When Rósa is betrothed to Jón Eiríksson, she is sent to a remote village.
There she finds a man who refuses to speak of his recently deceased first wife, and villagers who view her with suspicion.
Isolated and disturbed by her husband’s strange behaviour, her fears deepen.
What is making the strange sounds in the attic?
Who does the mysterious glass figure she is given represent?
And why do the villagers talk of the coming winter darkness in hushed tones?
The Glass Woman is an intriguing tale of Iceland in the late 1600s.
I make no bones that I am fascinated by Iceland, perhaps not during this time period, but earlier, when the country was being settled. I tried this book on the off-chance – Jane Eyre in Iceland – yes, please.
And indeed, it is a dark tale, told from the viewpoint of Rosa. It is dark, frightening and claustrophobic, and reads very much like a much more modern Icelandic ghost story I read recently. It makes you shiver, it makes you feel for Rosa, but then everything changes and the book is not at all what you think it’s going to be.
I found the story intriguing and engaging, and if it’s not Jane Eyre in Iceland, it’s because the book is actually much harsher.
Somehow, and I have no idea how, I’m about to release Book X (yes X) in the Earls of Mercia series, and that doesn’t include the three direct side-stories, or Lady Estrid, which could also be said to be a side-story, books. I decided it was time to take a hard look at myself, and why my very first historical fiction project is proving to be the longest so far.
The Earls of Mercia inspiration
The last century of Early England is a place well-trodden by non-fiction and historical fiction authors, so why did I choose to tell it through the eyes of a handful of people who almost slip through the historical record unnoticed because of the ‘giants’ of the period?
History is filled with those who get swept aside because other events overtake their achievements, and so it is with the Earls of Mercia. They were a family who ‘ruled’ continually from 993 to 1066 – a feat not even achieved by the Wessex royal family, begun by King Alfred, during the same time period. In the annals of the time they’ve been pushed to the side by the likes of Eadric Streona, King Cnut and the family of Godwine, by the events of both 1016 and 1066, and also by the fact that when the family married into royalty, it was destined to be short-lived.
I ‘discovered’ my first character – Ealdorman Leofwine – while meandering down the aisle in a university library. By rights, I shouldn’t have been there, not in that section, and equally, I shouldn’t have gone on to write my dissertation about him, but I did, but only after I’d made him into a fictional character. So just what was it that made him so appealing as a character?
As I read about the family, in Stephen Baxter’s, The Earls of Mercia, Lordship and Power in Late Anglo-Saxon England, I was flabbergasted that this character existed and yet hadn’t been put to good ‘use.’ Ealdorman Leofwine, his sons, grandsons, and great-grandchildren were witnesses to all of the events I’ve mentioned above. Not only did they witness them, but they were involved as well. I remember picking up and reading Frank Barlow’s book on the Godwines and being disgusted that Ealdorman Leofwine, Earl Leofric, Earl Ælfgar and his sons and daughter get little more than the odd mention. The desire to tell a story only about the Godwines excluded the perfect foil for them. I couldn’t allow that to stand.
But, how to tell the story of a century, of four generations? Initially, my idea was to tell a retrospective story, through the eyes of the great-grandson who did survive the tumultuous events of 1066, using the idea of a scribe writing down the family’s history while he was imprisoned at the request of William the Bastard for well over a decade. I still have the words I first wrote. But, that was not the route I eventually went down. No, I wanted to make Ealdorman Leofwine more than just someone’s ancestor, I wanted to make him a person in his own right, even if I do harbour the suspicion that he might have been retrospectively given greater influence than he might have claimed.
And that is the path that I’ve continued to tread. My overarching ambition is to tell the story of the years from 993-1066, but each player must have their own story, they must all be allowed to live, before they die; they must all be people in their own right. And now, as I begin to retell the story that so many are familiar with, that of the reign of Edward the Confessor and the events that led to 1066, I’m pleased by my decision to ensure the Earls of Mercia have their own story to tell – and also by the fact that because of that, other historical characters are also having their story retold a little – the oft-forgotten or misunderstood characters, and that means kings as well as earls and great ladies.
I’m pleased that people who read about the Earls of Mercia are able to consider that the Godwines were not quite the ‘top-dogs’ they might appear to be from such a distance. Not that it doesn’t involve playing around with what some might call the ‘facts’ but that is the joy of historical fiction – in getting to know my characters, in playing around with the information that we do have, I can find other possibilities, and they are not quite as far-fetched as it might be believed.
