Juggling with Spaghetti

I’m writing a Woman’s Hour series on Ida and Louise Cook. These amazing sisters who lived an outwardly very quiet existence in Wandsworth in the early nineteen thirties, spent about five years providing financial guarantees for Jews fleeing from Germany, and sometimes smuggling out jewels and fur coats, the only source of portable wealth that might provide their refugees with future security. Their cover story was their passionate love of opera, and helped by their friendship with the conductor Clemens Krauss and several opera stars, they would travel to German or Austria in their woolworths cardies and sensible tweed skirts, see an opera, then return via a different route to avoid the suspicions of the border guards, often laden with jewels and furs.

After Kristallnacht in 1938, Nazis began to openly attack and loot Jewish homes and businesses and their victims were only given thirty days to get out of the country if they were able to escape at all. But once into Britain, a refugee child had to be ‘adopted’ by a British citizen until the child reached 18. A woman could be brought over on a domestic permit. It was much harder for men because they might have a job waiting in the UK or US but would still have to apply for a Visa from some pompous little Nazi in order to get out of Germany.

Once in the UK a refugee over eighteen would then be put into another queue for Emigration to the US – a queue which could stretch to over three years wait. During this wait, again, they would be the financial responsibility of a British citizen. For refugees over 60 this responsibility would last for the rest of their life. Oh and if it seems as though the UK was doing everything they could to keep Jewish refugees out, it was because they were. When you think about attitudes to refugees now, it seems little has changed.

Using the cover of their operatic passion, Ida and Louise would travel back and forth to Germany. They went in and out using different borders to avoid becoming too familiar with the guards. In Germany they stayed in big hotels with high ranking Nazis to show they had nothing to hide. And why would anyone suspect two giggly spinster sisters? Under this cover they saved twenty nine lives. And as Ida was a prolific Mills and Boon writer she used her earnings to provide sponsorship for her refugees. It was a time where £25 would buy someone’s life.

It’s difficult writing about heroism because nobody decides to be a heroine. The word conjours up marble bust drama – I don’t want that. Living through it is one thing – talking about it – something else. And it’s such a big story that I can only concentrate on a small part of it. As I often tell my students you have to decide what you want to say – what you want the story to be about, regardless of genre.

I think I want this to be about two sisters, who can only do their work if they think of it as a romantic adventure and not a series of terrible risks.

I find scene breakdowns the most onerous part of writing because (to me) it’s the bricks and mortar. If your foundations are dodgy, it doesn’t matter how nice the furniture or the carpets, because the house is likely to totter and collapse. This is a big story so I have to be very careful about what I cover. And with radio – you can’t have loads of voices either – it’s usually a maximum of five per Woman’s Hour episode. I went away and wrote a scene breakdown and showed it to my producer who gently reminded me that I only have thirteen minutes to squeeze in a shitload of story. Start again.

So my basic rule is to start close up then pull back and reveal and finish each episode on a cliffhanger. And not have episode four and five as ‘tidy ups’. The whole story has to have a narrative arc but each episode also has to have a concurrent narrative arc and be interesting enough so a listener can drop in at episode three and have a clear idea of what’s going on.

This is so hard and I’ve only got thirteen minutes to fill! You know – over Christmas (I’m always late to catch up with Must Watch stuff – I STILL haven’t watched the box set of The Killing or Borgen) – I finally watched Series One and Two of Downton Abbey. And loved it. And wondered: How on earth does Julian Fellowes manage to sustain a narrative arc for each episode, within which are about fifteen characters all with their own storylines, laying markers and red herrings for future episodes AND creating an overall arc for the entire series, and finishing on a cliffhanger? Like juggling with spaghetti. I'm merely juggling with er . . . large pieces of pasta - you know - the big shell ones. But it's still hard.

Role Models for Girls

A while ago I wrote a series for Radio 4 about girls comics. In the first episode which was about Girl comic and set in 1952, I learned that the comic editors wanted a story about a girl pilot. It was to be called Kitty Hawke and her All Girl Air Crew! Sounded fabulous, but their readers didn’t want girl pilots steering planes over mountainous ranges. So the story was changed to Angela the Air Hostess. Oh well. Twenty years later, the mighty Bunty magazine featured working class girls who had ambitions to go to grammar school – despite what their mean uncles and aunties had to say about it. ‘You’re getting ideas above your bleedin’ station!’ roared one particularly mean uncle to the plucky heroine who only wanted to wear the badge of St Plum in the Gob. My own favourite was Catch the Cat featuring a girl in occupied France who wore a very dodgy looking cat suit and went around foiling some seriously stupid Nazis. But scoff all you like – these were girls who did stuff. They didn’t just sit there looking pretty in between getting their kit off for men’s mags, crying on cue and occasionally beating up women in toilets did they Cheryl Cole? But hey – guess who The Girl wants to be when she grows up?

It’s hard to talk about this stuff without sounding all po-faced, but who has heard of Hermila Garcia Quinones? The female police chief of Meoqui, Mexico was gunned down on her way to work. A short while later another young girl, Marisol Valles called ‘the bravest woman in Mexico’ took the job. She was twenty! After several months and many more death threats she had to flee to the US, but who has heard of her? Let’s try someone else. Maria Bashir. When the Taliban banned girls from getting an education, she set up a school in her own living room and risked death every single day. Now she's the first female prosecutor in Afghanistan. I would imagine she’s got more to worry about than whether Heat will print a picture of her arse looking a bit fat.

I’ve just put an idea into Radio 4 for Women’s Hour, about Ida and Louise Cook. Never heard of them? Well, they were two ordinary young women in 1930s Wandsworth, who fell in love with opera, and saved up to travel across Europe to see their favourite opera stars. During this time they began to notice the persecution of the Jews. Meanwhile, to fund their operatic travels, Ida started writing for Mills & Boon. And the money she made enabled the sisters to provide sponsorship and a place to stay for some 29 desperate Jewish families. Ida and Louise smuggled these people out, under the noses of the border guards, priceless diamonds pinned to their scruffy cardies. They stayed in expensive hotels to show they had nothing to hide and once, Louise was chatted up by Joachim Von Ribbenthrop, Hitler's Foreign Minister. 'He thought I was just another admiring fool,'. They were named as Righteous Among the Nations in the sixties. I reckon the reason that nobody has really heard of these amazing sisters is because they were naturally self-effacing, from a time when women didn’t seek publicity for themselves but also because they weren’t particularly pretty. But if they had been – they would probably have gotten married and never had such extraordinary lives.

My producer doesn’t want to call it Ida and Louise because she thinks it recalls Thelma and Louise. But it’s stuck in my head and they were around before Thelma and Louise. And they don’t drive off a cliff at the end – they merely go back to Wandsworth.

So, I’m just saying that there’s room for Cheryl and that one from The Only Way is Essex, the models, the actresses and models, and other gorgeous girls who’ve got somewhere with their good looks. I’ve got no problem with that – just that they shouldn’t be the only role models for our daughters to look up to. After all, as Ida said once, ‘in the end, you are what you do.’