After two hours spent mudlarking on the Thames foreshore, I might be thought to be ready to return to the twenty-first century. Not so! Granted, I was ready to crash in my hotel room for a while, but as it happened, the hotel where I was staying was like stepping back in time.
Anyone of John Pickett’s day would have balked at reserving a room at any place calling itself the Rookery; in the nineteenth century, the word was synonymous with poverty, overcrowding, and general squalor. Today, however, it’s the name of a boutique hotel comprising three houses built in 1764 and still retaining a Georgian atmosphere. It’s located in Clerkenwell, a section of London due north of the City (“the City,” capitalized, refers to the portion of central London that was once enclosed within the old Roman wall) and a part of town I’d never visited before.
The hotel’s address—12 Peter’s Lane, Cowcross Street—gives a clue as to the area’s history. I discovered this on my first afternoon there, when I took an exploratory walk in search of the nearest Tube station. (It proved to be Farringdon, in quite the opposite direction.) I turned a corner and found myself facing the Smithfield Market, London’s stockyard and meat market since the Middle Ages, and possibly as early as Roman times. Regency readers may know it best from the disparaging term “Smithfield bargain,” meaning a marriage made as a financial transaction. Suddenly Cowcross Street’s curious name made sense; cattle would have been driven right up the street here on their way to the market. (Can you imagine living in one of these houses, and stepping out your front door just as a drover was coming past, herding cows to market?)
Turning back to the north, I soon came across a bit of still earlier history. St. John’s Gate, dating from 1504, is just about all that remains of the former headquarters of the Knights Templar and the Knights Hospitaller. After Henry VIII’s Dissolution of the Monasteries a few decades later, it was used for a number of different purposes, and in 1731 was the birthplace of the Gentleman’s Magazine, one of whose early writers—Dr. Johnson, no less—would later investigate the hoax known as the “Cock Lane Ghost,” which also took place nearby.
If any ghosts roam up and down the stairs or lurk about the corners of the Rookery hotel, I was blissfully unaware of them. I slept soundly until morning, when I checked out somewhat reluctantly, headed for the airport at Heathrow and twenty-first century life.
As I mentioned in a recent post, my trip to the UK last
summer was specifically to research John Pickett Mystery #9, Into Thin Eire.
Still, I already knew what Book 10 would be about, and one of my experiences on
this trip provided a spark for that book as well. For while I was in London, I
In case you’re unfamiliar with the term, mudlarking was an
early form of recycling in which people, often children (called mudlarks),
scavenged along the exposed riverbank of the Thames at low tide for anything
they could sell. John Pickett was an occasional mudlark in his misspent youth,
so I thought it would be fun to try something that he would have done. (The
other option, pickpocketing, is, alas, frowned upon.)
I went online to learn what I could about modern-day
mudlarking, and discovered that, for one thing, you have to have a permit from
the London Port Authority. I also learned that they don’t recommend you go by
yourself. If you do, you should at least be aware at all times of the location
of the nearest stairs; when the tide turns, the river rises very swiftly, and
it’s possible to be cut off.
So I searched for a guide to take me out. (Another advantage
of going with a guide is that he has the permit issue taken care of.) I eventually
made a date with Steve Brooker (aka the “mud god”), who’s been featured on the
History Channel and written up in Time magazine and elsewhere. But while
searching, I came across an article on mudlarking that quoted a curator at the
Museum of London as saying (I’m quoting here as nearly as I can remember),
“almost everything we know about childhood in the Middle Ages comes from finds
the mudlarks have brought in.” It’s often said that times may change, but human
nature doesn’t. Children lose things, whether in the twelfth century or the
Still, the idea of those toys, lost somehow in or along the river only to be washed up decades or even centuries later, started me thinking. In Book 10, Brother, Can You Spare a Crime?, John Pickett discovers he has a ten-year-old half-brother. That half-brother, I knew, would have had an upbringing very similar to John’s; what if he, too, had been an occasional mudlark, and had found a toy of some kind—one not necessarily of any monetary value, but something that he, a poor child having so little, prizes? And what if he (like all those medieval children) dropped it—not in the River Thames, but at the scene of a crime? I hadn’t even gone on my own mudlarking adventure yet, but thanks to the internet, I already had a head start on my next book!
