How Reenacting Inspires my Writing
I had the desire to write from an early age, coming home from school with a head full of stories, eager to put them down on paper. As a child I read books that introduced me to history. My favourite authors were Rosemary Sutcliff and Leon Garfield. It was these author's books, and my father's influence, that set me on a lifelong love of the past. My greatest ambition was to write a historical epic with various ideas ranging from the post Romano-British era to an eighteenth-century highwayman adventure. It wasn't until I was much older that the opportunity came.
A re-enactment of the Battle of Hastings, stirred something within me that wanted to know more about this era. A year later, I attended the 940-year anniversary of the 1066 clash between the armies of Harold Godwinson and William of Normandy at Battle Abbey. Over 3000 reenactors took part, including around 100 cavalry, and hundreds of archers. Of course, the two armies that had faced each other in 1066 amounted to a lot more, but it was a spectacular sight none-the-less. I was amazed to see so many reenactors in mail, wielding swords, axes, and shields, and actually hitting each other. The excitement of pounding hooves as all those mounted knights galloped up the slope, was awe inspiring. This was the deciding moment for me. I knew this was the right era to set my story in.
But it wasn't enough for me to be a passive attendant of these shows. I wanted to be among the re-enactors. Since I'd first seen the battle re-enactment in 2005, I had been researching and looked online for articles that would help me create an authentic backdrop for my book. This was very important me. Prior to the big anniversary show of 2006, I came across a society called Regia Anglorum. I was literally drawn in by the articles and imagery available on their website. They made it clear that authenticity was their thing. I emailed them to find out if they were going to be at Battle Abbey that year. I received an email from Kim Siddorn, eolder and founder of the society, telling me that he would be there with his sword on Senlac ridge, fighting beside his king. Such stirring, inspiring words, I could not ignore.
I joined them that year and went to my first show in 2007 with my son, Connor. I have been with them ever since. During that time, I have learned the basics of some crafts, such as naal-binding, the drop spindle, tablet weave, pottery, embroidery, woollen braids, learned to make string from rushes; even rope. I learned to sew my own kit to a reasonable standard - not bad for a person who had only ever sewn on a button. I'm pretty useless at anything crafty. Most of anything I make is rather substandard! But at least there are no spinning or pottery-wheels in my books. There are no redbrick houses, or castles made of stone. No fireplaces with chimneys or inside toilets. Instead there are long halls made from timber, lime-plastered walls decorated with scenes from everyday life, and embroideries. Apertures in the gables let out smoke from a central hearth and the loo is outside.
Researching fighting methods and battle strategies in the eleventh century is a must for anyone writing a novel in this era. I had always thought myself too old to have a go, but I decided I would and took up combat at a ripe old age of forty-eight. I wanted to experience something of what my characters would so I could create the realistic imagery they would see, hear, and feel. I read books, watched programmes, and looked at articles, but there was nothing the same as trying it out for myself. We know battles are dangerous places and warriors survived by luck more than skill. You either got hit with sharp, pointy weapons or you hit people with them, but what did that feel like? Re-enactment gave me the opportunity to find out. The music of battle is a wonderful thing. The air resounds with the clanging of swords and the clunk of wooden boards as you come together in the wall of shields. Around you your mates roar out their battle cry, 'Ut! Ut! Ut!'. Of course we cannot replicate the real battle; to do that is impossible, and no one really wants to die or get hurt. But I can tell you, when you are standing firm, shoulder to shoulder, board to board, you feel the energy rise within you. You brace yourself with nervous anticipation as the enemy boarsnout storms towards you, their obscenities filling your ears as you wait for the impact - then crash! Chaos! The excitement you feel is truly unbelievable as you are thrown into disarray.
But what I love most about Regia Anglorum is that we are one of the few historical societies to have our own site and with a replica longhall, Wychurst. Here, immersed in an authentic environment, we amuse ourselves. The hearth blazes with the orange glow of leaping flames, reflecting their shadows on the plastered walls. The scent of burning wood wafts through the smoke-filled hall, and we listen to stories and laugh at jokes, whilst the wolves of the nature reserve nearby add to the atmosphere with the beauty of their evensong. Beholders of such magic on their first visit to Wychurst, experience the same thought as I once did: So this is what it must have been like.
I came to immerse myself in the Anglo-Saxon era so I could create an authentic atmosphere for my stories. I stayed for the love of it and the people.
In memory of Kim Siddorn, our eolder, whose words inspired me.
Written by Paula Lofting
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