Celia Brayfield – författare

Novelist Celia Brayfield had never lived more than a taxi ride from Soho, until one day she decided to take a year off. With the computer and the cats in the back of the car, and the blessing of her student daughter, she drove South until the dawn came up in the Bearn, the most romantic, remote and rustic region of France.Deep France is the diary of a writer's year in a tiny French village, trying to meet her deadlines when a good thunderstorm could blow out the computer and there were always artichokes to pick. It's a walk in teh swashbuckling footsteps of The Three Musketeers and King Henri IV, full of funny and perceptive anecdotes about the year in which France had to face the euro, the World Cup and Le Pen's presidential campaign.'An author who writes living, breathing novels capable of making us weep and marvel' The Times 'Her writing glitters: the humour is as sharp as a Sabatier knife' Image

Novelist Celia Brayfield had never lived more than a taxi ride from Soho, until one day she decided to take a year off. With the computer and the cats in the back of the car, and the blessing of her student daughter, she drove South until the dawn came up in the Bearn, the most romantic, remote and rustic region of France.Deep France is the diary of a writer's year in a tiny French village, trying to meet her deadlines when a good thunderstorm could blow out the computer and there were always artichokes to pick. It's a walk in teh swashbuckling footsteps of The Three Musketeers and King Henri IV, full of funny and perceptive anecdotes about the year in which France had to face the euro, the World Cup and Le Pen's presidential campaign.'An author who writes living, breathing novels capable of making us weep and marvel' The Times 'Her writing glitters: the humour is as sharp as a Sabatier knife' Image

'Make this your next inspirational read. Trust us, it’s Oprah’s Book Club worthy' ViceIn London in 1958, a play by a 19-year-old redefined women’s writing in Britain. It also began a movement that would change women’s lives forever. The play was A Taste of Honey and the author, Shelagh Delaney, was the first in a succession of young women who wrote about their lives with an honesty that dazzled the world. They rebelled against sexism, inequality and prejudice and in doing so challenged the existing definitions of what writing and writers should be. Bypassing the London cultural elite, their work reached audiences of millions around the world, paved the way for profound social changes and laid the foundations of second-wave feminism. After Delaney came Edna O’Brien, Lynne Reid-Banks, Charlotte Bingham, Nell Dunn, Virginia Ironside and Margaret Forster; an extraordinarily disparate group who were united in their determination to shake the traditional concepts of womanhood in novels, films, television, essays and journalism. They were as angry as the Angry Young Men, but were also more constructive and proposed new ways to live and love in the future. They did not intend to become a literary movement but they did, inspiring other writers to follow. Not since the Brontës have a group of young women been so determined to tell the truth about what it is like to be a girl.In this biographical study, the acclaimed author, Celia Brayfield, tells their story for the first time.

'Make this your next inspirational read. Trust us, it’s Oprah’s Book Club worthy' ViceIn London in 1958, a play by a 19-year-old redefined women’s writing in Britain. It also began a movement that would change women’s lives forever. The play was A Taste of Honey and the author, Shelagh Delaney, was the first in a succession of young women who wrote about their lives with an honesty that dazzled the world. They rebelled against sexism, inequality and prejudice and in doing so challenged the existing definitions of what writing and writers should be. Bypassing the London cultural elite, their work reached audiences of millions around the world, paved the way for profound social changes and laid the foundations of second-wave feminism. After Delaney came Edna O’Brien, Lynne Reid-Banks, Charlotte Bingham, Nell Dunn, Virginia Ironside and Margaret Forster; an extraordinarily disparate group who were united in their determination to shake the traditional concepts of womanhood in novels, films, television, essays and journalism. They were as angry as the Angry Young Men, but were also more constructive and proposed new ways to live and love in the future. They did not intend to become a literary movement but they did, inspiring other writers to follow. Not since the Brontës have a group of young women been so determined to tell the truth about what it is like to be a girl.In this biographical study, the acclaimed author, Celia Brayfield, tells their story for the first time.

''Make this your next inspirational read. Trust us, it''s Oprah''s Book Club worthy'' ViceIn London in 1958, a play by a 19-year-old redefined women''s writing in Britain. It also began a movement that would change women''s lives forever. The play was A Taste of Honey and the author, Shelagh Delaney, was the first in a succession of young women who wrote about their lives with an honesty that dazzled the world. They rebelled against sexism, inequality and prejudice and in doing so challenged the existing definitions of what writing and writers should be. Bypassing the London cultural elite, their work reached audiences of millions around the world, paved the way for profound social changes and laid the foundations of second-wave feminism. After Delaney came Edna O''Brien, Lynne Reid-Banks, Charlotte Bingham, Nell Dunn, Virginia Ironside and Margaret Forster; an extraordinarily disparate group who were united in their determination to shake the traditional concepts of womanhood in novels, films, television, essays and journalism. They were as angry as the Angry Young Men, but were also more constructive and proposed new ways to live and love in the future. They did not intend to become a literary movement but they did, inspiring other writers to follow. Not since the Brontës have a group of young women been so determined to tell the truth about what it is like to be a girl.In this biographical study, the acclaimed author, Celia Brayfield, tells their story for the first time.