I began writing the first book in the Earls of Mercia series in 2011. Since then I’ve been slowly working my way backwards through Early England, as well as slightly forwards in Denmark. It has meant that the first two books in the series have undergone some subtle changes as they’ve been rereleased in paperback and the copyright returned to me by my publisher. So, for any who haven’t started the books yet, it isn’t necessary to start with book 1, or even book 2, but if you’re going to, then the paperback version – The Earl of Mercia’s Father – is the correct edition to read. But I genuinely hope, that it should be possible to pick up any of the books and still be able to understand what’s happening and enjoy the individual title.
Something sinister is afoot in the streets of Dundee, when a puppeteer is found murdered behind his striped Punch and Judy stand, as children sit cross-legged drinking ginger beer. At once, Dandy Gilver’s semmingly-innocuous investigation into plagiarism takes a darker turn. The gruesome death seems to be inextricably bound to the gloomy offices of Doig’s Publishers, its secrets hidden in the real stories behind their girls’ magazines The Rosie Cheek and The Freckle.
On meeting a mysterious professor from St Andrews, Dandy and her faithful colleague Alex Osbourne are flung into the worlds of academia, the theatre and publishing. Nothing is quite as it seems, and behind the cheerful facades of puppets and comic books, is a troubled history has begun to repeat itself.
The Mirror Dance is my first encounter with Dandy Gilver, even though this is book 15 of a 1930s mystery series.
The story is told from Dandy Gilver’s point of view, and while she does sometimes share thoughts and speech which are a little wordy, it doesn’t detract from the storyline, which is satisfying and quite deliciously complex.
Even though the voice of the narrator, Dandy, gives a few hints that all is not as it seems, I genuinely didn’t work out what had happened until it was revealed at the end.
A really enjoyable and entertaining read. Thank you to Netgalley and the publisher for my review copy.
The Mirror Dance is released on the 21st January 2021 in hardback and ebook and is available here;
“August 1940. On the streets of London, locals watch with growing concern as German fighter planes plague the city’s skyline. But inside the famous Ritz Hotel, the cream of society continues to enjoy all the glamour and comfort that money can buy during wartime – until an anonymous man is discovered with his throat slashed open.
Detective Chief Inspector Coburg is called in to investigate, no stranger himself to the haunts of the upper echelons of society, ably assisted by his trusty colleague, Sergeant Lampson. Yet they soon face a number of obstacles. With the crime committed in rooms in use by an exiled king and his retinue, there are those who fear diplomatic repercussions and would rather the case be forgotten. With mounting pressure from various Intelligence agencies, rival political factions and gang warfare brewing either side of the Thames, Coburg and Lampson must untangle a web of deception if they are to solve the case – and survive.”
Murder at the Ritz is the first book I’ve read by Jim Eldridge, but it won’t be the last.
This was a thoroughly enjoyable 1940s murder-mystery with enough red herrings to keep the reader guessing throughout the story. I loved the way the author embedded the story into the events of the time, with the threat of air bombs, and the tragedies they brought. The book felt quite claustrophobic in places, with the threat of the German invasion never far away.
The story felt very complete, and well researched – the gangsters, the British Fascist party, MI5, MI6, the Foreign Office, and that’s even without the events at the Ritz, and the murder!
Highly recommended. Thank you to the publisher and Netgalley for my review copy.
Murder at the Ritz is available now in ebook and hardback from here.
Today I’m pleased to welcome David Fitz-Gerald and his new book, She Sees Ghosts, to the blog, and I have an exciting excerpt to share with you.
But, first things first, here’s the blurb:
“A blazing fire killed her family and devoured her home. A vengeful demon haunted her. Ghosts of the Revolutionary War needed help that only she could provide. A young woman languished, desperate to survive, and teetered on the edge of sanity.
Mehitable grew up in a freshly tamed town, carved from the primeval forest. Family, friends, and working at the mercantile filled her days and warmed her heart. For Mehitable, life was simple and safe, until tragedy struck. When her family perished in their burning home, she retreated into a world of her own making.
As a young girl, she had seen glimmers, glimpses, and flickers of the spirit world. She closed her eyes. She turned her back. She ignored the apparitions that she never spoke of, desperately hoping they would leave her in peace. She was mistaken.
Grief-stricken, Mehitable withdrew from the human world. Ghosts were everywhere. They became bolder. She could no longer turn her back on the spirit world. Her friends feared for her survival. Nobody understood her. She would have to find her own way.
Fans of TV’s Ghost Whisperer and Long Island Medium will especially love She Sees Ghosts. This historical novel features memorable characters and delivers bone-tingling, spine chilling goosebumps. It stands on its own and it is the next installment in the Adirondack Spirit Series by the award-winning author of Wanders Far―An Unlikely Hero’s Journey. David Fitz-Gerald delivers a historical novel with a bittersweet ending that you won’t see coming.
Would she save the spirits’ souls, or would they save her? Only time would tell.”
