Autobiography – Page 3 – Sophie Neville

10 tips on how to begin adapting your book for film, television or radio

I began with working on book adaptations in 1971 with Laurie Lee’s memoir Cider With Rosie and went on to appear as Titty Walker in the 1974 film Swallows and Amazons when the screenwriter David Wood worked with Mrs Ransome to abridge her husband’s well-loved novel into a 90 minute movie.

I’ve written about how the film was made and include pages from David Wood’s script of ‘Swallows and Amazons’ below. It is fascinating to see the original 1973 screenplay. Those who know the film well can appreciate how it was changed whilst we were on location.

By 1983, I was working in television production on book adaptations such as Coot Club and The Big Six by Arthur Ransome, set in East Anglia.

My Family and Other Animals shot entirely on Corfu.

One by One, David Taylor’s memoirs of a zoo vet.

Jimmy Ellis in 'One by One' — James Ellis as Paddy O’Reilly in the BBC vet series ‘One by One’, which ran to 32 episodes ~ photo: Sophie Neville

I also worked on The Diary of Anne Frank, Doctor Who, Eastenders, Rockcliffes Babies (a police procedure series), a Shakespeare play – Titus Andronicus and Bluebell – a costume drama based on the true life story of a dancer from Liverpool called Margaret Kelly.

I then wrote/edited – five documentaries and two drama-docs that I produced for BBC Education, and one that I made for Channel 4. In all I’ve worked on about 100 different television programmes in 7 different countries and appeared in 100 others but am still learning how to write scripts.

Sophie Neville directing a sequence with BBC cameraman Lorraine Smith

I’ve submitted numerous tv and film proposals. ‘Dawn to Dusk’ became a major Natural History series, broadcast on Thursday nights at 8.00pm.

Dawn to Dusk, a safari through Africa's wild places, accompanied the BBC series presented by Jonathan Scott — Series originated by Sophie Neville, Produced by Alastair Fothergill

It is very difficult to get a new series or film accepted. George Marshall said, ‘Hollywood is like a whale, indiscriminately glupping plankton.’ He optioned one film script I’ve written.

‘But I’d love to get my books adapted for the screen’

You can pay someone to adapt your work – and then edit and market it yourself. But watch out for scammers.

‘How do I do it myself?’

It’s going to be a slog – and expensive – so ask yourself WHY you want to do it. You can always self publish a novel but there is little you can do with a script that won’t sell. The transposition exercise helps you improve on your prose, but it is a lot of work. Take a first step and record your novel as an audiobook. I have narrated two at Monkeynut Studios.

You need to build up a CV to give producers confidence. The easiest thing to get accepted is an item in a long-running magazine programme eg: BBC Antiques Roadshow. This cost me no more than my time and petrol but I had two (historical fiction) stories accepted instantly. They were repeated and got me in the Mail Online and OK magazine. You can see the photos on this website here.

‘That’s not my pigeon!’ But it’s what viewers want. Start small and move on to providing Countryfile with an historical story. ‘But I write Biblical fiction.’ OK – Horrible Histories.

2. Buy Final Draft software – (they give you a free trial) and read up on how to format a script. Free software is out there such as celtx or WriterDuet. MS word has a screenplay template but most professionals send each other manuscripts on Final Draft.

The formatting gives you the length: 1 minute a page – 90 minutes for a screenplay – ie script of 90 pages.

100 pages = a short story. When I transposed a screenplay into a novel, adding description, it was only 30,000 words long. It took me another five years to finish it.

3. Never submit rough work. Perfect it. One of my first jobs – aged 22 – was to put together A Russell Harty Christmas show starring Esther Rantzen, Peter Davison and Matthew Kelly. This was the first time I wrote for television: a pantomime piece. I walked into the rehearsal room with a rough copy and it was a disaster. They gave the commission to Nicholas Parsons – and paid him well.

There is lots of information on the net to help you eg: The Top 10 Mistakes New Screenwriters Make

Here’s a book on The Top 10 Mistakes New Screenwriters Make and How to Avoid Them

4. Write plays for the stage or radio – they are cheaper to make and accept historical and biblical fiction with BBC Writer’s Room offering an open door. Write low budget material. Come up with a story that’s set in a church or an inexpensive venue.

5. Think Netflix. Think episodic: Would your books be suitable for a TV series? What kind? How long would each episode be?

A serial = long-running story with something happening in each episode. eg: we made My Family and Other Animals into 8 x 28.5 min episodes. (Interestingly Ep 2 looked weak on paper but turned out to be quirky and eccentric.)

A series = each episode a story with a continual tread. The James Herriot books made a good series: Each 50 min programme could stand alone as a TV film. Different characters in each. Silent Witness – a dramas with pairs of episodes within a series.

The Meeting House - a screenplay by Sophie Neville set in East Africa

“I want to make one book into a feature film.”

