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Some years ago, I got a call from

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BlackBerry. Um, actually the call came

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from an advertising agency and they

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said, "Will I come in and talk to them?"

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I said, "Sure."

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and they said BlackBerry are launching

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their first smartphone

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and uh they want to do something to do

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with art and they want you to do

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something to do with art. I said, "Well,

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do I have to do it with a Blackberry?"

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And they said, "No, you just have to do

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a thing.

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What would you like to do?" And I said,

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"Well, I have an idea that's a bit mad."

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I said, "So, what I'd love to do

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is something that basically is the

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21st century equivalent of when Harlon

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Ellison used to write short stories in

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the windows of bookshops and he would

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set up his typewriter and a chair in the

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window and he would work."

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and he loved the idea that people were

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seeing him working and seeing what was

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actually happening and that seeing you

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him staring and and writing and not

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writing.

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So I put together a bunch of questions,

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12 questions. They were things like um

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why is January dangerous?

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What's the strangest thing you've seen

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in July?

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What did you lose in November? just just

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questions that went out. What I didn't

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want was people suggesting titles for

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stories, suggesting ideas for stories.

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What I wanted was just to take a

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beautiful

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little idea

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and go, "Okay, that's a starting point."

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And for people to realize that anything

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could be a starting point.

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So, my question that I asked for March

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was, "What historical figure does March

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remind you of?" And I thought, "Well,

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that'll be a fun question because I'll

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get something that's got a person in

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it." And the reply

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um was beautiful. The one that I picked

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just said, "Anne Bonnie and her rep

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scallion heart dreaming for a ship of

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her very own." I found a notebook.

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I really liked this particular notebook

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because it's just a blank book.

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Um,

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it's bound.

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I think it may even have been a

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misprinted book with uh no text in.

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And then

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I wrote

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a calendar of tales at the front.

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I wrote down all of the months in order,

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and then I began to write. So it was too

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warm in the great house, and so the two

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of them went out onto the porch. A

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spring storm was brewing far to the

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west. Already the flicker of lightning,

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and the unpredictable chilly gusts blew

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about them, and cooled them. They sat

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decorously on the porch swing, the

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mother and the daughter, and they talked

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of when the woman's husband would be

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home, for he had taken ship with a

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tobacco crop to far away England. Mary,

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who was 13, so pretty, so easily

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startled, said, "I do declare. I am glad

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that all the pirates have gone to the

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gallows, and father will come back to us

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safely." Her mother's smile was gentle,

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and it did not fade as she said, "I do

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not care to talk about pirates, Mary."

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She was dressed as a boy when she was a

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girl to cover up her father's scandal.

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She did not wear a woman's dress until

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she was on the ship with her father and

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with her mother, his serving girl

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mistress, whom he would call wife in the

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new world. And they were on their way

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from Cork to the Carolinas.

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She fell in love for the first time on

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that journey, enveloped in unfamiliar

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cloth, clumsy in her strange skirts. She

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was 11, and it was no sailor who took

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her heart, but the ship itself. Anne

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would sit in the boughs, watching the

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gray Atlantic roll beneath them,

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listening to the gulls scream and

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feeling Ireland recede with each moment,

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taking with it all the old lies.

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She left her love when they landed with

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regret, and even as her father prospered

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in the new land, she dreamed of the

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creek and slap of the sails. Her father

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was a good man. He had been pleased when

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she had returned and did not speak of

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her time away, the young man whom she

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had married, how he had taken her to

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Providence. She'd returned to her family

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3 years after with a baby at her breast.

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"Her husband had died," she said, and

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although tales and rumors abounded, even

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the sharpest of the gossiping tongues

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did not think to suggest that Anne Riley

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was the pirate girl, Anne Bonnie, Red

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Rackom's first mate.

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If you had fought like a man, you would

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not have died like a dog. Those have

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been Anne Bonnie's last words to the man

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who put the baby in her belly. Or so

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they said.

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Mrs. Riley watched the lightning play

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and heard the first rumble of distant

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thunder. Her hair was graying now, and

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her skin just as fair as that of any

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local woman of property. "It sounds like

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cannon fire," said Mary. Anne had named

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her for her own mother and for her best

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friend in the years she was away from

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the great house. "Why would you say such

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things?" asked her mother primly. "In

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this house we do not speak of cannon

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fire."

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The first of the March rain fell then,

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and Mrs. Riley surprised her daughter by

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getting up from the porch swing and

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leaning into the rain so it splashed her

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face like sea spray. It was quite out of

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character for a woman of such

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respectability.

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As the rain smashed her face, she

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thought herself there. The captain of

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her own ship, the canonade around them,

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the stench of the gunpowder smoke

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blowing on the salt breeze. Her ship's

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deck would be painted red to mask the

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blood in battle. The wind would fill her

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billowing canvas with a snap as loud as

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a cannon's roar as they prepared to

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board the merchant ship and take

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whatever they wished, jewels or coin and

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burning kisses with her first mate. when

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the madness was done.

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Mother said Mary, I do believe you must

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be thinking of a great secret. You have

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such a strange smile on your face.

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Silly girl, Aushla, said her mother. And

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then she said, I was thinking of your

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father. She spoke the truth and the

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March winds blew madness about them.