“Mehitable stood in the cemetery beside her family’s marker. It was the first time she had returned to the cemetery since the funeral, four years earlier. She had dreaded going to the cemetery and had to force herself to look upon the words carved into the stone. Though she felt a sense of loss every day, New Year’s Day was always particularly hard for her. The painful memories cascaded around her like snow dropping from heavily laden branches on a sunny winter morning. She brushed the tears from her cheeks with a wet mitten and inhaled. She was glad that she visited the cemetery after all. Soon she would move away with Polly and Reuben, and she might never return to Poultney again. Other than the fact that her toes were cold, she realized that the visit to the cemetery was quite peaceful.
As she began to leave the cemetery, something caught the corner of her eye. It was a man. Not just a man, but a soldier. She walked slowly toward the road and cast her vision to the ground in front of her, where she planned to place her feet. Even with her eyes diverted, she was able to watch the man whose path she was certain to cross. She couldn’t remember ever having seen a soldier before.
As she got closer, her pulse quickened. He was an imposing figure of a man. The closer she got, the more intriguing he looked.
Every couple of steps he stopped to look off into the woods or turned to look back down the road behind him. He put his fingers in his mouth and sent a shrill whistle trumpeting down the intervale below. Then he put his hands to his cheeks and called out, “Pendennis!”
Mehitable walked slowly toward him. Normally she would have walked briskly but she tarried along because she was fascinated. She felt drawn to him. He had a certain magnetism, though he seemed somewhat distracted. She wondered if he was looking for a child, or perhaps a dog.
The man looked to be in his mid to late twenties. He was tall, significantly taller than most men, even taller than Reuben. His shoulders were broad and his waist was narrow. Instead of a red coat or a blue coat, like the soldiers she had heard of, the man wore a dark green jacket with bright gold buttons that matched the tassels that dangled from epaulets at his shoulders. He wore a tricorne, beaver skin hat with a cockade that resembled a chamomile flower. His waistcoat was tight, like his jacket and matched the color of his snug breeches. His neatly tied white cravat and ruffled jabot adorned his neck and chest. His tall black riding boots looked immaculate. Mehitable had never seen such a well-dressed man. She was working up the courage to politely say, “How do you do?” when the man began to fade. She gulped and hurried her pace. The air smelled strangely of woodsmoke, horse manure, and pomander, that intoxicating scent of an orange spiked with rare and exotic cloves. It had not crossed her mind that the man was a spirit. She wondered at the strength of his presence.
She chastised herself for getting all out of sorts over a dead man. Yet she couldn’t resist stopping and turning to look when she heard his voice again, calling. “Pendennis!” When she turned, he stood at attention and stared straight into her eyes. Then he removed his hat, bowed deeply, sweeping his long arm dramatically behind him before returning his hat to his head. Mehitable turned and hurried away as quickly as she could.
Finally, when she could only hear his call far off in the distance, she turned to look one final time. He appeared as a tiny green dot surrounded by white snow on the top of the hill. Despite his flamboyance and the fact that he was dead, she couldn’t help having romantic thoughts about him. Thoughts she hadn’t entertained about living men or boys, except Reuben, briefly and occasionally before sending those thoughts from her mind. As she hurried up Lewis Road that afternoon, she compared the man to Reuben. He was a bit taller, more muscular, and his facial features looked strong and boyish at the same time.
She tried to put the man out of her mind, but she couldn’t shake a feeling of sadness over his loss, and she felt a desperate need to know what or for whom he was searching.”
If you’re intrigued, then the book is available now.
David Fitz-Gerald writes fiction that is grounded in history and soars with the spirits. Dave enjoys getting lost in the settings he imagines and spending time with the characters he creates. Writing historical fiction is like making paintings of the past. He loves to weave fact and fiction together, stirring in action, adventure, romance, and a heavy dose of the supernatural with the hope of transporting the reader to another time and place. He is an Adirondack 46-er, which means that he has hiked all of the highest peaks in New York State, so it should not be surprising when Dave attempts to glorify hikers as swashbuckling superheroes in his writing. She Sees Ghosts―A Story of a Woman Who Rescues Lost Souls is the next instalment in the Adirondack Spirit Series.
“The first book in a highly original and delightfully clever crime series in which Queen Elizabeth II secretly solves crimes while carrying out her royal duties.
It is the early spring of 2016 and Queen Elizabeth is at Windsor Castle in advance of her 90th birthday celebrations. But the preparations are interrupted when a guest is found dead in one of the Castle bedrooms. The scene suggests the young Russian pianist strangled himself, but a badly tied knot leads MI5 to suspect foul play was involved. The Queen leaves the investigation to the professionals—until their suspicions point them in the wrong direction.