6. Look at the market. What is selling? It’s difficult to get a film accepted, particularly an epic one. If you have an idea for one set in a swimming pool in LA it would be easier. The US market is looking for formulaic Christmas movies – 50 get made a year. High concept Rom Coms. Netflix series. Many filmmakers begin with shorts. Look up the length. See what they want.

David Wood's screenplay of Swallows and Amazons — The script for the movie ‘Swallows and Amazons’

It can happen! David Wood was asked to adapt Swallows and Amazons at the age of 28 in 1972. He added jeopardy – which was cut firstly by Mrs Ransome, secondly by time restraints and ultimately the producer and his assistant, who stuck to the simple story that had been a bestseller since 1931.

Sophie Neville and David Wood talking about films on CBBCTV

7. Do you write for children? Again, think in terms of sales and marketing. David said, that since parents tend to be very conservative, it is a good idea to adapt well-known stories, like the Tiger Who Came To Tea rather than attempt to devise your own. It’s easier for the producers to raise funding. Movie finances are far more risky than books. Bestsellers can still lose money.

Ransome began studied storytelling in Russia. Perhaps try adapting fairytales, traditional or out of copyright stories to make a name for yourself before you try to sell your own novel as a script.

8. Watch on catch up and take note. Watch good writers. What do you like? What don’t you? Who is producing what? Talk to writers. Gerald Durrell advised us about things like sound, encouraged us to edit the truth. Brian Sibley said that it’s good to begin with a journey. The dubbing editor on Swallows and Amazons amplified Titty’s imagination (cheaply) from the sound of wind in palm trees, parrots, chattering monkeys…

Gerald Durrell with Sophie Neville in 1987

The producer Joe Waters told me to ‘Put your money in front of the camera’ – the visual impact of steam trains, traction engines, period cars, horses and boats.

9. Get a job as a trainee script editor. All BBC producers work with a script editor. There were two on Eastenders when I worked on the series. See if you can work in this capacity. (NB: Script Editors are different from Script Supervisors who oversea continuity on location and script co-ordinators.)

Swallows Script page 1 — The original screenplay of ‘Swallows and Amazons’ adapted by David Wood in 1973

10. Go on a scriptwriting course – eg: Falmouth University.

There’s a lot to learn. eg: You need to number the Days. These examples are lacking. It should read: EXT: LAKE – DAY 2 . Remember the script will be ‘broken down’ by the costume, makeup and set designers.

Expect re-writes – hundreds. They will want Spot the dog.

The script of David Wood’s adapation of Arthur Ransome’s classic book ‘Swallows and Amazons’

What do you do with your finished script?

Screen writing competitions and pitch sessions. Page Turner in the UK offer a book adaptation as a prize or will adapt your book for a fee.

Roadmap Writers in Los Angeles run competitions and will try to get you US representation

I have entered numerous screenwriting awards on FilmFreeway – winning 25 to date. Again, beware of the spammy ‘Film Awards’ offering discounts.

All the big American awards can be entered on Coverfly. You can register and set up a profile free of charge. I have accumulated 17 accolades and have a profile here.

Bible Society – The Pitch – pitch a short film concept that brings the Bible to life.

2. Look for an agent. Pitch to producers.

The costs can mount up. Have a budget. I met someone who spent 3 years writing 4 feature films and sold nothing but remember that it can happen. Swallows and Amazons was made by very young professionals and it’s still being broadcast.

Remember: Script writing is a craft. The huge comfort is that Jesus was a carpenter. He knows how to put things together, so they last, and are finished well.

A page of David Wood’s original screenplay: ‘Swallow & Amazons’ (1974) that was completely changed.

Just do it.

As a young actor, Julian Fellows formed a partnership with the drama director Andrew Morgan when making Coot Club on location in Norfolk. Just when the Head of BBC Drama Series and Serials said ‘No more children’s book adaptations!’ they collaborated on two period costume drama serials for children: Little Lord Fontelroy and The Prince and the Pauper. He then won an Oscar for Gosford Park.

Julian Fellowes as Jerry in ‘Coot Club’ photo: Sophie Neville

He’s the only writer I’ve encountered on location. ‘I’m like a make-up artist, ready to tweak.’

Santa Barbara International Screenplay Awards interview Sophie Neville

This coming Monday 2nd September, Sophie Neville is giving a talk on zoom about her screenwriting for Historical and Biblical Fiction Christian Writers Online. You can sign up on Bobbie Ann Cole’s website ahava.space

Sophie was interviewed recently for Writer’s Showcase at the Santa Barbara International Screenplay Awards:

Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel?

THE MEETING HOUSE is the extraordinary true story of an East African who served as an ambulance driver in Burma during WWII, became a POW to the Japanese and was airlifted out of Tokyo before it was bombed by Operation Meetinghouse in 1945.

I was commissioned to write the screenplay, then developed the historical novel with Curtis Brown Creative. It has won three writing prizes and is ready for publication.

