I had the idea for SHADOWBOX in 2010, after I’d finished the second or third draft of THE LAST RHINEMAIDEN. The character of Louis Beauregard fascinated me – here was an elderly man, still vigorous, in an unusual situation. Questions began to from in my mind.
Who was he?
Where did he come from?
How had he become the head of the shadowy organisation known as the Cuckoo Club?
As I’d written THE LAST RHINEMAIDEN, some of those questions were answered – briefly, the way you’d refer to Ian McKellen’s Richard III to put his Gandalf into context, or Christopher Lee’s Saruman in the shadow of Dracula, and Scaramanga, and Lord Summerisle.
I knew Louis was sprightly. I knew he’d had a long eventful life. When I wrote ALL ROADS LEAD TO THE RIVER I shaped him up to face his future, to make him become the man of THE LAST RHINEMAIDEN. And there I saw a glimpse of the man he’d been before.
So SHADOWBOX became a story of the young Louis Beauregard, when his position as the Sacred King was a fixed part of him, but he’d yet to fully adapt to the challenges of his destiny. He had to have a life, and I already knew he was privileged. So I asked more questions of myself:
– what was he like, this young rogue?
– what makes a character roguish?
– how would this express itself in its period? How does one become a rogue of the 1830s? When all around is excess?
In order to find out, I had to investigate the times. My notions of the 1830s were way out. I had to remind myself that this wasn’t Pride & Prejudice bonnet-land, nor the preRaphaelites, nor Restoration. Deciding the time period was just one element of the story.
And then there was the conflict within the story. Conflict forces the action. It’s the trigger event that makes things happen, that gives us a story to follow in the first place, that keeps us turning the pages until The End.
This is where Godfrey Woolverham comes in. He started out as Pawel Czerczy, a goldsmith, a man who was wronged by Louis Beauregard. The conflict at the heart of SHADOWBOX was always there in my early plans. But it took a while to work that conflict into a shape I could write a novel around.
The key to this was the Amber Room of Peter The Great.
In THE LAST RHINEMAIDEN, Sylvester de Winter roams London in an amber-lined coach. Something about the material properties of Baltic amber had a pivotal impact on the world I had created, and this conflict and impact could be used as a plot device.
And thus the amber carvers arrived in SHADOWBOX, to give the story a point of intrigue, a hook, or maybe a MacGuffin. The real story began to spin off, away from a simple tale of supernatural mystery and into a deeper analysis of the conflict both main characters suffered as a result of the novel’s founding event.
Godfrey and Louis were set on a collision course of death and murder, and nobody could stop them.
Next: The third post in the SHADOWBOX series: Germinal 2, deciding the timescale of the novel and other matters.
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