Unhappy at the mishandling of the case and concerned for her staff’s morale, the monarch decides to discreetly take matters into her own hands. With help from her Assistant Private Secretary, Rozie Oshodi, a British Nigerian and recent officer in the Royal Horse Artillery, the Queen secretly begins making inquiries. As she carries out her royal duties with her usual aplomb, no one in the Royal Household, the government, or the public knows that the resolute Elizabeth will use her keen eye, quick mind, and steady nerve to bring a murderer to justice.”
So, this isn’t quite historical fiction, but it’s mainly set at Windsor Castle, so I’m going with it. The Windsor Knot was in the Kindle sale for 99p, and I decided to try it out on a whim, and I’m pleased I did. What I initially thought to be a cosy-mystery is a bit more than that and the plot becomes more and more complex as the queen wades through the information available to her.
What I really enjoyed was the way the author managed to move the queen through the duties of her day to day business and still find time for her to be thinking more than the people at MI5.
Set in 2016, just before her 90th birthday, this book is very much centred around the queen, and the people she trusts who have far more freedom than she does to get to the people and places she needs information about. There are no end of false leads and the two main characters, that of the queen and her personal secretary, Rosie, are well-constructed and engaging. And, although he only makes the odd appearance – Prince Phillip is a delight as well.
If you’re looking for a (reasonably) light-hearted murder-mystery that’s well-grounded in today’s world, then I would recommend this, and for 99p, it’s an absolute steal. Not my usual read but a delight all the same.
The Last King by M.J. Porter Publication Date: April 23, 2020 Paperback & eBook; 314 pages Series: The Ninth Century, Book One Genre: Historical Thriller They sent three hundred warriors to kill one man. It wasn’t enough. Mercia lies broken but not beaten, her alliance with Wessex in tatters. Coelwulf, a fierce and bloody warrior, […]
Today, I’m delighted to welcome the Historical Fictioneers and their new book, Betrayal, to the blog. Here’s the blurb;
“Betrayal, treachery, treason, deceit, perfidy—all names for the calculated violation of trust. And it’s been rife since humans trod the earth.
A promise broken
A mission betrayed
A lover’s desertion
A parent’s deception
An unwitting act of treason
Betrayal by comrades
Betrayal by friends
Could you resist the forces of misplaced loyalty, power hunger, emotional blackmail, or plain greed? Is there ever redemption, or will the destruction visit future generations and even alter history? These questions are still with us today.
Read twelve tales by twelve accomplished writers who explore these historical yet timeless challenges from post Roman Britain to the present day.”
This sounds like a fascinating project, and the authors have been busy answering my questions (yes, all of the authors:)) Enjoy.
How did the collection come about? (whose idea was it)?
The popularity of short fiction has been on the rise, and many of my author acquaintances have been writing shorter works: some as reader magnets they offer for a newsletter sign-up; others for their websites or on retail sites.
I was working on a series of short stories myself when an article landed in my inbox. A group of suspense/mystery writers had collaborated – with great success – on a free anthology. In that case, eight authors contributed to their book. Their individual ‘fans’ were thrilled to get a free story, and at the same time, they introduced their readers to authors they might not know. This sounded like a great way to tempt lovers of historical fiction to sample a new author, a new era. You’ve heard the old adage: ‘don’t re-invent the wheel.’
In November 2019, I broached the idea of an anthology with Cryssa, Annie, and Anna, who I’d met virtually through our work as co-editors of the English Historical Fictions Authors blog. Anna & I also met face-to-face at the HNS Denver conference in 2015, and I met Cryssa at HNS in Oxford, UK, in 2016. This was supposed to be the year I met Annie, but… COVID19.
Fortunately, these ladies were on board for the idea. We created guidelines for the stories and talked themes, word count, cover design, costs, and marketing before reaching out to eight more writers. And lo and behold…we give you Betrayal!
Will Jane Reader devour every story in the anthology? Will Joe Reader discover a new author, a new era, that intrigues. We all hope so!
Why did you choose the theme of “Betrayal” for your books?
When we were considering what could connect all the stories, we couldn’t rely on a unifying event like the Norman Conquest since we all write different eras. This meant that theme needed to be the unifier. Betrayal is a primal emotion. It stirs up our deepest fears. One can’t be betrayed by an enemy. Only those closest to us, the people who know our vulnerabilities and our weaknesses can wield this power against us. Each story explores betrayal in its many facets—shifting alliances, deception, intrigue, vengeance, and treason. Ultimately, they all examine the calculated violation of trust.
What was the once piece of advice you were given about writing historical fiction that has proved invaluable?
Elizabeth St. John
I wish I had been given the advice personally, for it came in an interview I read with Hilary Mantel, a historical fiction author I greatly admire. “My chief concern is with the interior drama of my characters’ lives,” she said, shortly after winning the Man Booker prize for Wolf Hall. “From history, I know what they do, but I can’t with any certainty know what they think or feel.”