How long did it take you to write your script… and what is your writing process?

This script took years of research! I worked on the outline with the producer, but she sadly died. It was then optioned by George Marshall who personally gave me rewrites. I then brought in historical advisers, script editors, kept polishing and tried out different structures while writing the novel.

What is your ultimate ambition as a writer?

I have two ideas for comedies: BANANA MAN – THE TRUE STORY about singleness and marriage (I was the bridesmaid) and THE RING OF KERRY based on an hysterical road trip collecting handprints for a genetic survey of Western Ireland in 1981 (the misadventures of me and a girlfriend).

Which film or television writers inspire you? Why?

Brian Sibley inspired me with his novel and true-life faith film ‘SHADDOWLANDS’. Sally Wainwright OBE writes humorous female-driven crime with gusto. David Wood OBE is great at adapting children’s literature for both film and stage.

What’s your all-time favorite movie or television show?

The movie SWALLOWS AND AMAZONS (1974) and tv drama SWALLOWS AND AMAZONS FOREVER! (1984) as I worked on them both.

What advice do you have for writers hoping to win a contest or place as a finalist as you have?

Keep writing – and keep submitting to Santa Barbara International Screenplay Awards for feedback!

What else are you working on that the world needs to know about?

The world needs to know about Chronic Fatigue Syndrome. My book FUNNILY ENOUGH – a true-life, faith & family, comedy would convert into a low-budget movie. (We could add the fact that a serial killer was at large in Gloucestershire at the time. He has twelve known victims.)

Speaking about 50th Anniversary of the classic film ‘Swallows and Amazons’ on Radio Calon this Thursday 29th August at 9.00pm

Sophie Neville spoke to Luke Durnell on Screen Facts, his hour of music from the big screen, on Thursday 29th August at 9.00pm.

Catch up on recent Radio Calon broadcasts via their website – with further details on how to listen here

The full ‘ship’s log’ relating to the adventures we had making the film can be found in the illustrated paperback published by The Lutterworth Press or ebook entitled ‘The Secrets of Filming Swallows and Amazons’. This can be downloaded this onto your phone and used as a guide book if you can grab a chance to visit the locations.

David Wood who wrote the screenplay of the classic film ‘Swallows & Amazons’ (1974) interviewed by Brian Sibley at the Cinema Museum

On 6th April 2024, the author and screenwriter Brian Sibley interviewed award-winning writer David Wood OBE at the Cinema Museum for the 50th Anniversary of the release of the classic film ‘Swallows and Amazons’. This can now be viewed on YouTube. I read a special letter from Dame Virginia McKenna towards the end.

Sophie Neville, Suzanna Hamilton & Sten Grendon with David Wood and Claude Whatham in 1973

Until I listened to this interview I didn’t know that Peter Hammond was originally going to direct the film or that Bernard Delfont was behind financing the movie at EMI. He also brought out ‘Murder on the Orient Express’ in 1974 and ‘The Deer Hunter’ in 1978.

Other secrets are revealed. Mrs Ransome (who held the rights) wanted all the Swallows to have blonde hair and blue eyes.

I’ll feature the Q&A with the cast on another blog in a few days time. Do sign up so you don’t miss it.

You can watch an excellent recording of Brian Sibley’s Q&A with the cast and David Wood on this website here and find photos of the event here.

Brian said he drew his knowledge from ‘The Making of Swallows and Amazons’, which is now available on audible.

The audiobook of 'The Making of Swallows and Amazons' — The audiobook narrated by Sophie Neville

A copy of the paperback is currently being auctioned to raise funds to help a little boy called Max who is very ill. You can see how the bidding is going on jumblebee

Channeling Titty’s unique style with the help of costumes designed by Emma Porteous.

Sophie Neville and Sten Grendon in Swallows and Amazons 1974

When I played Titty Walker in 1973, I tried to capture something of the style of the 1920s and portray her as the nine year-old girl in the illustrations Arthur Ransome’s drew in his book Swallows and Amazons. Although I shared the Scots/Irish/English ancestry of Titty Altounyan, a real little girl who the character had been based on, I lacked her Armenian heritage and dark, bobbed hair. However, Mrs Ransome had insisted that in the film Titty was to be played by ‘an English Rose’. Dame Virginia McKenna had accepted the part of our mother, who grew up in Australia, it seemed right that one of her children might have fair hair.

Virginia McKenna and Sophie Neville on Peel Island ~ photo: Daphne Neville

My Scottish grandmother would have been aged sixteen in 1929. She loved clothes and had great style. People say that I look like my mother but I bear a greater resemblance to Granny in her youth.

I’d inherited my father’s long legs, which made me a couple of inches taller than Simon West who played my elder brother, John. Since this would clearly look wrong on screen, I was encouraged to devise ways of disguising my height, but this was difficult to do in boats.