''Make this your next inspirational read. Trust us, it''s Oprah''s Book Club worthy'' ViceIn London in 1958, a play by a 19-year-old redefined women''s writing in Britain. It also began a movement that would change women''s lives forever. The play was A Taste of Honey and the author, Shelagh Delaney, was the first in a succession of young women who wrote about their lives with an honesty that dazzled the world. They rebelled against sexism, inequality and prejudice and in doing so challenged the existing definitions of what writing and writers should be. Bypassing the London cultural elite, their work reached audiences of millions around the world, paved the way for profound social changes and laid the foundations of second-wave feminism. After Delaney came Edna O''Brien, Lynne Reid-Banks, Charlotte Bingham, Nell Dunn, Virginia Ironside and Margaret Forster; an extraordinarily disparate group who were united in their determination to shake the traditional concepts of womanhood in novels, films, television, essays and journalism. They were as angry as the Angry Young Men, but were also more constructive and proposed new ways to live and love in the future. They did not intend to become a literary movement but they did, inspiring other writers to follow. Not since the Brontës have a group of young women been so determined to tell the truth about what it is like to be a girl.In this biographical study, the acclaimed author, Celia Brayfield, tells their story for the first time.

The story of a remarkable woman who wrote a novel that not only became a classic, but also changed the way human society views and treats animals. Born in 1829 to a young Quaker couple, Anna Sewell grew up in poverty in London. She was fourteen when she fell and injured her ankle, which left her permanently disabled. Rejecting the life of a Victorian invalid, she developed an extraordinary empathy with horses, learning to ride side-saddle and to drive a small carriage. Rebellious and independent-minded, Anna suffered periods of severe depression as a young woman. She left the Quaker movement, but remained close friends with the women writers and abolitionists who had been empowered by its liberal principles. It was not until she became terminally ill, aged 51, that she found the courage to write her own book. Tragically, she died just five months after the book was published in 1877. Black Beauty is now recognised as the first anthropomorphic novel, and it had an extraordinary emotional impact on readers of all ages. After modest success in Britain, it was taken up by a charismatic American, George Thorndike Angell, a campaigner against animal cruelty who made it one of the bestselling novels of all time. Using newly discovered archive material, Celia Brayfield shows Anna Sewell developing the extraordinary resilience to overcome her disability, rouse the conscience of Victorian Britain and make her mark upon the world.

Writing Historical Fiction: A Writers'' & Artists'' Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.

Writing Historical Fiction: A Writers’ & Artists’ Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.

Writing Historical Fiction: A Writers'' & Artists'' Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.

Black Beauty is a novel that changed our world. Intended to ‘induce kindness’ in a Victorian audience who relied on horses for transport, travel and power, it remains a dearly loved children’s classic. Writing Black Beauty is the story of the remarkable woman who wrote this phenomenal book.Born in 1820 to a young Quaker couple, Anna Sewell grew up in poverty in London. She was 14 when she fell and injured her ankle, leaving her permanently disabled. Rejecting the limitations that Victorian society forced on disabled people, she developed an extraordinary empathy with horses, learning to ride side-saddle and drive a small carriage.Rebellious and independent-minded, Anna left the Quaker movement as a young woman but remained close friends with the women writers and abolitionists who had been empowered by its liberal principles. It was not until she became terminally ill, aged 51, that she wrote her own book. It was published in 1877, but Anna tragically died just five months later.After modest success in Britain, Black Beauty was taken up by American activist George Thorndike Angell, who made it one of the bestselling novels of all time. Using newly discovered archive material, Celia Brayfield shows how Anna Sewell developed the extraordinary resilience to rouse the conscience of Victorian Britain and make her mark upon the world.

Black Beauty is a novel that changed our world. Intended to ‘induce kindness’ in a Victorian audience who relied on horses for transport, travel and power, it remains a dearly loved children’s classic. Writing Black Beauty is the story of the remarkable woman who wrote this phenomenal book.Born in 1820 to a young Quaker couple, Anna Sewell grew up in poverty in London. She was 14 when she fell and injured her ankle, leaving her permanently disabled. Rejecting the limitations that Victorian society forced on disabled people, she developed an extraordinary empathy with horses, learning to ride side-saddle and drive a small carriage.Rebellious and independent-minded, Anna left the Quaker movement as a young woman but remained close friends with the women writers and abolitionists who had been empowered by its liberal principles. It was not until she became terminally ill, aged 51, that she wrote her own book. It was published in 1877, but Anna tragically died just five months later.After modest success in Britain, Black Beauty was taken up by American activist George Thorndike Angell, who made it one of the bestselling novels of all time. Using newly discovered archive material, Celia Brayfield shows how Anna Sewell developed the extraordinary resilience to rouse the conscience of Victorian Britain and make her mark upon the world.