That one sentence gave me the confidence to move from extensive research to writing the fiction that became my trilogy, The Lydiard Chronicles. I could use my learnings to form the foundation of my characters, knowing I was free to weave their deeds, loves, friendships and enemies into their thoughts and feelings.
I’d written three books before I was persuaded to employ the services of a professional historical fiction editor. Before then, I’d used a general editor who had an interest in history but focused on spotting typos and making sure the commas were in the right places.
The editor who supports me now is able to take a much deeper view of my writing, as she checks for consistency across a series. Most importantly, she also provides developmental comments to support my revision process, and it able to fact-check details to help with historical accuracy.
This service can be expensive, but in the UK the costs can be reclaimed against tax. Although I find editing one of the least satisfying aspects of the writing process, I always look forward to seeing what comments my editor has made.
Do your research as best as you can, but recognise when it is time to stop researching and start writing.
I come from the formal end of history with a masters’ degree so I’m strict about getting the facts right by using three different sources. That’s the problem, of course. Sometimes there are none. Our job, according to writing friend Conn Iggulden, is to fill those gaps intelligently. So, we are back to thorough research, but fired by our imaginations.
I don’t pay a lot of attention to how-tos, but I did read Stephen King’s “On Writing”. He said something I really took to heart. To paraphrase it, he said your first job is to entertain someone who had a hard day at work and just wants to relax. That statement gave me pause. I’m so worried about getting the story “right” that I sometimes forget that it has to be entertaining. The reader probably doesn’t care about the historical accuracy if it gets in the way of a good story.
The best piece of advice is to remember that historical fiction is not ‘about’ history. Like all fiction, it is about a story. Do your research, but don’t let it swamp the story. Your readers may admire your attention to period detail in descriptions of clothing or buildings, but they won’t be reading your work at all if your story does not hold their interest.
Historical fiction defines when and where your story is set, but that is no substitute for skillful storytelling. Sometimes you have to rein in your interest in history to ensure that every chapter end persuades the reader to follow your tale to the end.
Many years ago, I sent my first WIP to an editor. The lady in question had been one of the teachers at a writing course I took and I really admired her writing, so it took some courage to send her my manuscript. Overall, she was very positive—except for one thing. “Scrap all attempts at writing period dialogue,” she wrote. “You have no idea how they spoke back then, I have no idea, the reader has no idea. The only thing we know for sure is that we probably wouldn’t understand them—or they us. Instead, write vivid and gripping dialogue so as to really hook the reader.” Yes ma’am, I thought, feeling my shoulders sag with relief and have since then concentrated on using dialogue to drive scenes rather than set them.
When I first began writing one of my university professors instilled in us the importance of thorough research. ‘Don’t be sloppy,’ he said, and went on to show us the importance of thoroughly researching from every perspective. Once you’ve read all you can, select the point of view from which you wish to write, and stick to it. I’ve written about many people from the Tudor period and they often appear in more than one book but they are never the same. People change depending on who is viewing them. Margaret Beaufort when written from Elizabeth of York’s perspective in A Song of Sixpence is initially a rather interfering, annoying mother-in-law but in The Beaufort Chronicle, which is written from Margaret’s own point of view, she is quite different. Viewpoint is important. It is also crucial that the opinion of the author does not interfere with that of the protagonist. In the author’s note I sometimes add the codicil, ‘The views expressed in this novel are not the author’s own.’
I’m not sure that I ever have been given advice specifically about writing historical fiction. But one thing I always try to bear in mind is the Dorothy Dunnett Quotation which is used as a banner for the Historical Writers’ Association/Dorothy Dunnett Short Story Award, of which I was the inaugural winner, and for which I am now a judge: “History is all very well, but it’s just the showcase. It is the arena in which your characters will perform, and which supplies the conflicts, stresses, dilemmas and the struggles they’ll get through.”
Live the scene. Walk through the events, not as a historian with the benefit of hindsight, but through the eyes of your character who can’t know that a battle is being lost (and why), or the true cause of a fire that destroys their city. Instead, tap into how your character would be feeling during these key moments, be it fear, rage, tenderness or love. Explore their world through what matters to them. If we look back on the historically momentous occasions of our age, we’ll find that we process these events through the lens of our own limited perspective, and in the end, it’s the people around us who make the most lasting impact on our lives.
A critique partner at my weekly writers group asked why I wasn’t using the real (okay, legendary) Robin Hood when I introduced a very Robin-like character in a story I took for the group for feedback. I had a flimsy excuse: ‘oh, he’s been done before by some very talented writers.’ They convinced me to introduce my own Robin-who-is-not-yet-Hood. I was bringing my own perspective, coming into the legend from a different angle. That story, Robin, and other characters from the legend, ended up being an important part of my novel Men of the Cross and ultimately drove plot arcs for Books II & III of my Battle Scars trilogy. My current work in progress, Rogue, takes the legend a step further.