Sophie Neville as Titty and Simon West as John

We often had to sit on the ground in Swallows and Amazons. The long legs needed to be folded up, exposed as they were by the short dresses or divided skirts designed by Emma Porteous.

I remember meeting Emma at a fitting at Angels Costumes on Shaftesbury Avenue in London when I tried on the original silk dress worn for our arrival at Holly Howe. It came with a straw hat similar to one I’d worn as a child.

Simon West, Stephen Grendon, Suzanna Hamilton and Sophie Neville as the Walker children dressed as they arrived at Holly Howe at the start of their holiday in the Lake District ~ photo: Daphne Neville

I had no idea how well known Emma Porteous was to become. She designed the costumes for the James Bond movies, along with Aliens and Judge Dread. Finding the boy’s school uniforms must have been a bit dull for one so talented but she found elegant vintage dresses for Dame Virginia McKenna who looks elegant in every scene.

Stephen Grendon, Simon West, Virginia McKenna, Suzanna Hamilton and Sophie Neville, trying not to look as tall as she was in 1973 ~ photo: Daphne Neville

Emma had most of my clothes made up for me. These included a brushed cotton nighty, worn at Holly Howe, pajamas for camping, and a swimming costume with little legs. Mine was far from glamorous being red, wooly and apt to ride up in the most unflattering manner. I was given a smart yellow coat to wear in the train, but it was too hot in the compartment and, although pretty, it was never seen in the finished film. It had buttons in the shape of flowers and may have been an original garment from 1929.

Sten Grendon, Suzanna Hamilton and Sophie Neville

The silk dress revealed my ‘passion killers’. These navy blue elasticated gym knickers were an item of clothing requested by Claude Whatham, the film director, who remembered wearing long underwear himself. He insisted that I tucked my dress into these voluminous knickers, which the crew called ‘passion killers.’ This seemed natural as it was common practice. I’d done it myself, as had the Altounyan girls, but the tucking in became difficult to maintain and my legs were too gangly to warrant exposure. The knickers contained a hanky, used on two occasions. Growing up in the 1960’s – with a Scottish grandmother – I’d keep a hanky in my own over-knickers so found this quite natural. Even aged eleven my school uniform listed gym knickers (brown) and underpants.

Emma admitted to my mother that the dresses she’d had made for me would have been longer in 1929. She chose shorter, ‘out-grown’ hemlines as a nod to ‘Seventies fashion but these made my skinny legs look even more alarming.

Mum liked the pale yellow dress with scalloped detail. I didn’t then, but do now, although I don’t have the right colouring wear either yellow or green.

Simon West and Sophie Neville in Swallows and Amazons (1974) — Simon West and Sophie Neville on Peel Island in 1973

By the time I was pretending to be Robinson Crusoe, the yellow dress had been paired with a grey cardigan buttoned up to my neck for warmth. The quality of the material gave it a more natural, scruffy look than the white spotty dress with a Peter Pan collar. This looked a bit new for Titty, although it was much like the dresses Granny made for me, by hand, when I was aged nine. There was a little bit of smocking below the shoulders. I rather preferred Susan’s low-waisted gingham dress.

Simon West, Suzanna Hamilton and Sophie Neville reading BETTER DROWNED THAN DUFFERS IF NOT DUFFERS WONT DROWN — Simon West, Suzanna Hamilton and Sophie Neville

Did anyone find jackets for us to wear out on the water? No! We froze but the flimsy costumes we wore sailing to the island do give them impression of an idyllic summer holiday.

Sophie Neville, Suzanna Hamilton and Simon West sailing Swallow in 1973

Emma only ever made one visit to the location, early on when Dame Virginia McKenna was on set. Our clothes were looked after by the wardrobe master Terry Smith who kept them crumpled up in suitcases rather than on a costume rail. He had no assistant or dressers except for my mother who helped him fit the film extras with costumes and had me wriggling into mine.

Terry Smith, Sophie Neville and Daphne Neville on location in the Lake District — Wardrobe Master Terry Smith with Sophie Neville and her mother Daphne Neville outside the Make-up caravan on location near Keswick in Cumbria

Apart from the school shoes I arrived in, we wore white(ish) gym shoes, which were forever getting wet. I would have preferred gumboots but the Swallows wore ‘sand shoes’ in all the books, so that was that. Terry dried them with the help of a gas heater, which once leaked dangerously in the Routemaster bus that was used as our dressing room. There could have been an explosion.

People often ask what my favourite costume was. This undoubtedly consisted of the floral blouse and dark divided skirt, which equated with the illustrations in the books. I went to such an old-fashioned convent so was used to wearing a tailored divided skirt on the school games field and found it always hung well. Mum buttoned up the collar so that I could wear a vest underneath when we were sailing. It was in this Tomboy-ish outfit that I discovered the treasure and bordered the houseboat. Ultimately this style sold the movie, although my blouse was painted an alarming shade of pink on the film poster designed by Arnaldo Putzu. I got away lightly. He depicted Virginia McKenna in orange.

