Category: writing

I’m sharing a fab post from crime novelist Ian McFadyen about writing ‘The Twist’ to celebrate the release of The Corpse Bell #blogtour #newrelease #mystery

I’m sharing a fab post from crime novelist Ian McFadyen about writing ‘The Twist’ to celebrate the release of The Corpse Bell #blogtour #newrelease #mystery

The Twist

Having a clever and enticing plot and introducing a range of vivid, life-like and interesting characters are paramount for any successful murder story. However, in my view, the kernel of all the best and most memorable whodunits has to be the twist. 

I read once that ‘plot twists can be a thrill for the reader, but they’re overwhelming for the writer’. I’d agree with that.   

If the novel is constructed in such a way that the reader has absolutely no inkling it’s coming, and when it’s revealed to the audience it is as plausible to them as it is surprising, then the twist will elevate the story to a new level. 

And why just have one twist, if the book has sub-plots or a series of red herrings, why not introduce a little twist with those, to add even more intrigue and, dare I say, confusion in the reader’s mind – particularly if your twist reveals that a character high on the reader’s list of suspects is, in fact, innocent of the main crime and there’s a credible reason why they have been behaving in a way you ( the reader) thought was suspicious.  

If you don’t agree with me, I’d ask you to just think of your favourite murder mystery books. I’m sure they all will have many, many truly wonderful elements – the setting, the use of language, the plot, the characters for example. However, I’d wager it’s the twist that you remember.

When thinking about a new Carmichael book it’s the twist that almost always comes first. Whether it’s a character who isn’t all they seem to be, a misunderstanding which only comes to light late on in the story, or a lie that’s not unearthed at first, the twist is my starting point. 

For my books, it’s only once the twist is fleshed out in my head that I feel I can then create a storyline. A plot that builds up to that twist being revealed to the reader. Then using my team of ever-present detectives and introducing new characters, I attempt to take the reader on a journey that leads to the twist.   

One of my favourite twists is in ‘The Death of Roger Ackroyd’ by Agatha Christie. I’ll not share the details here, for obvious reasons, but if you’ve not read that particular book, I’d recommend you give it a whirl. 

However, if pushed, I’d say my favourite twist was in the TV programme, Tales of the Unexpected in 1979. In an episode written by Roald DahI, called ‘Lamb to the Slaughter’; the twist is delicious!  If you haven’t seen it, look it up on YouTube.    

I’ll obviously not be sharing the twist in my latest book, ‘The Corpse Bell’, but I hope you enjoy it when it arrives. 

Here’s the blurb

The last thing Penny Carmichael expected when she joined the local bellringing group was for her debut to be thwarted by the discovery of a body just yards from the belfry door. As her husband and his loyal team painstakingly sift through the evidence and delve deep into the dead man’s past, it’s clear that solving Peter Mackenzie’s murder may prove a challenge, even for someone with DCI Carmichael’s renowned detective prowess.

What was a man who’d lived for decades in North London doing in Moulton Bank?  Was his chequered past a factor?

And what about the other members of Penny’s bellringing group. Did any of them have a reason to do Peter harm? 

As the case unfolds, DCI Carmicheal and his trusty team seek answers to a complex puzzle which leads them along various paths and, at times, way outside the comfort zone of their rural Lancashire surroundings. 

This fast-paced, cleverly crafted whodunit is the eleventh murder mystery in the gripping Carmichael series from the pen of Ian McFadyen.

Purchase Link

https://www.amazon.co.uk/Corpse-Bell-Ian-McFadyen-ebook/dp/B0FY34NBPK/

https://www.amazon.com/Corpse-Bell-Ian-McFadyen-ebook/dp/B0FY34NBPK/

Meet the author

IIan McFadyen was born in Liverpool and enjoyed a successful career in marketing before becoming a writer. Ian’s titles are available in Italian and Czech and, although the author isn’t totally convinced it’s true, he’s been favourably compared with Wilkie Collins and Colin Dexter. He lives in Hertfordshire with his wife but spends a great deal of his time writing in his bolthole retreat on the Norfolk / Suffolk border. The Corpse Bell is the eleventh in his series featuring DCI Carmichael.

Author image for Ian McFadyen

https://www.ianmcfadyenauthor.com/

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I’m sharing my review The Wordsmith’s Guide to Planning the Perfect Plot by Elizabeth M Hurst #blogtour #nonfiction #writingadvice

I’m sharing my review The Wordsmith’s Guide to Planning the Perfect Plot by Elizabeth M Hurst #blogtour #nonfiction #writingadvice

The Wordsmith’s Guide to Planning the Perfect Plot

* DO YOU STRUGGLE TO FINISH WRITING A NOVEL?
* DO YOU RUN OUT OF MOMENTUM BECAUSE YOU DON’T KNOW WHERE YOUR STORY IS GOING?