You’ll be able to see how this element fits into the book
when it releases on June 12, but in the meantime, here are a few photos of my
own mudlarking finds. Contrary to what you might expect, we did not use
a metal detector (in fact, the “mud god” has strong views about the use of
metal detectors along the foreshore, and the role they play in erosion);
instead, he taught me how to read the tides as the nineteenth-century mudlarks
would have done.
I met up with Steve in Greenwich at the Cutty Sark, and we
walked through the tunnel beneath the Thames to the Isle of Dogs, the peninsula
formed by a deep bend in the river east of the City. (Incidentally, whenever
you see London referred to as the “City”—capitalized—it refers to the portion
of central London, roughly one square mile, that was once contained within the
old Roman wall.) Why that particular spot? Because once upon a time, the Isle
of Dogs was the site of a dumping ground for one of Henry VIII’s palaces. Dead
people’s garbage dumps are a historian’s playground; so much can be learned by
what people threw away, either by accident or deliberately. Which makes me
wonder what historians will learn about us someday, but that’s a topic for
another blog, written by another blogger.
There was more, including modern coins from the UK as well as a US quarter, a small brass button, a number of 19th-century nails. . In fact, I haven’t yet got around to cleaning it all! We were on the foreshore for about two hours before the tide made it necessary for us to curtail our hunt. Here’s a photo of all our finds:
I can’t wait to go again! Hmm, I wonder what I’ll find next time…
The current ban on international travel makes me especially
glad that I managed to visit the UK last year, although pleasure wasn’t the
first thing on my mind when I made the trip. I’d been working on Into Thin
Eire (aka John Pickett mystery #9), and I’d just finished the chase through
England, Wales, and finally Ireland that makes up a good deal of the book. But
when I read back through those chapters, I realized there was one big problem.
“This could be set anywhere in the world,” I complained to
my husband, “and it wouldn’t matter! It needs detail to ground it in a
particular place.” I looked online, but internet research has its limitations;
I just wasn’t finding what I needed.
“Do you need to go?” my husband asked. “If you do, book a
flight. I’ll see you when you get back.”
And so I did. Since my husband didn’t have enough vacation time to take a week off (we’d taken a South American cruise back in February, and he’d used most of it up on that trip), I went alone—my first solo trip out of the country. (Mom was convinced I was never coming back alive.) I’d bought a BritRail pass at the same time I’d booked my flight, and so after taking a day to recover from jet lag, I set out from my hotel to Euston Station. My objective: to follow the path of my characters, making notes on topographical changes along the way.
After boarding the train and finding a window seat with a
good view, I pulled out a little notebook I’d bought for the trip. As the train
traveled westward, I made notes on the landscape: the flat green fields of the
Midlands, dotted with sheep and occasionally bisected by canals (the latter sometimes
affording glimpses of brightly colored narrowboats) giving way to the steep
slopes of Snowdonia, the peaks hidden beneath a blanket of clouds, until
finally setting me down in Holyhead, Wales, where I’d booked a room for two
nights at a quaint bed and breakfast called Witchingham.
Once in my room, I walked the short distance to the water and strolled along the Anglesey Coastal Path, stopping to eat dinner at the Yacht Club restaurant. From the water’s edge, I could see the ferries returning; this was the reason I’d come to Holyhead.
Early the next morning, I called for a taxi to take me to the port, and took the Swift ferry to Dublin. The name refers to Jonathan Swift, not to the boat’s speed, although that would fit, too: I made the Irish Sea crossing in just over three hours, whereas for John Pickett and his traveling companions, even a smooth crossing would have been seventeen hours or more. The boat itself was like a small cruise ship, with a buffet brunch included in the fare, along with comfortable seats and big picture windows along the bow and sides. But I wasn’t the only person making a work-related trip: one entire deck was reserved for commercial trucks (lorries), with lounges set aside specifically for their drivers.
When we arrived in Dublin, I realized that in one instance, at least, John Pickett would have had the advantage over me: his packet sailed right up the River Liffey into the heart of Dublin, whereas my ferry docked along a rather nondescript commercial waterfront, from which we walk-on passengers had to take a bus into the city proper. After a day in Dublin, it was back to the ferry for the return trip, arriving in Holyhead just after midnight. (And me, with my north-Alabama/Appalachian-foothills accent trying to communicate by telephone with a Welsh taxi driver was the only real problem I had on the whole trip!)
