about The Management'The Management' of Whittlecreek and Eaton St Torpid Heritage Railway is headed up by a sixty-something who spent his teenage years 'chopping' Airfix kits and scratch building scenery to go with them. Much of this was done in 1/72 scale, and included rolling stock running on a short length of 12 mm track (a.k.a. TT gauge). So three-foot (or thereabouts) narrow gauge goes back to childhood! When pocket money allowed, which wasn't very often, there were ventures into 1/32 scale, including 'chopping' a Triang Big Big Train – something of a precursor to Whittlecreek and Eaton St Torpid Heritage Railway. In the 1970s these practical skills evolved into training to be an industrial designer. Modelmaking was no longer a part of life.[TMI]
In late 2016 and early 2017 the management invested heavily in Hornby O gauge track and rolling stock. The idea for a fictional 'heritage railway' emerged at this time. However the management's long-standing interest in places – their names, history, relationship to landscape and such like – meant that the fictional locations needed to be 'well-rooted'. The putative location shifted from Great Yarmouth (with the Hole in the Wall; see photo) to Wisbech (home to the railway which inspired Rev Awdry) to Ramsey to Whittlesey – and maybe a few brief stops in between which have now been forgotten. The notion of a 'Tommy is a Punk Engine Festival' emerged at this time too.
'The Hole in the Wall' in 1958 – essential to any model of Great Yarmouth's quayside railways
There were also thoughts of a 'mineral line' inspired by the mid-twentieth century ironstone extraction in north Leicestershire. Eric Tonks wrote a brilliantly nerdy series of books about this – and seemingly the management went to junior school with his son…. The management's modelmaking skills were revitalised by scratchbuilding something inspired by a Ruston steam shovel. The real things are just amazing! And even more amazing! (warning: lousy camerawork.) N.B. These links are to Erie shovels not Rustons.
However 1/40th scale seemed too fiddly for scratchbuilding. Using the Hornby track as the basis for a 1/32 scale narrow gauge system hit numerous technical 'buffers', mostly the absence of large-enough wheels with the necessary flange profile. The problems would have to be resolved by using finer-scale 32 mm track. But if the management needed to invest in new track then why 32 mm gauge? Why not 45 mm gauge? Feasibility studies were commissioned from outside consultants. This led to complete indecisiveness in the Board Room.
In the autumn of 2018 the opportunity arose to acquire some secondhand LGB track and rolling stock – these are 45 mm gauge and modelled at 1/19 scale. This prompted extensive investigation of suppliers for scratchbuilders working in so-called '16mm scale'. (Sorry, there is something inherently revolting about mixing metric and imperial units – i.e. '16 mm to one foot' – when dimensionless ratios such as 1/20 are far more useful.) Happenstance led to the management acquiring a large number of 16mm Today magazines for a tenner. Too much emphasis on live steam locos, but useful nevertheless. (Although live steam should be in the genes as the manager's mother's father, Frank Dallaston, was an avid live steam enthusiast in the 1950s and 1960s at Abbey Park, Leicester, where 'proper jobs' run on 5 inch gauge track.)
A longer-than-life-long friend (our mothers worked in the same office when they were both pregnant) generously offered the management the use of her caravan in Norfolk. Only after agreeing dates did she say precisely where it was. Her caravan is 'parked' across the former trackbed close to Heacham station (although this is not apparent without consulting old maps). You couldn't make it up…
A pleasant few days in the autumn of 2018 while staying in this caravan resulted in the management falling in love with the local Carrstone buildings and boundary walls, researching the former trackbed of the Hunstanton and West Norfolk Junction Railway, and steadily realising that the ideas for a fictional heritage railway which had been vaguely 'planted' in the Cambridgeshire fens actually fitted much better with the former railways in north-west Norfolk. Whittlecreek and Eaton St Torpid Heritage Railway was underway!
The real world inspiration for Whittlecreek station, October 2018
The biographer of George Stephenson, Samuel Smiles (1812 – 1904),
"so understood the achievements, uniqueness and numinous quality of the railway system that he described it as 'a magician's road.'"
Paul Screeton Crossing the Line p4
Truth to tell the management can't get overly excited by locomotives or station buildings, although wagons and carriages occasionally arouse curiosity. The real interest is in the bigger picture of railways: why they were created, how they dealt with the local terrain, what influence they had on local farming, industry and settlements, and so forth. And that extends to 'heritage' railways: how they promote themselves as 'places of interest' and how they interact with other tourist 'attractions' in the vicinity.
Lots of 'scare quotes' as all these terms are loaded with assumptions and constructions, most of which get in the way of reality. The numinous yet chimeral nature of railways in their heyday was rightly deemed magical. In the intervening decades the notion of the English rural idyll was invented (on a golf course) and repeatedly re-invented and embellished.[fn] Looking at the past through the wide assortment of distorting mirrors we term 'nostalgia' and 'heritage' ensures that illusory qualities prevail over the mundane. The Whittlecreek and Eaton St Torpid Heritage Railway explores some of these concepts and confusions – often with several tongues in an assortment of cheeks – in the pages of this web site.