The Wordsmith’s Guide to Planning the Perfect Plot is your trusted companion for turning story ideas into structured, compelling narratives. In this fourth instalment of the Wordsmith’s Guides series, Elizabeth M. Hurst takes you through popular plotting methods—including the Snowflake Method, Save the Cat Beat Sheet, and The Inside Outline—helping you choose the right approach for your writing style. You’ll also find practical advice on troubleshooting common pitfalls, crafting satisfying endings, and keeping your plan adaptable as your story evolves.

Inside, you’ll discover:

  • Clear explanations of proven plotting methods
  • Guidance on choosing the right structure for your novel
  • Tips for overcoming plot issues and staying on track
  • Advice on writing satisfying, well-rounded endings
  • A practical appendix full of tools and templates to support your planning process

Whether you’re a planner, a pantser, or somewhere in between, Planning the Perfect Plot will help you shape your novel with clarity and confidence.

Purchase Link

 https://geni.us/PlottingAmazon

My Review

Planning isn’t something I really do as a writer. But I was certainly curious to see how others might go about writing their stories. Elizabeth M Hurst gathers together many different techniques for planning a novel, and it is interesting to discover how I could be writing a novel, if my mind worked in that way. Mine, alas, does not. It thrives on the chaos. But, I do think the book is an excellent resource for those who plan before writing, and perhaps worry too much about sticking to their plan and the plot they thought they’d be writing when it goes awry and things starts to misbehave. I found it intriguing to read how people use ‘beats’ to craft their story as well as arcs and other techniques. I’m in awe of anyone who can think that far ahead:) I’m not a planner because I ‘feel’ my way through a story – but the author certainly nails my writing style in her explanations.

The author readily acknowledges that most people will use a variety of these techniques, and I was pleased to see that through it all, the delightful chaos of characters and plot misbehaving was never far from her thoughts.

The idea behind writing the novel, was, the author says, to encourage writers to finish their drafts using whatever techniques work for them. This is a worthy endeavour. Many people start writing a story and falter when things start to feel ‘off.’ This should provide opportunities to get writers writing again by thinking of their plot in different ways. I suspect it could be used as an effective diagnostic tool to discover where a plot is faltering, and once that’s been done, writers will learn what works and doesn’t work for them and in future, potentially, avoid the traps waiting to choke off the creativity.

A concise and interesting summary of the way writers write, providing suggestions for breaking free from processes that might not be working. I’m sure all writers will find their ‘type’ in the explanations.

Meet the author

Elizabeth was born and bred in the picturesque harbour town of Whitehaven in the northwest of England, where the long, wet winters moulded her into a voracious reader of fiction to escape the dismal weather.

She graduated with a degree in Business Studies and a string of jobs followed, after which she finally settled in the automotive industry, where she spent twelve happy years.

Having already started writing around the age of 40, she had begun to dream of a more creative lifestyle and set about creating her freelance editing and proofreading business, EMH Editorial Services. In 2018, she quit the corporate world and concentrated her energy full-time towards her love of the written word.

Elizabeth now lives with her husband in the warm and sunny south of France, where the wine is cheaper than the water, and the cats spend their days hunting lizards and dreaming of the birds that roost on the roof.

Connect with the author

https://elizabethhurstauthor.com/

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On this day in history, The Battle of Hædfeld #nonfiction #histfic #Saxon

On this day in history, The Battle of Hædfeld #nonfiction #histfic #Saxon

The Battle of Hædfeld, 12th October AD632 or 633

Not to give too many spoilers, but below is an account of the battle of Hædfeld on 12th October AD632 or 633 (there is a little bit of confusion surrounding the year and indeed the date due to a belief Bede may not have started the years as we would do).

The Words of Bede from ‘The Ecclesiastical History of the English People’

“EDWIN reigned most gloriously seventeen years over the nations of the English and the Britons, six whereof, as has been said, he also was a servant in the kingdom of Christ. Cadwalla; king of the Britons, rebelled against him, being supported by Penda, a most warlike man of the royal race of the Mercians, and who from that time governed that nation twenty-two years with various success. A great battle being fought in the plain that is called Heathfield, Edwin was killed on the 12th of October, in the year of our Lord 633, being then forty-seven years of age, and all his army was either slain or dispersed. In the same war also, before him, fell Osfrid, one of his sons, a warlike youth; Eanfrid, another of them, compelled by necessity, went over to King Penda, and was by him afterwards, in the reign of Oswald, slain, contrary to his oath.”

