wales and the West, 28th across Britain.

Dahl-icious
The list of bestselling Welsh authors throughout the UK since records began in 1998 provides some surprises—mostly of the “I didn’t know he/she was Welsh" variety. Carol Vorderman at number two? The former “Countdown" queen was born in Bedfordshire, but her Welsh mother took her back to Wales when she was three weeks old, and she grew up in Rhyl. Most of her £16.4m-worth of sales comes from her range of Su Doku books.

Ken Follett was born in Cardiff, and lived in the city until moving to London at age 10.
Martin Amis? Born in Swansea and educated in part at Swansea Grammar School. Sarah Waters? She comes from Pembrokeshire. Dawn French, the pride of Holyhead, has achieved her massive sales on the back of just two books, her memoir Dear Fatty (Random House) and her novel A Tiny Bit Marvellous (Penguin). Most of Carmarthen native Allison Pearson’s sales (£2.7m out of £2.9m) are from I Don’t Know How She Does It, helped by the current film.

The bestselling Welsh author since records began is Roald Dahl. Born in Llandaff in 1916, Dahl’s books have shifted a whopping £39.2m through BookScan since records began, helped by clever management by the Dahl estate and Puffin, a few series refreshes, and film adaptations—including the recent “The Fantastic Mr Fox" and “Charlie and the Chocolate Factory". Charlie and the Chocolate Factory is the Dahl leader, having sold almost 742,000 copies for £3.8m in its many editions. With all those sales you might think there would be money spare to buy a writer’s shed.

Just missing out on the Welsh author Top 10 are saga queen Iris Gower (£1.4m), Cardiff’s Jon Ronson (£1.6m), Swansea-born Ian Hislop (£1.4m—most from Private Eye annuals) and Manchester United legend and committed family man Ryan Giggs (£1.1m). Wales’ most famous literary son, Dylan Thomas, has sold just over £600,000 worth of books since 1998.

Giggs does make our Top 10 Welsh-themed chart, his autobiography selling almost 103,000 copies since publication in 2006. Peter Ho Davies—English-born US resident of Welsh and Chinese parentage—tops the chart with his 2008 Richard & Judy Book Club- boosted The Welsh Girl. Like The Welsh Girl, two other titles broadly deal with the Second World War: Nina Bawden’s Carrie’s War (child evacuees to Wales) and Owen Sheer’s Resistance (the plucky Welsh defend home and hearth from a Nazi invasion). The Welsh-themed king is Englishman Malcolm Pryce, whose alternate reality Aberystwyth noir books take four places on our list, with the entire series generating £1.5m in sales.