Sophie Neville as Titty in 'Swallows and Amazons' (1974) by the film poster artist Arnaldo Putzu — Sophie Neville in ‘Swallows and Amazons’ (1974) by the film poster artist Arnaldo Putzu

I was asked recently if I was able to keep any of my costumes. I was told they would be used in other films and wonder if they could still be at Angels Costumes.

I do still have the dress I wore to the premier, along with a pink gingham prairie dress that my mother wore to the wrap party that has shot back into fashion.

The Neville girls off to the premier of Swallows and Amazons in 1974

My mother wore Donny Osmond caps on location. One of these sunk to the bottom of Derwentwater, but I wear a purple velvet one of the era. It should probably be on display at the V&A but I find it useful in the rain. The film producer, Richard Pilbrow, sent me Swallow’s flag. It is the very best of accessories anyone could wish for.

The navy blue woolen hat that I wore to the original sailing audition has been attacked by moths but was stuffed into a cupboard with other memorabilia from the film. I’ll bring as much as I can along to Windermere Jetty for the 50th Anniversary of ‘Swallows and Amazons’ on 29th and 30th June 2024. Join us there if you can.

‘The Secrets of Filming Swallows and Amazons‘ is available as an ebook here, while the audio book of The Making of Swallows and Amazons, narrated by me, Sophie Neville, can be found on all the usual online platforms. Let me know how you get on.

I captured the Amazon

I CAPTURED THE AMAZON

The Arthur Ransome Society has been able to reunite Swallow and Amazon for the fiftieth Anniversary of the 1974 film and to preserve them for future generations. Come to see them both – and even sail Amazon – at Windermere Jetty museum in Cumbria on 29th and 30th June when John Sergeant will be hosting a Q&A with the cast and crew.

Celebrating 50th Anniversary of the movie 'Swallows and Amazons' in 2024 — Celebrating 50th Anniversary of the movie ‘Swallows and Amazons’ in 2024

The challenge is on to fully restore Swallow so that families can set her sails and live out the pages of Arthur Ransome’s iconic books today.

Sophie Neville when president of The Arthur Ransome Society

At the age of twelve, I was cast as Able Seaman Titty when the original film Swallows and Amazons was made on location in the Lake District in the summer of 1973. Dame Virginia McKenna played my mother and the six of us children had fun making Ronald Fraser walk the plank. Now hailed as a classic sailing film, I’m assured it has been broadcast on British television more times than any other movie and is currently streaming on Amazon.com and Netflix Europe.

'Swallows and Amazons' on VHS — The cover of the original VHS version of ‘Swallows and Amazons’

One secret is that the film was made on four different lakes – Coniston Water, Windermere, Elterwater, Derwentwater – and a smelly lily pond. We were able to use Bank Ground Farm as Holly Howe and Brown Howe as Beckfoot, home to the Amazon pirates who careened their dinghy on the lake shore in the company of a 45-man film crew from Pinewood Studios.

David Blagden, David Cadwallader, and David Bracknell looking at the Amazon’s bottom with DPO Denis Lewiston in the background with the Panasonic

Careening the Amazon at Brown Howe, Coniston Water – photo: Daphne Neville

We were only given a couple of days to get used to handling Swallow and Amazon before filming began. Although happy out on the water, the director, Claude Whatham, knew little about boats. To make up for this, we had instruction from a sailing director in the form of a good-looking actor called David Blagden who presented a television programme called Plain Sailing. He’d recently raced crossed the Atlantic in a nineteen foot yacht called Willing Griffin but was unfamiliar with blustery Lakeland winds and did not know how to break down a script. Simon West, aged eleven, who played Captain John, ended up explaining to Claude how to get a decent shot while I tried not to shiver. My costume was designed by Emma Porteous of James Bond fame but consisted of nothing more than a short yellow dress and an enormous pair of navy-blue gym knickers.

Amazon, flying the Jolly Roger, with her seamed white lugsail and heavy centerboard is a lovely boat to sail. Although vital to the story, no one took into account that I needed to take her, on my own, from Secret Harbour on Wild Cat Island and drop her anchor off Cormorant Island. I was given a grey cardigan to wear but had not been asked if I could row. Having grown up handling a Thames skiff, I managed to use the leading lights we’d set up to negotiate the narrow channel and threatening rocks in one take. I repeated the action with Dennis Lewiston, the lighting-cameraman, and his 35mm Panavision camera in the stern but grew so tired that I needed to be carried ashore by a frogman acting as our safety officer.

