Thoughts About The Road to Ancona
As readers might have gathered, my novel The Road to Ancona, is semi-autobiographical. I say ‘semi’ because the version I published was a fictionalised narrative, although based on real events. The names of the people have been changed but the places and the itinerary were exactly as the packaged holiday I took in 1966. You probably do not need me to tell you that, in the story, I am Michael. As I have said before, all novels are autobiographical, in some way or other. Novels always reveal something about their authors, in both the content and the style in which they are written. This one is truly autobiographical even though the story has been fictionalised.
Visiting Italy
When I went on that tour to Italy, I wrote copious notes about all that happened to me and the group I was with. Decades later, I wrote it up as an entry in my journal. I then fictionalised the whole thing as a novel, which I called Holiday. The version of the novel that has been published, on my blog, is not the only one. When I was a member of a writing group, I was persuaded to rewrite the whole novel in a different order of events. Which I did. The published version is presented in chronological order. My writer’s group suggested that this was not the best way to write a book. I rewrote the whole novel and began the revised version when the boys – Michael and Richard – got off the coach, having arrived in Cattolica, and got their first sights and smells of the Italian resort. Even though that version might be better, from a story-telling point of view, I decided to publish the work in its original format, telling the story on a day-by-day basis, just as it happened. Even now, I cannot understand why I reverted to the oroginal version.
Why Self-publish?
Why did I not offer the novel for publication? To discuss this fully, I would have to go into a long and vitriolic diatribe about the state of the publishing industry, in the twenty-first century. I will desist from doing that, now. What I chose to do, was to publish the whole work on my blog (website) so that it would see the light of day. Now that it is fully out there, I am pleased with what I have done. Everyone who wants to, can read it, free of charge, at their leisure. I enjoyed publishing the chapters on a daily basis. I got into a routine of getting up early, publishing a chapter and then proof-editing the next one, ready for the following day. Now that process has come to an end, I can return to my other writing projects. Before I leave the novel I feel a need to talk about it. Is it a good read? Of course it is. Naturally, I am not the best person to ask. It is a personal achievement for me and one that I am largely satisfied with.
Milestones in life
The novel tells the story of one of the great milestones in my life (albeit in a fictionalised version.) I am sure that some critics would argue that it is not a good idea to turn real personal events into novels. Try saying that about Laurie Lee’s Cider With Rosie or his As I Walked Out One Midsummer Morning. Not to mention hundreds of other fiction works based on the author’s own personal experiences. A story is a good read if it worth reading and attracts readers, however it came into existence.
An analyst could go through the book and attempt to differentiate between what actually happened and what was purely fictional invention. Only I could do that with any degree of certainty. There are passages that are an accurate portrayal of what I really did on the holiday and some that are simply the inventions of a creative mind. As an author, my primary concern is to tell a good story and, in doing that, I am not overly concerned with the difference between fact and fiction. There is, after all, my true account of the holiday, written at the time it took place, and I have that to refer to, if I wish to see how I fictionalised specific elements of the novel. I know which scenes I made up that did not happen in the reality of 1966.
What is it About?
Is it a novel about two teenagers who go on a packaged holiday in the nineteen-sixties? No. It is much more than that. What it is really about is the clash of cultures between the English and the Europeans, the modern and the ancient and the young and the old. It is also about how being a writer differentiates you from the rest of humanity. Michael, the central character, is a neonate writer and this makes him different from his less literary peers. The act of writing is a life-changing experience. An individual who is constantly writing about what happens to him, is quintessentially different from those around him. The more he writes, the more he becomes a different person. The story also evokes a period of our history which many regard as being a golden age. Not just about the year that England won the world cup. The mid-sixties saw a sea-change in British life. Not only the introduction of mass packaged holidays, but also a time of changing morality. Young people were still innocent, compared to today’s youth. Even so, it was the dawn of the summer of love, the beginnings of the sexual revolution that would sweep across the world and change it forever, the emergence of popular culture that would displace the legacy of the status-ridden Victorian era. Yes, I felt there was a lot of love, back then, but surprisingly little sex. Even if there had been a ‘summer of love’, it had not reached the inner core of teenage life in the Midlands.