In the morning, I took the train back to London for my next adventure—mudlarking along the Thames foreshore! But that’s a subject for another blog . . .
Last time I was in London, I posted a blog sharing some of the places that would have been familiar to John Pickett, the young Bow Street Runner who is the hero of my Regency-set mystery series. Since I had a chance to visit Scotland this past summer as part of a 2-week British Isles cruise, it only makes sense to give his magistrate, the real-life Patrick Colquhoun, equal time.
While our ship was docked at Greenock, my husband and I arranged for a car and driver—Mike made it very clear that he did not intend to spend his vacation learning how to drive on the wrong side of the road!—to take us to some of the places that would have been familiar to Patrick Colquhoun.
Dumbarton Castle, as seen from across the River Clyde
Our first stop was Dumbarton, where Patrick Colquhoun was born in 1745. You can see Dumbarton Castle long before you get there, as it is situated on the north bank of the River Clyde—directly across the river from the road that connects Greenock to Glasgow, which means you must go some way past it before you can cross the river and backtrack. It is visually quite imposing, built on a volcanic plug that has been fortified since the Iron Age, and would certainly have been a familiar sight to our man.
Me, standing on a bridge overlooking the River Kelvin.
His wife, Janet (whose maiden name was also Colquhoun), was also from here; in fact, her father was the provost (think “mayor”) of Dumbarton. Going his father-in-law one better, Patrick Colquhoun became Lord Provost of the much larger Glasgow—a position which meant he was also Lord-Lieutenant of the County of the City of Glasgow and a Commissioner of Northern Lighthouses. He built an estate in Glasgow’s West End, along the River Kelvin, and called it Kelvingrove. The house no longer stands (and, alas, he sold it in 1792, some years after moving to London, which means I can never send John Pickett there), having become Glasgow’s first municipal museum in 1872 and demolished in 1899, when the Kelvingrove Art Gallery and Museum was built in its place. Its grounds were absorbed into what is now Kelvingrove Park. I spent a very pleasant hour wandering through the park and along the river, imagining myself following in his footsteps.
Kelvingrove Park. The spires of the Kelvingrove Art Gallery and Museum are visible in the background.
One thing I noticed was that the locals seemed very gratified to discover that I knew how to pronounce “Colquhoun” correctly! (For the record, it’s “Ca-HOON.”) Upon learning what I was doing there, more than one boasted that, yes, “Glasgow is Colquhoun country,” and asked if I had visited Luss. I was pleased to tell them that I had.
Luss, besides being a picturesque little village on the shores of Loch Lomond, is the ancestral home of Clan Colquhoun. Although he was never chief of the clan, not being in the direct line of succession, Patrick Colquhoun would certainly have been aware of the connection, and might well have visited the village or the ancestral seat, a fine Georgian manor called Rossdhu House.
Rossdhu House. Since I didn’t get to see it in person, I looked it up online!
(Rossdhu, by the way, now serves as the clubhouse of the Loch Lomond Golf Club, and still contains many of the original furnishings and artwork, on loan from the family. My driver tried to get me close enough for a glimpse of the house, but the gates were locked, and the landscaping blocked any view; apparently they’ve seen me driving off the tee.)
Picturesque cottages of Luss.
Foiled in my attempt to get a look at Rossdhu, I had to content myself with strolling through the village and down to the loch, finishing up my time in Luss by trying haggis (yes, really!) at the Loch Lomond Arms Hotel, a former coaching inn owned by the present clan chief, Sir Malcolm Colquhoun, 9th baronet of Luss.
Lunch at the Loch Lomond Arms Hotel: haggis (center) with neeps (turnips, at bottom) and tatties (potatoes, top).
Those of you who have been listening to the audio versions of the John Pickett books may have been wondering about the man behind John Pickett’s voice. (He’s actually the man behind Julia’s voice too, as well as Mr. Colquhoun’s and all other other characters.) I’m pleased to give you this glimpse “behind the scenes” at award-winning audiobook narrator Joel Froomkin!
SCS: Tell me a little about your background. How much of your voice work is natural talent, and how much is theatrical training?
