Ken Follett on Writing the Love Stories in The Pillars of the Earth
There are two major love stories in The Pillars of the Earth, and both involve that delight for any storyteller: unlikely, mismatched couples. To work at all, such relationships first have to be shown as feasible in their context: in this case, England of the early Middle Ages. Once that's been established, it falls to the writer not only to make the relationships keep working, but also to make them entertaining, sympathetic and exciting for the reader. Unfortunately for the characters, this usually means putting them through hell! There are proverbs and quotations about the course of true love, and in fiction, guiding that course straight onto the rocks is just the start. Then it gets worse; much, much worse.
In the early 12th century, it's entirely possible that a skilled master craftsman like Tom Builder (Rufus Sewell) might meet and fall in love with someone like Ellen (Natalia Wörner). She begins as the tomboy daughter of a rough country knight and eventually becomes a novice nun. Now all that's in the past, and she's a mysterious wolfish woman who lives with her son in a cave in the woods.
But when they first meet, Tom is still married and has two children of his own; by their second meeting, he's shattered by being recently widowed, something for which Ellen might even be to blame. She has a secret that already brought tragedy into her life, and her reputation around Kingsbridge is that of a witch. It's immediately clear to the audience that if this couple have more than a brief encounter, the life they're going to share will be, to say the least, interesting.
What motivated the love story between Aliena and Jack
It is, of course—but when one half of a couple won't see the other's point of view, that's when the risk of a parting starts to cast its shadow. This is no plot contrivance, but a human failing as real now as nine centuries ago, and the audience, who may have experienced it for themselves, are fascinated to see how it will be resolved in this time and place. And then there's that secret, which has given Ellen a deep distrust of the Church—so much that she and Tom are still unmarried when their relationship is discovered, and suddenly having to live apart is no longer their own choice to make.
Jack and Aliena (Hayley Atwell) have their own problems, ones that might prevent them even getting together in the first place. He's the illegitimate son of a presumed witch; she's the daughter of an earl (Donald Sutherland)—and very soon, the dishonored, landless daughter of an executed traitor.
Through determination and ability, Aliena builds herself into a successful wool merchant; through talent and his stepfather Tom's teaching, Jack becomes a much more skilled mason than Alfred, an unwitting revenge on the bully that will have its own consequences. He and Aliena are now on a more even social standing, and the possibility for romance beckons—but her family's old enemies tear them apart and destroy her newfound fortune.
Before her father's death, she swore to him that she would restore her brother Richard (Sam Claflin) to the earldom. His military fame, backed by her money, has begun to attract the king's attention, making this once-distant hope a real possibility—until Aliena loses her wealth again. Then maintaining support for Richard means making other arrangements, and that's when Alfred, now a master builder, offers her his own prosperity if she marries him. If she gives up Jack, she lets Alfred bully his rival worse than ever before by taking her away.
How Ken Follett created the opportunity for romance
Here's one: A mason loses his job because of a canceled wedding and has to look for work. Here's another: A nobleman's daughter refuses to marry someone she can't love. Here's a third: An impressionable girl finds the survivor of a shipwreck and bears him a son.
Each one of those cracks grows, splitting and expanding into chasms able to engulf people we care about, whichever way they turn—obstacles that even love and courage might not surmount. The rougher their road, the more steadfast fictional lovers must be as, inevitably, the author sets yet another complication in their way. But the more challenges they face and conquer, the more the audience cheers and supports them. And when our lovers reach their final destination, be it wealth and glory or just hearth and home, and the music swells or the book closes, that audience sits back in satisfaction, exhausted, exhilarated and glad to have shared that journey. And who knows? They might well do it again!
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