Bede, a Northumbrian monk writing a hundred years after the events, was no doubt dismayed that his holy (but only recently converted to Christianity) king, Edwin, was killed by a coalition raised against him, one of whom, Penda, was a pagan. Penda was to cause no end of problems for the Northumbrian kingdom, and its two constituent parts, Bernicia (roughly what we now think of as Northumberland) and Deira (centred around York). It is quite astounding to realise how many people Edwin upset, for it wasn’t just Penda and Cadwallon (believed to have been Edwin’s foster-brother and now king of one of the Welsh kingdoms) who joined the battle. There were many, many people with an axe to grind against Edwin, from the furthest reaches of Britain (check out this post about politics in the seventh century). Yet, victory never seems to have been assured. The two coalitions were almost perfectly poised against one another.

https://commons.wikimedia.org/wiki/File:Britain_peoples_circa_600.svg

I find the date of the battle quite fascinating. October. Somewhere near Doncaster, on the banks of the River Don (or so it’s been believed for a long time – this might be being reappraised even as I type this). It would, undoubtedly, have been far past what we consider the ‘prime’ time to be battling. Not yet winter, but summer would undoubtedly have been behind them. It was also a long way from home for the alliance arranged against Edwin, in territory belonging to Edwin. I can’t help thinking he should have had the advantage. But that was most certainly not the case at the end of the day.

I’ve said before, and I’ll repeat it again, as much as we look at this period and see bloody warfare, what we’re really looking at is family politics played out with sword, seax, shield and spear. Edwin was Cadwallon’s foster-brother. Edwin’s son turned on his father and allied with the ‘enemy.’ One of those who joined the alliance against him was his nephew (Edwin’s sister’s son). Edwin had killed his father to become king and he was living in exile. The coming decades saw constant unease between Mercia and Northumbria, which erupted into full-blown war on two subsequent occasions, at Maserfeld in 641/2 (close to the Welsh border) and Winwæd in 655 (again, believed to be somewhere vaguely in the ‘north’ of England, and this time in November!). The ebb and flow of battle undoubtedly categorised these men (and women). While Bede portrays events with religious connotations (for he is writing an eccelsiastical history) it is much more likely family dynamics were at play with their attendent treachery, betrayal and sometimes, more rarely, loyalty.

You can read about this period in my Gods and Kings trilogy.

Check out the Gods and Kings Trilogy page to find articles about the trilogy and Britain in the Seventh Century.

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I’m welcoming Stephanie Cowell to the blog with a fascinating post about research for her new novel, The Man in the Stone Cottage: a novel of the Brontë sisters #Brontë #Yorkshire #Victorian #EnglishLiterature #WomenWriters #HistoricalFiction #TheCoffeePotBookClub #BlogTour 

I’m welcoming Stephanie Cowell to the blog with a fascinating post about research for her new novel, The Man in the Stone Cottage: a novel of the Brontë sisters #Brontë #Yorkshire #Victorian #EnglishLiterature #WomenWriters #HistoricalFiction @cathiedunn
@cowell.stephanie @thecoffeepotbookclub

Researching My Novel on the Brontë Sisters by Stephanie Cowell

I simply love research. The opportunity to know more about my beloved historical characters and their surroundings and daily world is thrilling. Researching Charlotte, Anne and Emily Brontë, I had a chance to go to their village in Yorkshire (Haworth) and to the Parsonage where they lived with their clergyman father and wrote their books and what is more thrilling than that?  I travelled there three times over many years.

In curated display cases, I could see the needles with which they sewed, the cup they drank from (imagine seeing Emily’s cup and knowing she might have paused in writing bits of Heathcliff to drink a sip of tea!), their clothing, their hand-written childhood magazines. I could walk around the house, climbing the steps they climbed every day. In the parlor/dining room, I marveled at the table where they wrote their books. (After a century or more of searching by scholars, the actual table was found in private hands and in 2015 it was brought back to the Parsonage. Someone has scratched “E” in the wood. Was it our Emily?) 

So, my first research was going to the Parsonage, but a great deal of research of course was from biographies and household advice books and letters which describes event and feelings and hopes and fears. They describe loneliness.

Letters are the best! Charlotte wrote the most. She wrote hundreds to her best friend Ellen, pouring out her frustration about working in a teaching job at a boarding school until exhausted. She wrote about her family. She wrote to her publisher’s reader about her sadness over her alcoholic brother who could not keep a job. She wrote her married Belgium professor of her adoration of him. We have these letters almost two hundred years. They are from the writer who penned Jane Eyre’s passionate words, “Do you think, because I am poor, obscure, plain and little, I am soulless and heartless?” 