JF: Well, I grew up in Bermuda, which is a British colony, and that kind of forged the way for me to be a little bit of a dialect freak. I went to a British school where my teachers were from all over the UK. So I grew up absorbing all these different sounds without even being conscious of it. My best friend was Scottish, my “adopted” grandparents were English, and I lived in London for three years. So I was lucky, growing up around all these sounds AND having American parents. In terms of training, I did my undergrad in performance at USC, and then my MFA in directing—which is actually ideal for audiobooks, because you are usually your own director. Being able to listen with an objective ear and say to yourself, “Nope, that doesn’t sound truthful” is a real help. So to answer your question, I think I ended up with a really unique combination of “nature” and “nurture” that allows me to tackle unique projects as a narrator.
SCS: What do you look for when choosing a project to audition for? What appeals to you?
JF: It really depends. But I get really excited about things that allow me to play with a lot of characters and dialects. I think that’s because my passion for audiobooks came from listening to Roy Dotrice and Jim Dale, who really create an entire cast of voices. Personally, I love cozy mysteries (M. C. Beaton and Alexander McCall Smith are my favs), so working in that genre is a real treat. John Pickett’s adventures let me enjoy both of those things. I’d love to do fantasy as well, because it allows so much latitude with vocal characterization. Because of my background, I’m often hired to do books that feature American AND British characters. People who have listened to only my British books get really confused when they hear one of my American titles!
SCS: After we contracted to do the John Pickett mysteries, you had me send you a spreadsheet listing every speaking character, along with each character’s age, occupation/social class, three words describing them—and one unexpected item. Can you tell my readers what that was, and why you find it helpful in creating a voice?
JF: It’s important to me to try and get a real sense of what was in the author’s imagination. I’ve found authors tend to think of their characters more visually than vocally—so I have a series of questions that helps me focus in on the aspect that most concerns me.
I ask them the age of the character; very often, the minor characters—servants, etc.—are not really given much detail—and I can interpret them as 86 years old and find out three books later that the author refers to them as 22! The level of education is important—especially for British material, where dialects are very much tied to level of class. I need to know if they grew up in any specific region, and whether any other characters in the book were also raised there, because they will share sounds.
I ask if there is a particular celebrity the author imagines would play the character in a movie. About half the time, these suggestions aren’t useful, because the author is thinking visually, not vocally—so they will tell me that Chris Pratt would be a character in a British Victorian story. That doesn’t help. But when they are able to tap into the voice type, knowing that someone sounds like Eddie Redmayne vs. Sean Bean, that is helpful.
The last thing, which actually is the most helpful, is what kind of animal they think the character would be—kind of like what is their Patronus. LOL. Knowing an author imagines a character is a weasel vs. a toad or a Persian cat vs. a bear is a huge help to find their voice.
SCS: Okay, so I’ve sent you the character spreadsheet and the book manuscript. What’s next for you? Walk me through your process.
Then I read the book, with the author’s character sheet right by my side. It’s important to know the arc of the story and the characters before I start—particularly with a mystery, because I have to be careful not to telegraph the ending by making the murderer too obvious. Mysteries are also very tricky because there are often “mysterious voices” that are overheard, or anonymous telephone calls (in more modern material). Those are always really tricky to figure out how to voice so the listener doesn’t identify the bad guy!
SCS: Let’s talk for a minute about the John Pickett books. What part of the books presents the greatest challenge for you? What part do you find the most enjoyable?
JF: I think getting to voice the prequel, Pickpocket’s Apprentice, was a huge help to me. [SCS: Joel also won an Earphones Award from AudioFile for his work on this book, which I suspect increased his affection for it exponentially!] It meant that we have been able to chart his growth in education and his ability to assimilate into a class above his station. He still speaks in what we would call “mockney”—certainly not BBC English. But when he is speaking with servants, his dialect shifts to seem more relatable to them. When he is with the upper classes, he tries not to drop consonants or use glottal stops. Very often, historical writers make the mistake of assuming that lower-class people can just “pretend” to have an upper-class sound. But if that were the case, there would be no reason for My Fair Lady to exist—Eliza Doolittle wouldn’t have needed Henry Higgins! So we’ve found a way to progress John Pickett that I really enjoy. I love the character—in my head, I’m playing Eddie Redmayne playing John Pickett. For some reason, when I’m voicing Lady Fieldhurst, I always think of a young Eva Green.