Sophie Neville in The Amazon with DOP Denis Lewiston, his 16mm camera and a reflector board ~ photo: Martin Neville

Sophie Neville having captured the Amazon, with the lighting cameraman and 35mm Panavision Camera in her stern. Swallow is moored alongside – photo: Martin Neville

Titty later anchors Amazon off Cormorant Island on Derwentwater, but the shot of her wrapped in the sail, sleeping aboard, was taken in Mrs Batty’s blacked-out barn at Bank Ground, with the boat rocking on a cradle made by the unit carpenter. This was for a night scene when Titty is disturbed by burglars hiding a heavy trunk that turns out to contain Captain Flint’s treasure. When the action was repeated out on Derwentwater near One Tree Island, I got soaked. Rain had collected in the furled sails.

My one regret is that we didn’t follow the book when sailing the Amazon back to Wild Cat Island. The wind was up and Claude Whatham needed Captain John to sail Swallow ahead of the Amazon which is the faster boat. I originally took the tiller, as Titty is urged to in the story, but had trouble with the rudder. Mate Susan, played by Suzanna Hamilton, is at the helm on the cover of the Puffin paperback brought out to accompany the film, whilst I am fending off.

One of the film stills taken from the pontoon was used on the cover of the Puffin edition of ‘Swallows and Amazons’ brought out in 1974 to accompany the film.

The second part of the scene was shot on Coniston Water, with the Amazon Pirates, Nancy and Peggy ‘dancing with rage’ on Peel Island. A shot of this was used on the cover of a hardback and a DVD distributed by the Daily Mail.

Not many sailing films have been made and it was unusual for a movie to feature so many scenes set in two small dinghies. Mike Turk, whose family had been boat building for centuries, and Nick Newby of Nicol End Marine near Keswick, took up the challenge of adapting a cross-shaped pontoon to act as a mobile camera mount so that our dialogue could be recorded. This extraordinary vessel had two outboards but wasn’t easy to handle. The dinghies were wired to it with underwater cables but tended to pull away. Swallow’s mast broke the first time she was rigged, but the idea eventually worked and only Sten Grendon, playing Roger, fell in.

Amazon rigged up to the camera pontoon – photo: Richard Pilbrow

Somehow David Cadwallader, the grip looking after the camera equipment, managed to keep the horizon horizontal using no more than a spirit level on the tripod. Shadows were lifted from our faces by using reflector boards and, since the whole movie was post-synced at Elstree Studios, the audience can hear what we say.

Richard Pilbrow and his film crew on the camera pontoon with Eddie Collins operating the 16mm camera. Simon West and Stephen Grendon sail Swallow. Suzanna Hamilton is climbing aboard the Amazon with Sophie Neville

Filming Swallow and Amazon from the camera pontoon – photo: Daphne Neville

Sophie Neville on the pontoon during the filming of 'Swallows and Amazons' — The pontoon on Derwentwater with Richard Pilbrow, Bobby Sitwell, Denis Lewiston, Claude Whatham, David Cadwalader and Sophie Neville aged 12 playing Titty. Eddie Collins looks on ~ photo: Daphne Neville

Sophie Neville on the camera pontoon on Derwentwater – photo: Daphne Neville

The first Amazon, a chunky sea-going fourteen-footer with a standing lugsail purchased in Barrow-in-Furness by the Altounyan family in 1928, was originally called Mavis. After being restored, she was renamed Amazon in line with Ransome’s books but remains too leaky to take out. She now resides in the John Ruskin Museum at Coniston where she can be visited like a great aunt.

None of us children knew that the Amazon we sailed had been used in the 1963 BBC adaptation of Swallows and Amazons made in black and white with Susan George playing ‘Kitty’ as Titty was renamed. Looking at the photographs, it would have been good if Amazon’s hull had been painted black but her varnished planks are a nod to the 1970s when everyone was busy stripping pine.

By 2003, she was owned by the White family who I met when they brought Amazon from Kent to Cumbria to feature in Countryfile and an episode of Big Screen Britain. Ben Fogle met their twin daughters on Peel Island, looking very much like Nancy and Peggy in damp bathing costumes having been swimming in Coniston Water. It has been extremely generous of them to pass such a precious boat on to The Arthur Ransome Society.

Amazon will soon be available to hire at Hunter's Yard, Ludham — Amazon will soon be available to hire at Hunter’s Yard, Ludham

Amazon at Hunters Yard – photo: Marc Grimston

Amazon is currently being kept at Hunter’s Yard near Ludham where you can apply to sail her on the Norfolk Broads, along with the Titmouse and the Teasle, (a cabin cruiser called Lullaby) and a punt called the Dreadnaught featured in the 1984 BBC adaptation of Coot Club. Swallow is also there under restoration, needing a new keel.

Amazon being restored at Hunter's Yard, Ludham — Amazon being restored at Hunter’s Yard, Ludham

Amazon at Hunters Yard – photo: Marc Grimston

The plan is for both Swallow and Amazon to be on display at Windermere Jetty in Cumbria for the weekend of 29^th & 30^th June 2024. We hope some of the steamboats used to dress the Rio scenes set at Bowness-on-Windermere such as Osprey and George Pattinson’s launch Lady Elizabeth can be in attendance. Windermere Jetty is currently restoring the steam launch Esperance used by Ransome as his model for Captain Flint’s houseboat, and you can find the fourteen-foot RNSA dinghies used in the 2016 movie of Swallows and Amazons moored in the wet dock.