For this reason (if it is indeed reasonable) assorted little-known historical information about north-west Norfolk appears in obscure corners. (Don't be difficult. I am well aware web sites – unlike web pages – are not orthogonal so cannot have corners.) Indeed a decidedly complex back story has taken over the Whittlecreek and Eaton St Torpid Heritage Railway's web site, although apparent historical veracity is frequently peppered with parodies, salted with spoofs, and served with a garnish of parallel realities and converging fictions. Allergy warnings throughout for purple prose, profligate pedantry and alarming alliterations. If you expect railways (model or otherwise) to be written about reverentially then pop out and stock up on anti-apoplexy pills before you go any further. On the other hand, if you thought railways (real or imaginary) were only for a certain sort of 'bloke' then 'Hello and welcome to the Multiverse!' – I hope this web site will bemuse and maybe amuse.
Over Yuletide 2018 the management stayed near the the East Midlands tripoint known as Three Shire Oak. Being away from the workshop meant there was ample time to indulge in some pastiche 'artworks' and even a faux cartoon strip. This in turn led to beginning work on Art Nouveau designs inspired by Charles Rennie Macintosh and Herbert Ibberson (though the purists will mutter that they're more Art Deco than Art Nouveau). These are planned to 'manifest' as a dining car for Whittlecreek and Eaton St Torpid Heritage Railway. For the time being the artwork is expected to appear as a forthcoming exhibition at the Arts Centre and a range of giftware. The management also had a hand in revitalising the Brindlecliffe ECHO!.
Update March 2019
In the five months since deciding to 'manifest' Whittlecreek and Eaton St Torpid Heritage Railway at 1/20 scale there has been considerable activity, mostly relating to the building of rolling stock – and this web site. The management have resurrected a wide spectrum of craft skills and general 'artiness' – and, sometimes, a touch of more technical nerdiness too – to overcome all the design and construction challenges. Alongside all this is research into the appearance and history of relevant vehicles, locations and railway operations. The overall process is creative in many diverse ways and more satisfying than comparatively focused crafts, such as making pots or carving wood. And, compared to 1:1 scale projects, much can be achieved in fairly short periods of time, and at much lower costs.
As this web site will continually evolve, here is a 'snapshot' of the rolling stock completed between the feast day of St Edward the Confessor 2018 and St Patrick's Day 2019:
An Cailleach Bhéara
Gizmo and Gizmelda
Glendower Rheilffordd Gwibdaith
Houmout Ostrich Polo Team transport
Lazybeach Special guard's van
Nukiller Waste Transporter
Sandy Cove Sand Co Sand Mining Museum wagons
Sir Toby P. Wickham
Industrial design never really became a part of life either as the management's early career focused on product and process development (mostly in the plastics industry, with a brief excursion into aluminium alloys – if you ever need to make an aluminium-zinc or aluminium-copper alloy 'superplastic' then just get in touch). This involved working alongside the chemists who had invented hot melt adhesives and the first soft contact lenses, among much else (before my time the founder of the company had invented chipboard, GRP, cast acetate sheet and much else that is now commonplace).
Along the way the management programmed Commodore 64s and BBC Acorns to persuade them to process data from impact testing (squeezing the code for fast Fourier transforms into a total of 32k of memory was my biggest claim to fame) and, for reasons that made sense at the time (allegedly), qualified as a quality assurance assessor. Spare time was largely devoted to cycling and photography, with usually one long session in the darkroom each week.
Although the management's secondary schooling was focused on maths, physics and chemistry – at the expense of the arts and humanities – when at art college studying industrial design there were ample opportunities to 'bone up' on everything that had earlier been eclipsed. The ability to flip between 'technical' and 'arty' perspectives has always persisted, and blurring the supposed boundary is endemic to Whittlecreek and Eaton St Torpid Heritage Railway.
After a move to Leicestershire in 1986 work took a different tack (into marketing and sales – although in somewhat 'technical' parts of the plastics industry) and photography dropped back as an interest. Instead the management became much more actively interested in all aspects of places: geology, landscape, archaeology, local history, folklore and place-names. By 1990 this evolved into writing articles and publishing booklets and a quarterly magazine. Creating websites kicked off in 1996 – hence the now-archaic skill of handcoding HTML. Writing and publishing became the management's full-time activity at the end of the last millennium and photography – this time digital – came back to the fore for relaxation.
'The Arts' as most people think of the term were never too distant. Somewhere along the way the local pressgang succeeded in enlisting the management as a trustee of the excellent local community arts organisation – although an honourable discharge was obtained after about six years. And the Whittlecreek and Eaton St Torpid Heritage Railway's Property Manager once owned art galleries and managed a nationally-significant gift shop for twelve years; the management team still visit art exhibitions, open studios, craft fairs, gift shops and the like.
In 2010 the management moved to Avebury, Wiltshire, and photography once again went onto the proverbial back burner. Despite heading up a pioneering project on medieval carvings and getting rather obsessed with Anglo-Saxon England, this was the start of getting back into making things, such as carved wooden staffs and assorted amulets. After returning to Leicestershire in 2016 this 'craftiness' extended into leatherwork and pottery, and also into making some videos.
In various ways, much of this diverse 'CV' is reflected in the rolling stock or the rambling remarks in this web site. You have been warned…
The invention of the English rural idyll is discussed in the the opening chapter of one of the management's books.
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Text and previously unpublished images copyright Bob Trubshaw 2018–2019