Thanks so much! I look forward to working with you on the other books in the series. Fun things in store include a whole family of Scottish characters (in Family Plot, Book 3), John singing “Drink to Me Only with Thine Eyes” while pretending to be drunk (Waiting Game, another John Pickett novella, Book 4.5), and of course the romantic resolution (Too Hot to Handel, Book 5). I can’t wait to hear what you do with them!
(If you’d like to hear a sample of Joel’s work, here’s a short excerpt from A Dead Bore. Enjoy!)
In spring of 2016, I had the good fortune to be featured on USA Today’s HEA blog in an article on historical mystery series with strong romantic elements! Since there were eight authors referenced in the article, everyone’s interview had to be abbreviated due to space constraints. I’ve included my entire interview below; if you’d like to read the HEA blog entry (I’ve been told it was one of the most popular they’ve ever done, and was shared more than 1,400 times!), you can read it here
1) Did you plan from the start to include the romantic element in your book or series, or did it evolve in the writing of the stories? If the former, why? If the latter, at what point did you realize this element would be significant to the book/series? Yes, the romance was a big part of the series from the very beginning. I’d had success with “across the tracks” romance in my self-published Regency romance The Weaver Takes a Wife, so when I got ready to develop a mystery series, I decided to go back to that particular well, in this case pairing a young and inexperienced (in more ways than one) Bow Street Runner with the widowed viscountess who is his chief suspect in the murder of her husband (Book 1, In Milady’s Chamber). I knew from the first that I was asking readers to suspend a great deal of disbelief in accepting that a Bow Street Runner, even a young and handsome one, might become romantically involved with an aristocratic lady. In fact, I felt this scenario was well-suited for a series, as it would allow for the gradual development of a relationship that might be difficult to pull off in a single title.
2) Does the romantic element develop over several books or is it strong from the start? It seems a bit sacrilegious to mention my own books in the same sentence as Dorothy L. Sayers, but at the risk of sounding presumptuous, the relationship between Lord Peter Wimsey and Harriet Vane was my model, as far as developing the romance goes. In the first book, the attraction is all on John Pickett’s side. Julia, Lady Fieldhurst is far more concerned with saving her neck from the gallows, but even aside from that, a woman of her class would never think of a man of his station in those terms. It was interesting to see reviewers’ response to this one-sided attachment. One reviewer said, “If you’re looking for a romance, you won’t find it here,” while another said, “The romantic tension crackles, because absolutely nothing happens”!
3) What is the relationship between the protagonist and the significant other, and the role of the significant other in the story? (Are they partner sleuths, or is the “other”, while involved in the story, not one of the primary investigators? If you are writing a series, does your protagonist have only one significant other, or are there a series of them?) In the first book, he was investigating her husband’s murder, and she was the primary suspect. In the later books, they keep running into each other—sometimes coincidentally, other times not. Because of her social position, she can go places that he can’t, and ferret out information from people who might refuse to talk to him. The most recent book, Dinner Most Deadly, found them at cross purposes for the first time, with Julia reluctantly agreeing to protect her best friend’s estranged husband, who is a suspect in the case Pickett is investigating. And it makes her miserable, which goes a long way toward making her realize just how important he has become in her life.
4) If you are writing/have written a series, how is the romantic element maintained after the couple marry or otherwise have a meeting of the minds on their relationship? I don’t want to give away too much detail here, because the book that resolves the relationship has not yet been published. Suffice it to say that I’d expected the series to end once that resolution came, but after writing that book, I realized that the daily challenges of making such an unequal match work offered plenty of opportunity for conflict—and comedy—that deserved to be explored.
5) Do you think the romantic element is important to the marketing of your books? Is it featured, by either you or your publisher, in the marketing materials? If not, do you know why? I think it’s very important—in fact, I doubt if there’s a single person who reads my books strictly for the mystery! While my publisher markets the John Pickett series as part of its mystery line, I write my own copy for the cover flap, and I make sure to mention the issues within the developing relationship as well as the mystery. I also promote it on romance review websites, and next month I’ll be attending the Romantic Times conference for the first time.
6) There are historical romances with strong suspense of mystery plots. How are those different from the books that you write? The most obvious difference is the fact that my series follows the same couple over a number of books—and that, four books into the series, the romance is still unresolved and unconsummated. I also think my books contain more humor than the historical romances with mystery or suspense elements, which seem to deal with darker themes and/or tortured characters. I don’t do tortured characters; John Pickett is rather like a Regency “Chuck” (from the titular character of the TV series, portrayed by Zachary Levi) in that he’s brilliant but utterly lacking in self-confidence.