Characters in the story
The characters in my novel are fairly typical of those who were alive at the time of the novel. Many people of my age would recognise, in the novel’s teenagers, the kind of young people they themselves were back in the day. Many would also remember taking their first foreign holiday by going on a tour offered by the voluminous brochures that came out each autumn and winter. Novels are multi-layered. There is the plot, which tells what happened and when. Then there are the characters and how they behave and relate to others. There are the implications of what happens. I am sure you do not need me to tell you this. As I worked on my novel – over the space of around three decades – the simple tale turned into layers of awareness and understanding. I discovered what the work had to say about people, tourism and being a writer. For authors, there is always the temptation to over-write. As I worked through the many, many drafts, I was tempted to add more and more detail. Even though this novel is short, by modern standards, it could have grown very much larger. I needed to make it terse, for online publishing, without loosing the sense and nuances of each scene. The final published version came to around 50,560 words. This is short by paper-based standards. For an online version, however, it is, and has been, manageable. The other version I wrote was considerably longer. The journey suggested by the title – The Road to Ancona – is not a real journey (even though it began as one) but is an emotional road to a new understanding and a realisation of the meaning of adult life. The Ancona of the story is not a town on the Adriatic seaboard, it is a state of mind. Some might see my novel as being one about ‘coming of age’. It is a phrase I intensely dislike and I refute the suggestion that this is what my novel is about. Rather, it is a story about a young man who becomes ‘human’ and takes his first steps into the maturity of adult life. It is a reflection of growing, developing and reaching a level of self-awareness.
Book Ends
I began the work with a prologue and ended it with an epilogue. I stand by that convention. In fact, when I wrote the current version of the epilogue chapter, I was excited by the fact that the whole story comes with a twist in the very last words of the book. That was a device of which I still quite proud. The story began with two boys going into a travel agents to collect brochures from which they could book their planned holiday. That is what we did in those days; that is what really happened. The rest of the novel tells the story of this packaged tour of Italy, day by day. The story would not have worked had I fictionalised the country to which they travelled or changed the names of the resorts they visited. There was simply no need to do that. It is odd that the version of this novel, I published on this website, was not the ‘finished’ version that I had written a couple of years ago. In the earlier version the story begins with Michael getting off the coach after the group had arrived in the report of Catollica. The back story was then told throough a series of ‘flashbakcs’. Even now, I cannot understand why I published the original version and not the one that had been rewritten after considerable amounts of advice from experienced novelists.
About the year 1966
Although the prologue says that the year was 1966, each day of the holiday is undated; each chapter explains day was the second, third, fourth, etc., day of the holiday but not what the actual day was. In fact they left England in late July. The timeline of the trip comes only in a series of mentions as to what took place and when. In chapter 1, it says: ‘It was the middle of July and the sky was overcast, as the boys headed towards the sunshine of the Mediterranean.’ I did not feel it important to be more precise about the timeline than that. What the reader finds, is that blend of fact and fiction, reality and artifice, makes stories intriguing. A made-up story taking place in a real world, albeit with fictional characters, doing fictional things. Except that the holiday wasn’t made-up; it actually happened fifty-six years ago but not exactly as it appears in the book.
As said above, certain scenes were added for the sake of the story that did not happen in the real-life holiday. Having said that, most of the story was true. The dialogue between the characters was invented; I never wrOte down what people said, even when I was there, and I certainly could not remember any of it today, after all these years. I took the plain monolith of two weeks of my life, in 1966, and guild, decorate and embellish it to make it into an entertaining story. The result was an intricate weaving together of fact and fiction which is what many historical novels are all about.
Trevor Locke,
February 2023.
Chapters of the novel.