Tuesday 24 July 2018

How to write a novel inspired by Shakespeare

My novel Dark Aemilia is based on the life of Aemilia Lanyer, the first woman to be published professionally as a poet in England. Aemilia is one of the women who may have been the Dark Lady to whom Shakespeare dedicated his most passionate but troubled sonnets. In my story, I assume that not only is she Shakespeare’s muse, but also the true author of one of Shakespeare’s most famous plays – The Tragedie of Macbeth

There are several ways in which Macbeth inspired the story:
Theme: the destructive power of ruthless ambition; violence begetting violence; the drive to subvert established hierarchies.
Plot: the smooth efficiency of a plot in which temptation is followed by wrong-doing which causes alienation and retribution. A perfect balance between freedom of choice and tragic inevitability.

Atmosphere: the sense of evil that haunts ‘the Scottish play’; the dark power of witchcraft; violence and murder; the bleakest aspects of the natural world.

Language: the use of imagery and stark, vivid language to convey the fearful, deranged perspective of the protagonist.

Gender: the fact that, in spite of being excluded from positions of influence, women are a potent force in the power play between men.

William Shakespeare, The Chandos Portrait 

And I'm not the only author to be inspired by the work of Shakespeare:


  •  Ambition is the driving theme in Moby Dick, by Herman Melville (Macbeth/King Lear) Melville’s Great American Novel draws on both Biblical and Shakespearean myths. Captain Ahab is ‘a grand, ungodly, god-like man…above the common’ whose pursuit of the great white whale Moby Dick is a fable about obsession and over-reaching. Just as Macbeth and Lear subvert the natural order of things, Ahab takes on Nature in his determination to kill his prey - and his hubristic quest is doomed from the start.
  •  A Thousand Acres, by Jane Smiley (King Lear) Smiley retells the story of King Lear in modern day Iowa in her Pulitzer prizewinning novel. The novel is set on a thousand acre farm which is owned by a father and his three daughters, and told from the point of view of the oldest, Ginny. Instead of dismissing the two older daughters as wicked and grasping, as Shakespeare does, in her novel Smiley explores the family secrets that underpin the drama, and shows the significance of the land itself. 
  • The Black Prince, by Iris Murdoch (Hamlet) This is a brilliant depiction of obsessive love, though its plot is a typically convoluted Murdochian creation which is inspired by Freud and Plato as well as Shakespeare’s Hamlet. It tells the story of a twisted friendship between two writers, and features some cheekily cross-dressed sex scenes in which Julian (a young woman) dresses up as the gloomy Dane. Murdoch is strongest on the unpredictability of love, and the black comedy that can result. 
  • Brave New World, by Aldous Huxley (The Tempest) Huxley makes numerous references to the work of Shakespeare in this dystopian novel, and the title is taken from the Tempest: ‘O brave new world, / That has such people in 't!’ Like Caliban, John ‘The Savage’ is an outcast, despised for his appearance, and Huxley is exploring ideas about the power of art and the nature of humanity as Shakespeare does in this haunting and, possibly, final play.
  • Wise Children, by Angela Carter (The Taming of the Shrew et al) Twins, doubles and paradoxes abound in Carter’s last novel, as they do in the works of Shakespeare. The story of twins Dora and Nora Chance explores ideas about paternity and incest, and the novel is written in five chapters like the five Acts in a Shakespeare play. One of the themes is ‘high art’ versus ‘low art’ and Carter jokily refers to Shakespeare via Kiss Me Kate, a populist adaptation of The Taming of the Shrew. 
  • The Daughter of Time, by Josephine Tey (Richard III) Richard III gets a sympathetic makeover in Josephine Tey’s 1951 whodunnit, which reads like a cross between Rear Window and Time Team. Detective Alan Grant, confined to bed after an accident, begins to take in interest in the much maligned king after studying his portrait.  Although clearly Richard III was a real person, the false picture we have of him was originally created by Shakespeare, Tey argues. He created a pantomime villain and child murderer in order to curry favour with his Tudor patron, Elizabeth I.