I have a confession to make. I hate blogging. (You’d probably already figured that out, given that my blog hasn’t been updated since last July.) But blogging seems to be expected of writers these days, along with a lot of other things that didn’t even exist back when my first novel, Wrong-Way Romance, was published in 1991. But while I don’t mind Facebook, for instance—in fact, it’s fun to share book covers, reviews, etc. with readers—I begrudge every minute I spend writing blog entries, including this one. For one thing, I don’t think my life is so thrilling that people would want to read about it every week. (I’m reminded of the cell phone commercial from years ago, in which a man “tweets” such thrilling tidbits as “I’m sitting on the porch,” much to the chagrin of his mortified teenaged children.)
More than that, though, if I’m writing, I want to be WRITING. There are only so many hours a day that I can devote to it, and I’d much rather spend those hours writing a book than a blog. In other words, I’d rather be living the writing life than waxing philosophical about it.
In fact, lately I’ve been so consumed with my characters that when I’m not writing about them, I’ve started drawing them. I haven’t done any freehand sketching in years, but for some reason I decided to give it a whirl. I used to draw a lot when I was younger, but to my frustration, I couldn’t draw anything realistically; everything I drew had a cartoony look to it. With the rise of manga, however, I decided that cartooniness might actually be a good thing. And so I drew this sketch of John Pickett and his Lady Fieldhurst, from the mystery series.
And it was FUN! So much fun, in fact, that I drew another, this one considerably . . . warmer. (When I texted it to my younger sister, she promptly texted back, “Oh, get a room!”)
So, I’ve fulfilled my writerly duty and updated my blog. Now it’s your turn: do you blog? If so, what do you find to write about? Do you read blogs? Obviously you’re reading this one, but why? What do you think of authors on social media—do you enjoy getting an inside look at what their lives are like, or would you rather they spent that time working on their next book? Do my sketches look anything like you imagined John Pickett and Lady Fieldhurst, or do you think I should put the colored pencils down and stick to writing? Inquiring minds want to know!
Some of my favorite comments from readers regarding the John Pickett mystery series concern the father-son relationship of Pickett and his magistrate, and how much the reader enjoys it. In fact, of the questions I’m asked most frequently about the series (aside from the obvious ones about if, when, and/or how Pickett and Lady Fieldhurst will ever get together), several concern the character of Pickett’s magistrate, Patrick Colquhoun. Readers want to know how his name is pronounced, and why I chose to give a character such a difficult name. To answer the first question, according to Debrett’s Correct Form, the name is pronounced “Ca-HOON,” at least in the United Kingdom.
As for the second question, I chose it because Patrick Colquhoun was a real person, and a real magistrate at the time the books are set. And while I could find no evidence that he ever served in that capacity in Bow Street (in fact, my research sources place him at Queen Square), certain aspects of his life dovetail so nicely with that of John Pickett that I thought he would make a good mentor for my fictional Bow Street Runner.
Patrick Colquhoun was born in Dumbarton, Scotland, on 14 March 1745 (making him 63 years old in 1808, where the John Pickett mysteries begin). He was orphaned at age 16, and traveled to the British colony of Virginia to seek his fortune. He returned to Scotland in 1766 and settled in Glasgow, going into business for himself in the linen trade. When war broke out in the colonies ten years later, he joined with thirteen other Glasgow businessmen in financing a local regiment, contributing £100 of his personal funds to fight the colonists—possibly one of the few bad business decisions he ever made.
In 1775, at age 30, he married Janet Colquhoun, a distant cousin. They had seven children, but only four—one son and three daughters—lived to adulthood.
Patrick Colquhoun was a keen collector of statistics as well as a prolific writer, first on economic issues and later on topics relating to crime. His economic activities in Scotland—he formed the Glasgow Chamber of Commerce and Manufactures, and served as its first chairman—brought him into contact with political circles, into which he was soon throwing his considerable energy. He moved his family to London in November 1789, and was appointed as a Police Magistrate in 1792.
His first reform efforts involved trade on the River Thames, where an estimated half-million pounds worth of cargo was stolen every year. Colquhoun made the shocking claim that fully one-third of the 33,000 river workers were known criminals who were in on the take—a claim which seemed to be confirmed when a mob attempted to burn down the office of the newly formed Thames River Police.