Early on I was advised to let the research be my guide. While I write outlines, I also know that in the course of doing research, I will go wildly off course and the book will be better for it. So many wonderful characters and plot twists come straight out of history. The old adage “truth is stranger than fiction” crosses my mind a lot when I’m doing research. Often I’ll use a sort of collage of real events to come up with a plot point, or I’ll honor a long-forgotten person whose name crops up once in an obscure document by using his or her name in my story. I love those small moments of juxtaposing the real with the imagined.
Why do you think historical fiction continues to fascinate?
Elizabeth St. John
Our fascination with the past often comes as a result of wanting to understand and connect with our present. There is, I believe, a certain reassurance to read of surviving great peril, overcoming terrible odds, enduring overwhelming sadness or loss. When we look for meaning in our own lives, looking back at the past can be consoling, offer hope and inspiration for a way forward. Many of my readers tell me they particularly enjoy the perspective of less well-known people, who may have moved in influential or royal circles, and were observers of great historical events, yet lived and loved much as we do today.
And, I think we all enjoy the travelling through historical fiction into another world, a past that is just out of reach but still evident in ruined castles, captivating portraits and fascinating insights from documents left behind.
The history books offer us the bare facts, and even those are often disputed, but rarely put the flesh on the bones. History is about the lives of real people, who lived and died, and historical fiction can help to ‘fill in the gaps’ in a narrative which for many can be inaccessible.
It’s also intriguing to explore the differences in cultural attitudes to such things as love and marriage, childbirth and death, crime and punishment. I’ve also enjoyed learning about the less well-known people around the central figures, such as kings and queens.
The best historical fiction transports the reader, evoking the sights, sounds and even the smells of a different time and place. For me, the fascination is to begin to understand the motivation of figures from history, and to discover why they acted as they did.
Because, until Back To The Future becomes true, or Dr Who turns up in the TARDIS, it is the only way that we can travel back through time – and not worry about getting home again for dinner.
Wanting to know where we come from is a timeless urge but wanting to have a glimpse in a vivid way about how people in the past lived is a strong part of that. Well-written historical fiction gives us the feel of how people tried to make sense of their lives in vastly different circumstances. They were still people, after all.
Sometimes we take a rather idealised view of the past, but as with anything in fiction, it’s an imagined landscape. And sometimes, we wonder how we would act and behave in those times. Historical fiction gives us, from the safety of our armchairs, an emotional connection to the slaughterfields of Cannae, the elegance of the Belle Époque, the dangerous headiness of Byzantium, being under siege in a medieval castle or caught up in the exciting revolutionary transition of the 19th century.
Speaking for myself, once I discovered that history is about real people and real situations (not just names and dates), about love and hate and deceit and disappointment, I was hooked. I’d much rather learn about an event that really happened than a legend from someone’s head. I’m still not sure most readers feel the same way I do, but since history repeats itself, why not be prepared.
The sheer diversity of historical fiction is what keeps readers coming back to this genre for more. It retains its appeal because of its immense variety and breadth of scope. Readers can enjoy romance, action, thrillers, or crime in stories set in any period of the past – it’s like being in a time machine without all the distracting technology. The contrasts between time periods are stark but whether you want to read about World War Two or Roman Britain, historical fiction offers it all.
The Betrayal anthology illustrates this very well with twelve authors writing stories set over a vast expanse of time and employing different writing styles to tackle the same underlying theme.
I think it offers an element of escape. We also tend to believe that life was simpler then, things less complicated and complex. To some extent, that is probably true as the majority of those alive in the past had little time to spend considering anything but how to find food and somewhere to sleep. But no matter the era, the people who live in the times would laugh out loud at the notion that their lives were simple. Take the political machinations in republican Rome, or the complexities of the English Civil War—whatever else you’d call them, they sure weren’t simple! Still: escaping to the past offers a breather from our time. And well-written historical fiction will not only expand the reader’s knowledge about a period, it will usually shed further light on the human condition as such.
There are many different reasons. As an author, I read a lot of non-fiction as part of my research, and while it informs, it can be quite dry. Historical Fiction not only tells us what happened, it helps us feel it. A non-fiction account of an execution will tell you what happened and why it happened but a fictionalised version, while based on the same contemporary account, makes the reader suffer alongside the victim. Fiction promotes not only understanding but empathy so the reader shares the protagonist’s pain.