Research! I have two bookshelves of biographies, literary analysis, life in Victorian England, books about the town of Haworth and the house, even a biography of the rather obscure man Charlotte eventually married. I just remembered that at one time my novel was not from the point of view of the two sisters, but only from his point of view. And like the larger part of stories I begin, it was not finished but eventually morphed into the final novel THE MAN IN THE STONE COTTAGE. 

I try to keep my research books together also in certain shelves but some wander over the house. When I was a beginning writer and rather poor, I used the library for everything. Now I am afraid I mostly use the internet to buy obscure second-hand books.

It was however in an actual bookshop one day that I glanced at a shelf and found THE book I wanted, THE book I must have. This was in the days before the internet. I gasped so that I am fortunate the salesperson did not come rushing over to see if I was okay. Perhaps he was used to having people gasp over discovered books. 

There is a problem with biographies. I went to a bookshop reading of one of Charlotte’s biographers, and someone asked her, “Have you written the definitive biography?” and she replied, “Oh no, I hope not. Every biographer sees her in a different way!” And that is true. Charlotte’s first biographer Mrs. Gaskell made Charlotte into a near saint.  Others have emphasized the prickly side of her personality. Who would not be prickly with all her losses and griefs and hardships? 

Emily and Anne have several biographies each, but less is known about them. These two sisters were more private and did not pour their heart out on paper, or perhaps fewer paper were kept.

Even when a novel is long finished and gone into the hands of readers, I love and long for the worlds where my beloved characters have walked. So, I go to wander in the streets of York or Paris or Florence, and if I wait, I will see one of my characters coming toward me. And likely he or she will smile and say, “There you are! Welcome back! We’ve been waiting for you!”

Here’s the blurb

“A haunting and atmospheric historical novel.” – Library Journal

In 1846 Yorkshire, the Brontë sisters— Charlotte, Anne, and Emily— navigate precarious lives marked by heartbreak and struggle.

Charlotte faces rejection from the man she loves, while their blind father and troubled brother add to their burdens. Despite their immense talent, no one will publish their poetry or novels. 

Amidst this turmoil, Emily encounters a charming shepherd during her solitary walks on the moors, yet he remains unseen by anyone else. 

After Emily’ s untimely death, Charlotte— now a successful author with Jane Eyre— stumbles upon hidden letters and a mysterious map. As she stands on the brink of her own marriage, Charlotte is determined to uncover the truth about her sister’ s secret relationship. 

The Man in the Stone Cottage is a poignant exploration of sisterly bonds and the complexities of perception, asking whether what feels real to one person can truly be real to another.

Praise for The Man in the Stone Cottage:

“A mesmerizing and heartrending novel of sisterhood, love, and loss in Victorian England.” – Heather Webb, USA Today bestselling author of Queens of London

“Stephanie Cowell has written a masterpiece.” – Anne Easter Smith, author of This Son of York

“With The Man in the Stone Cottage, Stephanie Cowell asks what is real and what is imagined and then masterfully guides her readers on a journey of deciding for themselves.” – Cathy Marie Buchanan, author of The Painted Girls

“The Brontës come alive in this beautiful, poignant, elegant and so very readable tale. Just exquisite.” – NYT bestseller, M.J. Rose

“Cowell’s ability to take readers to time and place is truly wonderful and absorbing.” – Stephanie H. (Netgalley)

“Such a lovely, lovely book!” – Books by Dorothea (Netgalley)

Purchase Link

https://books2read.com/u/mqLV2d

Meet the author

Stephanie Cowell has been an opera singer, balladeer, founder of Strawberry Opera and other arts venues including a Renaissance festival in NYC.

She is the author of seven novels including Marrying Mozart, Claude & Camille: a novel of Monet, The Boy in the Rain and The Man in the Stone Cottage. Her work has been translated into several languages and adapted into an opera. Stephanie is the recipient of an American Book Award. 

Author Stephanie Cowell

Connect with the author

Follow The Man in the Stone Cottage blog tour with The Coffee Pot Book Club

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I’m delighted to share my review for Murder in Trafalgar Square by Michelle Salter, the first book in a new historical mystery series #historicalmystery #cosycrime #highlyrecommended

I’m delighted to share my review for Murder in Trafalgar Square by Michelle Salter, the first book in a new historical mystery series #historicalmystery #cosycrime #highlyrecommended
#BoldwoodBloggers @BoldwoodBools #MurderInTragalgarSquare @rararesources @bookandtonic

Here’s the blurb

Discover a BRAND NEW page-turning cosy mystery series from Michelle Salter A murdered suffragette. A missing politician. A stolen artwork.