In 2021, everyone at Windermere Jetty gasped when Rupert Maas valued Swallow highly on BBC’s Antiques Roadshow, but the true worth of both Swallow and Amazon is akin to Captain Flint’s hidden treasure: instead of gold ingots his trunk contained precious memories of friendship and adventure. They no doubt kept him on course when the storms of life blew in and gave him plenty to write about. Just as Arthur Ransome’s books grant us solace, my prayer is that many will be able to grab the chance of sailing the little boats that take us into the stories immortalised on film so long ago.

You can read more of Sophie Neville’s memories in The Making of Swallows and Amazons’, published by the Lutterworth Press and now available as an audiobook narrated by the author

'The Making of Swallows and Amazons (1974) by Sophie Neville' — Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

Thanks go to all those who have looked after and lovingly restored the inspirational boats that appear in the adaptations of Arthur Ransome’s books. If you would like to help by making a donation towards the restoration, the link is:

I would like to Donate – The Arthur Ransome Society (arthur-ransome.org)

Sophie Neville with Titmouse at Hunter’s Yard. She will join Swallow and Amazon at Windermere Jetty on 29th and 30th June. Come and join us!

Sophie Neville in Hampshire Life magazine

The April issue of Hampshire Life magazine has a four-page feature celebrating the 50th Anniversary of the release of the original movie ‘Swallows & Amazons’ (1974) in cinemas, which you can now read online here.

The link with Hampshire is that my father grew up in Lymington and learnt to sail on the Solent. I met my husband Simon at an archery match in Worcestershire and was amazed to hear he lived on the Lymington River. I came down to the South Coast just before we got engaged but didn’t move in until after we returned from our honeymoon in Spain.

I’ve lived in Hampshire for twenty years now, give talks at the Southampton Boat Show and meet the Nancy Blackett when she sails down to Buckler’s Hard on the Beaulieu River where my parents spent their honeymoon.

It feels odd being described as an actress, but it’s good to get a front page byline.

Great British Life have a Spring Offer for magazine subscriptions, which make a good present.

The books mentioned are for sale from the Nancy Blackett Trust and all the usual places online.

Sophie Neville interviewed in the Church Times this month

Writer Sophie Neville on the Solent — Sophie Neville on the Solent

As the 50th Anniversary of the original film Swallows and Amazons (1974) approaches, Terence MacMath interviewed me for the Church Times. You can read the article here It is free to read online this March.

My book on travelling around southern Africa, Ride the Wings of Morning, was reviewed here

The Church Times also reviewed Funnily Enough. It can be found here

Terence is interviewing Suzanna Hamilton next. We are being joined by Simon West, Sten Grendon and Kit Seymour to give a Q&A with Brian Sibley and David Wood before a big screen showing of Swallows and Amazons at the Cinema Museum on 6th April 2024 and will be going to the Swallows and Amazons Festival at Windermere Jetty on 29th and 30th June 2024.

Up to date information on forthcoming events can be found on the Events Page of this website here

Sophie Neville as Titty with Suzanna Hamilton as Susan — Sophie Neville with Suzanna Hamilton in Swallows and Amazons (1974)

A Writer’s Year – Highlights of 2023

2023 started with a bang when I learnt that I had won the Eyelands Book Award for an unpublished historical novel, but that wasn’t all.

My true life story ‘Funnily Enough’ came out out as an audiobook – available on Spotify, Audible and all the other platforms.

My guiding light Virginia McKenna was awarded a DBE . It is well-deserved. You can find photos and read more on this website here.

Since 2023 marked the 50th Anniversary of making the original film in the Lake district, I gave a number of talks and ran a series of #OTD – On This Day – social media posts. Having spent years in Africa, I am wrinklier than Swallows’s flag, but my hair has become darker. At least it is my natural colour.

50th Anniversary of filming Swallows and Amazons in the Lake District

The Arthur Ransome Society were able to acquire both Swallow and Amazon, the dinghies used in the 1974 film. Hunters Yard near Ludham on the Norfolk Broads, who already own heritage boats used in the BBC adaptations of Coot Club and The Big Six are making them available for hire.

My WWII novel was shortlisted by both the 2023 Chanticleer Award for wartime fiction in the United States and Flash 500’s novel opening competition. Another won third prize in Louise Walters’ Page 100 competition, which was flattering.

But – I slipped on the Pembrokeshire coastal path – walking around a pile of fly-tipping – and broke my wrist. Six weeks later, I broke it again.

I was unable to type for a while. We ended up doing #NoMowMay, June, and July and I couldn’t go litter-picking until September.

I ran an online workshop for writers on photographing their books.