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What's lovely about that

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is I could absolutely see that as the

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end of a novel or I could see it as the

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beginning of a novel

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because we have two characters

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and you have a huge and glorious problem

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here which is you have a pirate queen,

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pirate captain who pled her belly. You

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were allowed to do that. uh you could

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escape the death sentence if you were

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pregnant and she was pregnant

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and has disappeared back into real life.

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She has a lot to lose if people discover

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that she was a pirate captain. If they

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discover she was a pirate,

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she also

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has a lot that's hidden and she has

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abilities that are obviously not being

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used on a plantation.

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selling tobacco, growing tobacco

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in March back

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for the revolution.

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So,

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you have a really kind of fun and

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wonderful setup. And yes, it could be an

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end. You could start the story with

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young Anne Bonnie um being dressed as a

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boy by her father. You could tell her

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story and go through and you could

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actually end at the point where I end as

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if this really is the end of a of a

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novel or you could begin something here

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and all you have to do is to put her in

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difficulties

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and you have her you have a daughter you

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have a husband coming back just bring in

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somebody from the past and now we have a

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plot and that feels like it has legs. I

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don't know who that person would be. I

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don't know what would happen. But I do

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know that she risks losing everything.

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And that immediately puts you in a

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fantastic place to tell a story with.

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So let's say I wanted to turn that

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story, that March story

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into a novel.

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I love the idea of respectable Anne

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Riley and her lovely little daughter

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Mary and their husband coming back from

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England and what's going to happen to

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them? What's going to happen when

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somebody turns up and throws everything

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into jeopardy? The first thing I would

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probably do is go, okay, I don't think

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that's enough yet

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because I don't know what it's about. Do

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you remember when I was talking earlier

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when I said, "Okay, you can have your

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plot. You can have some characters. You

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can have an idea. You can have a

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starting place, but what's it about?"

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And you start thinking about this and

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you go, "Okay, well, it's probably about

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secrets.

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It's probably about gender roles

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as well."

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Those those two things sound pretty

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real. It can be about the romance of

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piracy and the reality of piracy. That's

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also feels like something it's about.

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Um, but really I love the idea that it's

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about a competent woman in danger

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defending herself and everything she

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loves. That feels like, okay, that that

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that feels like that could be a good

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about.

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all of that other stuff that feels real.

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So, I need to put her into danger, which

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means the person who comes back into her

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life

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00:10:46,079 --> 00:10:48,079
needs to be

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somehow

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00:10:49,920 --> 00:10:53,920
um not only imperiling

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the the safe life that she has,

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but has to be much much more dangerous.

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So you go right, let's bring somebody in

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00:11:05,440 --> 00:11:07,519
to the story that you know the first

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thing that's going to happen is that

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somebody is going to come in from her

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past and it's going to be somebody

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who she is not pleased to see.

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That feels right.

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I don't know at this point necessarily

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whether they mean her good or ill.

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It might be interesting

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if you're going to do that kind of thing

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to have whoever is the real threat to

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her still not arriving. This let's we're

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at the beginning of a book here. So, if

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we're going to tell something

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novel-wise, then whoever comes into the

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story here,

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isn't our the person who is really going

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to be dangerous? Isn't going to be the

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00:11:56,240 --> 00:11:58,000
um

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00:11:58,000 --> 00:12:01,680
either the pirate from her past or the

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law officer from her past or the captain

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00:12:04,959 --> 00:12:08,240
of the ship who captured her before.

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Those are things that aren't yet ready

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to come onto the stage, but you

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something somebody needs to come into

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town almost as a herald

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00:12:17,680 --> 00:12:19,920
and tell you that things are going to go

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wrong.

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And the other thing that you go is,

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well, we have Mary, we have a beautiful

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daughter, we have the romance of piracy,

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and much more than being beautiful,

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she's innocent.

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and that and has been kept innocent by

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her mother. And she has no idea who her

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mother is. She has no idea what her

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mother is capable of,

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which means that something we're going

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to do somewhere in the story. Probably

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not immediately again, but it feels like

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we are going to have to put Mary in

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danger.

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We're almost definitely, it feels like

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you're going to have to have um An Riley

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go and rescue her and rescue her by

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becoming the Anne Bonnie that she has

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put away. So, you're not when you're

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plotting, you're asking yourself what

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could happen, what feels right, what

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will be satisfying

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in a book like that. The things I've

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said aren't a plot yet. They're saying,

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"I think this should happen. I think

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this should happen. I think this kind of

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thing is is going to happen a little bit

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further down the line. I have no idea

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who lives and who dies. I have no idea

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how people survive, how dark it's going

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to get.

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But what I do know

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is that

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um it's going to get dark because a book

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of this kind has to get dark. And

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there's a lovely point where

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it's like forking paths.

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When you begin

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any story, you have an infinite number

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of forking paths.

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Every decision, every word, every

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paragraph

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is a fork.

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By the time you're threequarters of the

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way through, you have a very limited

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number of forking paths left. And by the

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time you get to the end of the story,

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there really only one, maybe two, maybe

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three paths you can go down. And you

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happen to know what they are and where

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they are. And so you keep making your

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choices, but your choices lead you to

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inevitable places where you have to be.