London, 1910

Coral Fairbanks is a contradiction. As well as a suffragette, she’s a bit-part actress and nude model, earning her the disapproval of her fellow suffragettes.

Guy Flynn is an artist. He’s also a detective inspector at Scotland Yard, who doesn’t always see eye to eye with fellow officers in the Metropolitan Police.

When Home Secretary Winston Churchill orders the police to terrorise the suffragettes during an afternoon of violence that becomes known as Black Friday, the battlelines are drawn – and Coral Fairbanks and Guy Flynn are on different sides.

But when a young suffragette is found murdered in the National Portrait Gallery and one of their paintings is stolen – Fairbanks and Flynn must put their differences aside and combine their knowledge to track down the killer.

Introducing an iconic detective duo in Fairbanks and Flynn, this is an exciting and gripping historical mystery, which will delight fans of Agatha Christie, Benedict Brown and T. E. Kinsey

 Purchase Link

https://mybook.to/MurderTrafalgarSquare

My Review

Murder in Trafalgar Square is the first book in Michelle Salter’s new mystery series, set in 1910, and what a fabulous first entry into a series it is.

For this series we have two main characters, Cora, a young widow who is a suffragette, works in a gallery and has also been an actress but is currently deemed, at 36, to be too old to play the ingenue on stage, and too young to be a harridan. (I sense we’re still not really that far beyond that even now). 

Guy Flynn, our detective inspector, is equally a many layered individual, also a widower with a daughter to raise alone, and he’s a painter too. The pair have some lovely facets to their characters and they make for an intriguing duo as we read chapters from alternative points of view. They’re flung together when a body is found at the National Gallery and it makes all the headlines, as opposed to the suffragette stunt with a most amusing painting (I’m not spoiling it).

The mystery unfolds at a good pace, as Cora and Guy endeavour to unpick the information they gain, while endeavouring to stay on the right side of the government.

This is such a fabulous new book, and I’m so excited to read more of Cora and Guy. I love the Iris Woodmore series by the author, but it’s possible I might love this one even more.

Check out my reviews for Death at Crookham Hall, Murder at Waldenmere Lake, The Body at Carnival Bridge, A Killing At Smugglers Cove, A Corpse in Christmas Close, and Murder at Mill Ponds House.

Meet the author

Michelle Salter writes historical cosy crime set in Hampshire, where she lives, and inspired by real-life events in 1920s Britain. Her Iris Woodmore 

Connect with Michelle 

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A Conspiracy of Kings – a little bit of history #histfic #TheTenthCenturyRoyalWomen #nonfiction

A Conspiracy of Kings – a little bit of history (may contain spoilers for my fictional recreation of Lady Ælfwynn

In the sequel to The Lady of Mercia’s Daughter, the story of Lady Ælfwynn continues. She is The Second Lady of Mercia, but everything isn’t as it seems. In the various recensions of The Anglo-Saxon Chronicles, an attempt can be made to piece together what befalls her.

The Anglo-Saxon Chronicle A version doesn’t mention Ælfwynn at all but instead has King Edward of Wessex/the Anglo-Saxons taking control of Tamworth as soon as his sister dies in June 918. 

The Anglo-Saxon Chronicle E only mentions Lady Æthelflæd’s death in 918 and not what happens immediately after in Mercia. Lady Ælfwynn’s fate, however, is recorded in The Anglo-Saxon Chronicle C. We’re told that she was deprived of all power and ‘led into Wessex three weeks before Christmas.’ This entry is dated 919, although it’s normally taken to mean 918 due to a disparity between the dating in this part of The Anglo-Saxon Chronicle – known as the Mercian Register – where a new year starts in December as opposed to in the Winchester version of The Anglo-Saxon Chronicle where the new year starts in September. 

These details are stark, offering nothing further. What then actually happened to Lady Ælfwynn? Was she deprived of her power? Was she deemed unsuitable to rule?

What adds to the confusion surrounding Lady Ælfwynn is that other than this reference in The Anglo-Saxon Chronicle, she doesn’t appear in any of the later sources. It’s as though she simply ceased to exist.

Two intriguing suggestions have been put forward to explain what happened to Lady Ælfwynn, both with some tenous corroboration.

Did she become a nun or, perhaps, a religious woman?

A later charter dated to 948 and promulgated by King Eadred is to an ‘Ælfwyn, a religious woman,’ and shows land being exchanged in Kent for two pounds of purest gold. (S535) There’s no indication that this Ælfwyn is related to our Ælfwynn or even to King Eadred. But, there remains the possibility that it might just have been the same woman, after all, Eadred would have been Ælfwynn’s cousin. Charter S535 survives in only one manuscript.

