Danny is riddled with anxiety. But he wants to be strong for his wife Sam. She’s been through so much already. If only he had someone to talk to.
Sam is facing a very different future to the one she expected. She’s ready to move on, yet other people won’t let her. If only she had someone to talk to.
Their new neighbour Diana is hiding from her past. She wanted a new life. Now she’s got it she feels angry and alone. If only she had someone to talk to.
Each of them is hiding their pain. Each of them needs to heal. But only when they learn to let each other in will they finally be able to grow.
I received an audiobook from HQ (Harper Collins Audio UK) via NetGalley in return for an honest review.
This character-driven story features a multi-generational friendship. Told from three viewpoints Diana, Sam and Danny, it is a detailed emotional story that explores finding your true self, fitting in, honesty and loss.
It’s introspective and works well as an audiobook. The narrator is clear and engaging, voicing the characters believably and distinctly. The gentle pace enables the listener to know each character well, and the humour, insight and poignancy, make it an emotional read.
The parallels with nature that affects the characters’ lives are well crafted and make this an engaging, thought-provoking story.
July 1914: Britain is in turmoil as WW1 begins to change the world. While the young men disappear off to foreign battlefields, the women left at home throw themselves into jobs meant for the boys.
Hiding her privileged background and her suffragette past, Constance Copeland signs up to be a Clippie – collecting money and giving out tickets – on the trams, despite her parents’ disapproval.
Constance, now known as Connie, soon finds there is more to life than the wealth she was born into and she soon makes fast friends with lively fellow Clippies, Betty and Jean, as well as growing closer to the charming, gentle Inspector Robert Caldwell.
But Connie is haunted by another secret; and if it comes out, it could destroy her new life.
After war ends and the men return to take back their roles, will Connie find that she can return to her previous existence? Or has she been changed forever by seeing a new world through the tram windows?
Guest Post – Lynn Johnson – Wartime with the Tram Girls
I cannot believe that, as I write this post, I have two books out in the big, wide world, a scary but happy situation to be in. Before I start, I would like to introduce to you an acquaintance of mine who would like to have a few words.
“My name is Connie. Don’t call me Constance. It is important that everyone knows me as Connie. I have a secret, you see and if it becomes known, I will most probably lose everything. Besides, I like being Connie, the Tram Girl. She is far more interesting than Constance Copeland who has little if anything to do with her life. Connie has more freedom for a start and Father has less control over me. I like it that way. The name change was partly Ginnie’s idea. You might know her as The Girl from the Workhouse. She thought that Constance sounded too posh for my plans. I thought Connie would be just about perfect. Ginnie’s younger than me but she makes an awful lot of sense sometimes.”
This is the voice of Constance Copeland, and Wartime with the Tram Girls tells her story against the backdrop of WW1. As with the first book in my Potteries Girls series, I wanted to write about the Homefront, what happened to the families and friends of those who kept the country going during the Great War, and how they managed when their men came home again, many of them changed forever. Coming from a different social class, writing about Connie gave me the opportunity to look at many events, both good and bad, from a different perspective. I loved getting inside Connie’s head and looking at the world through her eyes – always asking the question – what would Connie do?
When I really want to know my characters, particularly major characters, I interview them – perhaps a result of my past life as a personnel manager. By asking characters what they like, don’t like, favourite pastimes, which books they read – or can’t read, I really have to delve deep inside their psyche. A key part of my process is to get each of these characters to talk about their backstory. What they say and what their feelings are about other characters can often give pointers to where the story is/should be going.
When writing from an individual character’s point of view, it is important to relate only thoughts, feelings and speech that that character would be aware of. This makes it rather difficult to get input from others, so writers need to find creative ways to overcome that through such using more than one point of view character, showing through actions and letters and so on, seeing behaviour and emotions reflected through the demeanour of others. An omniscient narrator might tell the reader a lot about the events leading up to the denouement. How much more exciting it becomes when your characters are happy to communicate with you directly.
I love seeing my characters come to life in this way. It’s as if they are sitting on my shoulder watching the words become sentences, paragraphs, chapters, stories. And woe-betide me if I get it wrong!
Lynn Johnson was born in the Staffordshire Potteries and went to school in Burslem, where the novel is set. She left school with no qualifications and got a job as a dental nurse (and lasted a day), a nursery assistant, and a library assistant before her ambition grew and she enrolled at the Elms Technical College, Stoke-on-Trent and obtained six O’levels. She obtained a Diploma in Management Studies and a BA Hons in Humanities with Literature from the Open University while working full-time.
Most of her working life was spent in Local Government in England and Scotland, and ultimately became a Human Resources Manager with a large county council.
She started to write after taking early retirement and moving to the north of Scotland with her husband where she did relief work in the famous Orkney Library and Archives, and voluntary work with Orkney’s Learning Link. Voluntary work with Cats Protection resulted in them sharing their home with six cats.
She joined Stromness Writing Group and, three months after moving to Orkney, wrote a short story which would become the Prologue to The Girl From the Workhouse.