I think that reading fiction, generally, is a form of escape. The reader wants to be transported far away from the everyday. And where better to escape to a more simple world, a more romantic world even, than the past? Okay, the past wasn’t always pretty, but isn’t there something more appealing about a horse ride than a trip in a modern car? Perhaps the reality wasn’t so lovely but we can imagine the beautiful houses, built when architecture wasn’t just about functionality. I think there is also an appeal because of the link to the fairy tales we were told as children, which are centuries old, and usually had old-fashioned illustrations, so there is a sense of comforting familiarity, too.
I’ve heard it said that we read to either escape or to learn. Historical fiction allows us to do both. This genre takes us to places where we could otherwise never go. Given the chance, who wouldn’t want to go back in time and experience historical events first hand—to be with Elizabeth I as she stares down the Armada or to ride along with Charles II during his nerve-wracking escape from Parliament? But historical fiction also offers opportunities to learn, not just about the past but also to make sense of the present. History tends to be cyclical and it’s not hard to recognize echoes of the past in today’s struggles. There’s always a comfort in having a roadmap.
Historical fiction gives a reader a glimpse of a past they rarely see in history textbooks, textbooks that mainly consist of names, events, and dates. Those texts may – or may not – be accurate or complete, and they rarely factor in the human component. So historical fiction fills in the gaps. It makes history come alive and can transport the reader back in time. Perhaps it reveals more about the famous, or the infamous, but even being introduced to an ordinary person in extraordinary situations brings a better understanding of the past.
Great fiction can bring history to thrilling life. Historical fiction allows us to escape into utterly different worlds that still resonate with the familiar. There is nothing like connecting with a character from the past who is motivated by the same goals and feelings that we have today. We can empathize; we know what it’s like to struggle through life’s challenges and exult in life’s triumphs. But we have the extra bonus of hindsight when we read these stories of the past. Anyone who has nodded off with boredom reading dry history books and then becomes obsessed with the same events and time periods by reading masterful historical fiction knows the power of this genre.
A lifelong history enthusiast, Judith Arnopp holds an honours degree in English/Creative writing, and a Masters in Medieval Studies. Judith has written twelve novels to date, nine of which are based in the Tudor period covering women like Elizabeth of York, Anne Boleyn and Mary Tudor, but her main focus is on the perspective of historical women from all roles of life. The Beaufort Chronicle: The Life of Lady Margaret Beaufort (three book series) covers the transitional period between Bosworth and the death of Henry Tudor. She is currently taking a break from Tudor women and writing from the perspective of Henry VIII in “A Matter of Conscience.”
Cryssa Bazos is an award-winning historical fiction author and a seventeenth century enthusiast. Her debut novel, Traitor’s Knot is the Medalist winner of the 2017 New Apple Award for Historical Fiction and a finalist for the 2018 EPIC eBook Awards for Historical Romance. Her second novel, Severed Knot, is a B.R.A.G Medallion Honoree and a finalist for the 2019 Chaucer Award.
Anna Belfrage wanted to become a time-traveller but ended up as a financial professional with a passion for writing and history. She has authored the acclaimed time travel series The Graham Saga, set in the 17th century, and the equally acclaimed medieval series The King’s Greatest Enemy, set in 14th century England. Anna has also published The Wanderer, a contemporary romantic suspense trilogy with paranormal ingredients. Her latest release, His Castilian Hawk, is a story of loyalty and love set against the complications of Edward I’s invasion of Wales.
Derek Birks lives in Dorset, England, though he spent his teenage years in Auckland, New Zealand, where he still has strong family ties. For many years he taught history in a large secondary school before turning his hand to writing historical fiction. His stories, set both in the medieval period and late antiquity, are fast-paced and action-packed—almost no character is safe. He has also produced a series of non-fiction podcasts on the War of the Roses. When he is not writing, he enjoys travel, walking and watching films.
First published in 1994, Helen Hollick became a USA Today Bestseller with her historical novel, The Forever Queen(titled A Hollow Crown in the UK), with the sequel, Harold the King (U.S: I Am the Chosen King), being novels that explore events that led to the Battle of Hastings in 1066. Her Pendragon’s Banner Trilogy is a fifth-century version of the Arthurian legend, and she writes a nautical adventure series, The Sea Witch Voyages. Her non-fiction books are Pirates: Truth and Tales, and Life of a Smuggler. She lives in an eighteenth-century farmhouse in North Devon, runs Discovering Diamonds, a review blog for historical fiction, and occasionally gets time to write . . .
Amy Maroney lives in Oregon, U.S.A, with her family. She spent many years as a writer and editor of nonfiction before turning her hand to historical fiction. When she’s not diving down research rabbit holes, she enjoys hiking, drawing, dancing, traveling, and reading. Amy is the author of the Miramonde Series, a trilogy about a Renaissance-era female artist and the modern-day scholar on her trail.