Alternatively, and based on a later source, Ramsey Abbey’s Book of Benefactors, we learn the following:

‘he [Athelstan Half-King] bestowed marriage upon a wife, one Ælfwynn by name, suitable for his marriage bed as much as by the nobility of her birth as by the grace of her unchurlish appearance. Afterwards she nursed and brought up with maternal devotion the glorious King Edgar, a tender boy as yet in the cradle. When Edgar afterwards attained the rule of all England, which was due to him by hereditary destiny, he was not ungrateful for the benefits he had received from his nurse. He bestowed on her, with regal munificence, the manor of Weston, which her son, the Ealdorman, afterwards granted to the church of Ramsey in perpetual alms for her soul, when his mother was taken from our midst in the natural course of events.’[i]

Which alternative is it?

There are only eight women named Ælfwynn listed in the Prosopography of Anglo-Saxon England (PASE), a fabulous online database. Of these, one is certainly Ælfwynn, the second lady of the Mercians, and one is undoubtedly the religious woman named in the charter from 948. (When the identification is not guaranteed, multiple entries are made in this invaluable online database). The other five women were alive much later than the known years Ælfwynn lived. One of the entries might possibly relate to her, but that’s all the information known about her. 

And this is far from unusual for many of the women of the House of Wessex. Some women are ‘lost’ on the Continent. Some are ‘lost’ in England.

‘Were it not for the prologue to Æthelweard’s Latin translation of an Anglo-Saxon Chronicle, we would know of only six tenth-century royal daughters or sisters from early English sources and the names of only four of them. Three of these named ones are nuns or abbesses. Only Ælfwynn, the daughter of Æthelflæd and Æthelred of Mercia, and the two daughters of Edward/sisters of Athelstan who married Otto I and Sihtric of York, appear in the witness lists of charters, though Eadburh, daughter of Edward the Elder, is a grantee of a charter of her brother Athelstan.’[ii]

Reconstructing a ‘possible’ life for Lady Ælfwynn was the inspiration for both The Lady of Mercia’s Daughter and A Conspiracy of Kings, and the potential for family betrayal, politicking, and war with the Viking raiders was just too good an opportunity to miss. 

[i] Edington, S and Others, Ramsey Abbey’s Book of Benefactors Part One: The Abbey’s Foundation, (Hakedes, 1998) pp.9-10

[ii] Stafford, P. Fathers and Daughters: The Case of Æthelred II in Writing, Kingship and Power in Anglo-Saxon England, (Cambridge University Press, 2018) p.142

https://amzn.to/46DvlA6

Find out more about who the historical Ælfwynn was here.

Visit The Tenth Century Royal Women page here.

Visit the Royal Women of The Tenth Century non-fiction page here

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Why did I write about Lady Eadgifu, the main character in Kingmaker? #histfic #authorinspiration

Why did I write about Lady Eadgifu, the main character in Kingmaker? #histfic #authorinspiration

I don’t really know when I became a fan of historical fiction but I can take a good guess at who, and what, was to blame.

William Shakespeare and Macbeth.

When I was at school, we didn’t get ‘bogged’ down with grammar and spelling in English lessons, oh no, we studied stories, plays, words, and also the ‘motivation’ behind the use of those stories and those words. And it was Macbeth that first opened my eyes to the world of historical fiction.

Yes, Macbeth is a blood thirsty play, and it might be cursed, but more importantly, it’s based on Holinshed’s Chronicle of England, Scotland and Ireland.

Macbeth is nothing better than the first work of historical fiction that I truly read, and understood to be as such. And what a delight it was.

I remember less the story of Macbeth as presented by Shakespeare (aside from the three witches – “when shall we three meet again?” “well I can do next Wednesday,’ (thank you Terry Pratchett for that addition), than working out ‘fact’ from ‘fiction’ in his retelling of the story. And hence, my love of historical fiction was slowly born, and from that, stems my love of telling stories about ‘real’ people and the way that they lived their lives, looking at the wider events taking place, and trying to decide how these might, or might not, have influenced these people. 

Shakespeare chose the story of a little-known ‘Scottish’ monarch for his historical fiction; my latest subject is the third wife of King Edward the Elder, again someone that few people have heard of, but whose relative, many years in the future, would have interacted with Macbeth, or rather with Mac Bethad mac Findlaích.

Lady Eadgifu, the Lady of Wessex, lived through a tumultuous time.

Many people studying Saxon England know of King Alfred (died AD899), and they know of his grandson, Æthelred II (born c.AD 968), known as ‘the unready’. But the intervening period is little known about, and that is a true shame.