The author Wendy H. Jones interviewed me on The Writing and Marketing Show.

I attended the Romantic Novelists’s Association Conference at London University meeting an editor from Pan MacMillan.

and gave four talks on the Foredeck Stage at the Southampton Boat Show 2023

We had the iconic dinghy Amazon on display and I had a four-page feature article published in the national magazine Practical Boat Owner.

It was a great opportunity to meet sailing enthusiasts and speak in front of the camera.

Sophie Neville speaking at the Southampton Boat Show

I hugely enjoyed speaking at The British Christian Writer’s Conference at Ridley Hall in Cambridge where I met other members of Resolute Books.

I donated a signed copy of ‘The Making of Swallows and Amazons’ to the 2023 Children in Read charity auction, which raised so much for BBC Children in Need that I added a signed DVD and a number of other books to the package.

In December, we received the sad news that Richard Pilbrow, who produced the original film of ‘Swallows and Amazons’ died at the age of ninety. He would have been thrilled to know that the remastered version of the film was broadcast on television in Ireland on 23rd December.

We were hoping Richard could join us for the 50th Anniversary celebrations of the release of the film in cinemas. The screenwriter, David Wood, has organised Q&As at two screenings at the Cinema Museum in London on 6th April 2024.

Lakeland Arts and The Arthur Ransome Society are planning a Swallows and Amazons Festival at Windermere Jetty on 29th and 30th June 2024.

Other events and more details for 2024 can be found on my Events Page.

Come and join us in 2024!

Sophie Neville with Amazon, the dinghy from 'Swallows and Amazons'(1974)

Points to add to the third edition of ‘The Secrets of Filming Swallows and Amazons’ part nine

People often ask how making the original film of ‘Swallows and Amazons’ influenced my life. What struck me when I last saw the 1974 film trailer on Amazon Prime was that it begins with Titty saying, ‘The endless trek, through the Sahara Desert…’ In 1985, I did just that, crossing the Sahara on an expedition led by Charlie Mayhew, now CEO of the charity TUSK. I made my first documentary on the aid projects we worked on when we eventually reached Kenya. Had uttering those lines when I was little influenced my decision to drive from London to Johannesburg?

Sophie Neville on an endless trek, crossing the Sahara Desert – photo James Lindsay

People who know Arthur Ransome’s books are able to point out where the original film of Swallows and Amazons made mistakes. Janet Mearns noted that the Swallows ‘certainly didn’t take enamel mugs’ camping, ‘because they took extra in case of breakages.’ I had never noticed!

Andrew Clayton pointed out that, ‘Someone (Hugh Brogan?) Said that John was the lad he wanted to be. Titty, while based on an original person, carries some of his dreams and literary interests.’

Making a film while crossing the Sahara Desert in 1985

Peter Wright, former chairman of The Arthur Ransome Society, noticed that I sang ‘Adieu and Farewell’ instead of ‘Farewell and Adieu to you fair Spanish Ladies’ as the Swallows sailed from the jetty below Holly Howe. I now realize this mistake may have been due to the influence of ‘The Sound of Music’, which was the first movie I ever saw in the cinema. Captivated by the big screen at the age of four, I must have had the lyrics – ‘So long, farewell, auf Wiedersehen, adieu, Adieu, adieu, to yieu and yieu and yieu,’ imprinted on my brain.

I didn’t sing very well, but one of the secrets to the integrity of the film was that there was no vanity. None of us sought to further ourselves. Self promotion was an unknown concept. We had no personal agenda. We were not there for the money or any reason other than to live out the life portrayed in the books. All of us spurned the publicity and still find it surreal.

Someone also said how much they would have loved to live through a scene from ‘Swallows and Amazons’. We were fortunate enough to live through an abridged version of the book, which is what my parents hoped. It must have been one reason why my headmistress let me take a term off school to appear in the film.

Sophie Neville writing letters from Africa with the author Rebecca Hunter

Since then I went on to lead a ‘Swallows and Amazons’ style life, exploring unchartered territory, which isn’t always easy, I was touched when a fan of the books wrote:

‘Arthur Ransome has helped me through some very difficult times – when you are at your wits end to know what to do or where to turn, it is so refreshing to return to the Lake, or Norfolk, to a peace and tranquillity where you can forget your problems and just enjoy the adventures of the Swallows, Amazons, D’s, Coots, wherever you happen to be.’

Sophie Neville in a vehicle that we submerged in Moremi. The shoes were later stolen in Mosambique, the Toyota in Johannesburg ~ photo: Rebecca Hunter

Nigel H Seymour wrote, ‘…every-time I put the ‘Swallow’s and Amazon’s film on, I’m transported into another dimension and another time. it’s so very refreshingly simple and innocent, it radiates with a romanticism and happiness which has sadly been lost now for ever, but luckily we have the film and we still have ‘You’….. to keep the memory alive!’