I have written about some connections I made between certain scenes in Charlotte Brontë’s writings and events in her life.
I doubt whether she ever realised that incidents she had created and dwelt on in her imagination had manifested in the real world.
Diana Wynne Jones is another matter. She did notice a connection between what she was writing about and unexpected, unwelcome incidents in her life. This example comes from Diana Wynne Jones’s book Reflections: On the Magic of Writing:
“… And my books have developed an uncanny way of coming true. The most startling example of this was last year, when I was writing the end of A Tale of Time City. At the very moment when I was writing about all the buildings in Time City falling down, the roof of my study fell in, leaving most of it open to the sky.”
I found another example in a memorial to Diana Wynne Jones:
“She wrote a scene in The Homeward Bounders in which a character is hit in the head with a cricket bat, and not a month later, her son was hit in the head with a cricket bat. She felt responsible, rather.”
http://www.tor.com/blogs/2011/03/remembering-diana-wynne-jones
I think the book she means is The Lives of Christopher Chant!
From the description:
“Christopher is discovered to be the next Chrestomanci when his best friend hits him in the head with a cricket bat by accident, killing him. The doctor had pronounced him dead, but then he woke up in the morgue, confused.”
The book is dedicated to her son:
“ The Lives of Christoper Chant
For Leo
who got hit on the head
with a cricket bat”
Common Features in their lives
Many other writers whose lives I have investigated had similar experiences. Is this all just chance, or could it have been arranged from behind the scenes?
Are selected candidates deliberately put through processes designed to put them in touch with other dimensions and develop their creative imaginations?
Does persecution strengthen the ability and inclination to perform psychological black magic?
I doubt whether she ever realised that incidents she had created and dwelt on in her imagination had manifested in the real world.
Diana Wynne Jones is another matter. She did notice a connection between what she was writing about and unexpected, unwelcome incidents in her life. This example comes from Diana Wynne Jones’s book Reflections: On the Magic of Writing:
“… And my books have developed an uncanny way of coming true. The most startling example of this was last year, when I was writing the end of A Tale of Time City. At the very moment when I was writing about all the buildings in Time City falling down, the roof of my study fell in, leaving most of it open to the sky.”
I found another example in a memorial to Diana Wynne Jones:
“She wrote a scene in The Homeward Bounders in which a character is hit in the head with a cricket bat, and not a month later, her son was hit in the head with a cricket bat. She felt responsible, rather.”
http://www.tor.com/blogs/2011/03/remembering-diana-wynne-jones
From the description:
“Christopher is discovered to be the next Chrestomanci when his best friend hits him in the head with a cricket bat by accident, killing him. The doctor had pronounced him dead, but then he woke up in the morgue, confused.”
The book is dedicated to her son:
“ The Lives of Christoper Chant
For Leo
who got hit on the head
with a cricket bat”
Common Features in their lives
Charlotte Brontë and Diana Wynne Jones have childhood neglect and harsh treatment in common.
Many other writers whose lives I have investigated had similar experiences. Is this all just chance, or could it have been arranged from behind the scenes?
Are selected candidates deliberately put through processes designed to put them in touch with other dimensions and develop their creative imaginations?
Does persecution strengthen the ability and inclination to perform psychological black magic?