Lady Eadgifu, just about singlehandedly fills this gap. Born sometime before c.AD903 (at the latest), her death occurred in c.AD964/6. As such, she probably missed Alfred by up to 4 years, and her grandson, King Æthelred by about the same margin.

But what she did witness was the emergence of ‘England’ and the ‘kingdom of the English’ as we know it. And it wasn’t a smooth process, and it was not always assured, and it was certainly never, at any point, guaranteed that England would emerge ‘whole’ from the First Viking Age. 

And more importantly, rather than being one of the kings who ruled during this period, Lady Eadgifu was the king’s wife, the king’s mother, or even the king’s grandmother. She would have witnessed England as it expanded and contracted, she would have known what went before, and she would have hoped for what would come after her life. (I think in this, I was very much aware of my great-grandmother who lived throughout almost the entire twentieth century – just think what she would have witnessed).

Lady Eadgifu was simply too good a character to allow to lie dormant under the one event that might well be known about from the tenth century – the battle of Brunanburh. She does also appear in my Brunanburh Series.

So, for those fans of Bernard Cornwell’s ‘Uhtred’ and for those fans of Lady Elfrida at the end of the tenth century, I hope you will enjoy Lady Eadgifu. She was a woman, in a man’s world, and because she was a woman, she survived when men did not. 

The family of Alfred the Great

Map design by Shaun at Flintlock Covers

Check out The Tenth Century Royal Women page on the blog and this post about who the ‘real’ Lady Eadgifu was.

Curious? Read about the Royal Women of The Tenth Century in my nonfiction title.

The Royal Women Who Made England cover

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I’m resharing an interview I gave when I’d finished writing Lady Estrid, a novel of eleventh century Denmark #histfic #writingadvice #authorinterview

I’m resharing an interview I gave when I’d finished writing Lady Estrid, a novel of eleventh century Denmark #histfic #writingadvice #authorinterview

Why did you decide to write about Lady Estrid?

Lady Estrid has been a character that’s long fascinated me. She crops up as a ‘bit part’ character in another series I write, but as time has gone on, I’ve realised that she offers a lot more than I’ve been allowing her so far. And so, I hope at a suitable point in the other series, I decided to explore Lady Estrid for herself. It involves stepping away from my comfort zone of pre-Conquest England in the eleventh century, and allows me to write about Scandinavia at this time period, which has always been a huge area of interest for me.

I’ve written a few long story arcs before, but only two other books which cover such a huge amount of time (about four decades). Such a project allows me to focus on the bigger picture and to put historical characters into a much wider story-arc than writing just about them would allow.

By necessity, Lady Estrid must be a strong woman, able to manipulate the politics taking place around her. I think that there’s a huge and growing interest in such women, and of course, Denmark (and Scandinavia as a whole) at this time, isn’t something that I believe has been tackled before, potentially because of the lack of English Language books about the era. 

What drew you towards the Early Medieval era in which you set your book?

I’m fascinated by everything pre-1066 in England, but also wider afield. It’s impossible to tell the story of just one of these later countries, inhabited by Northmen or Norsemen, without looking to what’s happening elsewhere. These characters didn’t abide by our current national boundaries.

What were the challenges you faced in researching this period of history and were there any unexpected surprises?

The biggest problem with writing about this time period is the sources. I’m not as familiar with the Saga material and the works of Adam of Bremen and Saxon Gramaticus, as I’d like to be. As such, I rely much more on secondary sources than I might when writing about the Early English period. And of course, it’s a period where written sources are quite scarce anyway. Not only is it difficult to ‘find’ Lady Estrid, but, as you might have noticed, many of the character share the same names – there are no ends of Swein/Svein/Sven’s and equally, just as many Gytha’s and Gunnhild’s.

I was surprised by just how little the women of the Danish royal family are mentioned in any secondary sources. I’ve recently been on a book buying spree, and even in a new monograph on Cnut, Lady Estrith is only cited in the index seven times, and in a 798-page book, she has about 3 words! 

What do you think is the most challenging aspect of writing Historical Fiction?

I think this depends on how much history you want to put in your book. I’ve just written three books in The Ninth Century Series, and while they’re historical in nature, much of the day-to-day activity is actually fighting and swearing. Lady Estrid has a much weightier content. It has a cast of many more people; they all have to be placed in the right time period and at the right events, and there is not as much information about any of them as I’d like there to be. Obviously, The Ninth Century Series was easier to write once the time period was set. Lady Estrid was an altogether different project. It took much longer, and was more frustrating because I was trying to ensure it didn’t conflict with previous stories I’ve written, which have a very ‘Early English’ basis.