Alison Morton writes the award-winning Roma Nova series featuring modern Praetorian heroines—tough but compassionate women. She puts this down to her deep love of Roman history, six years’ military service, a Masters in History and an over-vivid imagination. It was hot that afternoon when, staring at a particularly beautiful mosaic, she started wondering what a modern Roman society would be like if run by strong women. Now, Alison blogs, reads, cultivates a Roman herb garden and drinks wine in France with her husband.
Charlene Newcomb lives, works, and writes in Kansas. She is an academic librarian (retired) by trade, a U.S Navy veteran, and has three grown children. When not at the library, she is still surrounded by books trying to fill her head with all things medieval and galaxies far, far away. She loves to travel and enjoys quiet places in the mountains or on rocky coasts. But even in Kansas she can let her imagination soar.
Tony Riches is a full-time author based in Pembrokeshire, Wales, UK, and is best known for his Tudor trilogy. After a career in the Royal Air Force he held senior roles in the National Health Service and Local Government. When researching his books Tony likes visiting the actual locations and discovering elusive primary sources. In his spare time he enjoys sailing and sea kayaking.
Mercedes Rochelle is an ardent lover of medieval history, and has channeled this interest into fiction writing. Born in St. Louis, Missouri, she received her B.A in Literature at the University of Missouri before moving to New York to “see the world”. The search hasn’t ended. Today she lives in Sergeantsville, N.J with her husband in a log home they had built themselves.
Elizabeth St. John
Elizabeth St. John spends her time between California, England, and the past. An acclaimed author, historian and genealogist, she has tracked down family papers and residences from Lydiard Park and Nottingham Castle to Richmond Palace and the Tower of London to inspire her novels. Although the family sold a few country homes along the way (it’s hard to keep a good castle going thee days), Elizabeth’s family still occupy them—in the form of portraits, memoirs, and gardens that carry their legacy. And the occasional ghost. But that’s a different story . . .
Annie Whitehead has written three award-winning novels set in Anglo-Saxon England:To Be A Queen, about the life of Æthelflaed, Lady of the Mercians; Alvar the Kingmaker set in the turbulent tenth century when kings died young and not always of natural causes, and Cometh the Hour, the story of King Penda the pagan king. Her nonfiction books are published by Amberley Books and Pen & Sword Books and she was the inaugural winner of the Historical Writers’ Association/Dorothy Dunnett Society Short Story Award.
They sent three hundred warriors to kill one man. It wasn’t enough.
Mercia lies broken but not beaten, her alliance with Wessex in tatters.
Coelwulf, a fierce and bloody warrior, hears whispers that Mercia has been betrayed from his home in the west. He fears no man, especially not the Vikings sent to hunt him down.
To discover the truth of the rumours he hears, Coelwulf must travel to the heart of Mercia, and what he finds there will determine the fate of Mercia, as well as his own.
When I got the request to read and review The Last King, I accepted immediately. I’ve read a few of this author’s prodigious portfolio of early Britain prose, and she has found my weakness, or perhaps my longing, for tales of this time period…
‘1871. An age of discovery and progress. But for the Wainwright family, residents of the gloomy Teesbank Hall in County Durham the secrets of the past continue to overshadow their lives.
Harriet would not have taken the job of governess in such a remote place unless she wanted to hide from something or someone. Her charge is Eleanor, the daughter of the house, a fiercely bright eighteen-year-old, tortured by demons and feared by relations and staff alike. But it soon becomes apparent that Harriet is not there to teach Eleanor, but rather to monitor her erratic and dangerous behaviour – to spy on her.
Worn down by Eleanor’s unpredictable hostility, Harriet soon finds herself embroiled in Eleanor’s obsession – the Wainwright’s dark, tragic history. As family secrets are unearthed, Harriet’s own begin to haunt her and she becomes convinced that ghosts from the past are determined to reveal her shameful story.
For Harriet, like Eleanor, is plagued by deception and untruths.’
The Deception of Harriet Fleet is a deeply atmospheric novel, tightly wrapped up in the injustices of how women were treated in the 1800s, when they were expected to shut up and look pretty. But, none of the women in this story are pretty – they are all haunted – by the events that have befallen them and on which the societal norms of the period can be blamed.
Eleanor is a deeply troubled young woman, Harriet, her governess, is running from her past, and even the household servants are subjected to the whim of their master, Mr Wainwright. Wrap that around a family tragedy that no one will talk about, and the novel becomes engrossing and fascinating, even as it repels. The way the women of the story are so completing misunderstood makes for harrowing reading, and when the double truth is eventually revealed it feels satisfying, even as shocking as it is. I confess, I didn’t predict either of the mysteries.
I picked this book from the Amazon 99p sale, and I’m so glad I did. A well-thought out novel, which doesn’t drop the suspense until near the end – and even then, I think it’s understandable.