The English people were suspicious of a standing police force, citing abuses by the police in France. By couching the debate in pragmatic terms, often as a matter of cost-benefit, he was able to allay many of these concerns, leading eventually to Robert Peel’s Metropolitan Police in 1829. Of Colquhoun’s many books and pamphlets, perhaps the most significant was his Treatise of the Police of the Metropolis, which emphasized the ineffectiveness of the old London “charlies” as a deterrent to crime.
Patrick Colquhoun retired from his magistracy in 1818 and died two years later on 25 April 1820, at age 76. He is revered in England as a police reformer; in fact, the Metropolitan Marine Police—the modern incarnation of the Thames River Police—has a police boat named the Patrick Colquhoun.
One biographer notes that “although Mr. Colquhoun bore externally a somewhat pompous and domineering aspect . . . there never, perhaps, was a heart more alive than his to the domestic interests of the poor, or a mind more actively bent upon improving both their physical and moral condition.”
I recently had the pleasure of going on a cruise on the English Channel—stops in Rotterdam and on the island of Guernsey, culminating in a couple of days in London before heading back home. This was actually my second visit to London. During the first, thirteen years ago, I’d concentrated on places that would have been fashionable during the Regency period, including day trips to Brighton and Bath.
But that was before my reinvention as a mystery writer. This time around, I decided to focus on places that would have been familiar to John Pickett. The logical place to start, then, was Bow Street, where he and his fellow Runners were based, and Drury Lane, where he hired rooms. (Warning: You may notice that I refer to my characters as if they are/were real people. I’m sorry if this strikes you as pretentious or silly, but I don’t know how else to do it—they ARE real to me!)
Anyway, my husband and I set out early Tuesday morning, navigating the Tube until we reached Bow Street. We hadn’t walked far until we came to the Bow Street Magistrates’ Court, where I was determined to have my picture taken! Pity my poor husband, who admits he is no photographer: I made him take this picture four times before he got one that suited me!
Next, we walked northeast to the upper end of Drury Lane and began following it southeast. I already knew that I wouldn’t find John Pickett’s hired lodgings; besides the fact that I made them up out of whole cloth, the entire lower end of Drury Lane was razed around the turn of the 20th century to make room for the area now known as Aldwych. For the sake of my trip, this might have been a good thing: better, surely, not to find it at all than to discover I’d gotten it wrong! In fact, there was a theatre situated just about where I’d pictured Pickett’s flat as being located—and that theatre was staging a production of Top Hat, based on the Fred Astaire-Ginger Rogers musical of the same name! Later that day, we rushed off to Leicester Square and bought tickets, and returned to Drury Lane that night to see the show.
But that’s a subject for another blog. I took a picture of the Drury Lane street sign, just to prove I had really been there, and we continued southwest along Russell Street past the Theatre Royal in Drury Lane. Just to show what a good sport my husband is, when I told him that this theatre was the one built in 1812, he said, “Oh, is that the one that replaced the one you burned down?” Naturally, I replied with an enthusiastic “Yes!” (In fact, the theatre did burn in 1809, which is a major plot point in the as yet untitled John Pickett mystery #5. But we sure gave all the other tourists something to think about!)
We had a few extra hours that afternoon, so we spent them walking up and down many of the streets my Regency characters would have known. This may not have meant much to my husband, but it was a real kick in the pants for me to see the street names and say, “Oh, look, Mike! Audley Street! Lady Dunnington lives there!” (Have I mentioned what a good sport Mike is?)
One of the places we walked through was Berkeley Square. Those who have been following the John Pickett mysteries from their beginning (In Milady’s Chamber) may remember that it is in the Fieldhurst town house in Berkeley Square that Lord Fieldhurst is murdered, leaving Lady Fieldhurst (a) a widow; and (b) a suspect in her husband’s death. It is here that John Pickett first sees her and is instantly smitten. Now, as I looked around Berkeley Square, I found this house and decided it looked like it might have been the one.
Finally, we returned to our hotel, which happened to be located just around the corner from New Scotland Yard—appropriate enough, since it was the Metropolitan Police Service, formed in 1829 and headquartered at Scotland Yard, that eventually replaced the Bow Street force.