What advice do you have for aspiring Historical Fiction authors?

Know the time period you’re writing about, and not just what happens during it, but also what happens both before, and after, and in neighbouring countries as well. And, be aware of what ‘might have happened’ if certain events – normally births, deaths or wars – hadn’t happened. Remember, your characters don’t have the benefit of hindsight that you have as a writer. Everything to them would have been immediate, imminent and happening to them. Don’t fall into the trap of presenting everything as a fait accompli.

And, be prepared to be frustrated. There’s always some niggly little fact that is just not mentioned anywhere. The decision then has to be made as to whether to ‘make it up’ or write around it, and readers will somehow always know if you make it up.

And on a final note, be prepared to do something a little bit ‘different,’ be bold, be creative, do whatever has to be done to engage an audience with the time period. 

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#TheLastHorse is 5 years old, and for one day only, it’s FREE on Amazon Kindle. #bookbirthday #histfic #TheLastKing #Coelwulf #Mercia

https://amzn.to/4mzHQDd

https://amzn.to/4n5Eqbj (the less sweary version)

Limited hardback editions

There are also special edition hardback formats available directly from me for The Last King and The Last Warrior. Follow this link to discover them.

Check out all the details for The Mercian Kingdom: The Ninth Century.

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The Lady of Mercia’s Daughter turns 8 years old #bookbirthday #Mercia

Another book birthday

I feel like these are coming thick and fast this year, but then I suppose I’ve written a lot of books.

To celebrate The Lady of Mercia’s Daughter turning 8, yes 8, today, I thought I’d share why I wrote about Lady Ælfwynn, and not her more famous mother, Lady Æthelflæd.

My first historical fiction story (that of Ealdorman Leofwine) was inspired by the fact that I realised he’d been almost written out of the history of the period. I’d read many, many books about the end of Saxon England, and few of them mentioned the Earls of Mercia at all, apart from his descendants, Edwin, Morcar and Eadgyth. This has often been the way. I find a character who’s been forgotten about (because most historical individuals have been forgotten about) and I reimagine their lives and endeavour to either rehabilitate them, or at least shine a light on them. The same can be said for Lady Ælfwynn, the Lady of Mercia’s Daughter, and the Second Lady of the Mercians in her own right.

Even though she attests a number of charters, and is named in the Anglo-Saxon Chronicle (which is very rare for the women of the tenth century) no one had heard of her. I was determined to put that right, largely helped by an academic paper I read about her which got my brain firing with ideas.

Piecing together the scant information available (and possibly known) about her, I created The Lady of Mercia’s Daughter, and subsequently, the sequel, A Conspiracy of Kings. In doing so I don’t suggest at all that this is a recreation of the life she led, but it certainly presents a possible life for her, and one that is a little more exciting than the often cited ‘she became a nun,’ argument to explain why she disappears from the historical record so quickly. It also allowed me to try my hand at family politics, which so often came into play during the era. And, for fans of King Coelwulf II and The Last King books, I can certainly ‘see’ a lot of his later creation in the pages of The Lady of Mercia’s Daughter.

Here’s the blurb

Betrayal is a family affair.

12th June AD918. 

Æthelflæd, Lady of the Mercians and daughter of Alfred the Great, is dead.

Ælfwynn, the niece of Edward, King of Wessex, has been bequeathed her mother’s power and status by the men of the Mercian witan. But she knows Mercia is vulnerable to the north, exposed to the retreating world of the Viking raiders from her mother’s generation.

With her cousin Athelstan, Ealdorman Æthelfrith and his sons, Archbishop Plegmund and her band of trusted warriors, Ælfwynn must act decisively to subvert the threat from the Norse. Led by Lord Rognavaldr, the grandson of the infamous Viking raider, Ivarr of Dublin, they’ve turned their gaze toward the desolate lands of northern Saxon England and the jewel of York.

Inexplicably she’s also exposed to the south, where her detested cousin, Ælfweard, and uncle, King Edward, eye her position covetously, their ambitions clear to see.

This is the unknown story of Ælfwynn, the daughter of the Lady of the Mercians and the startling events of late 918 when family loyalty and betrayal marched hand in hand across lands only recently reclaimed by the Mercians. Kingdoms could be won or lost through treachery and fidelity, and there was little love and even less honesty. And the words of a sword were heard far more loudly than those of a king or churchman, noble lady’s daughter or Viking raider.

You can now grab The Lady of Mercia’s Daughter duology, containing both books featuring Lady Ælfwynn

Check out the series page for The Tenth Century Royal Women.

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