Today, I’m absolutely delighted to share a fabulous post from Anna Belfrage about dressing in the seventeenth century. It will make you giggle, I promise.
Dressing for success in the seventeenth century
In a A Rip in the Veil—the first book in The Graham Saga—the unfortunate (or not, depending how one sees it) Alex Lind has the misfortune of falling three centuries backwards in time to land at the feet of Matthew Graham. Matthew Graham is a devout Presbyterian who has fought in the Commonwealth armies in the Civil War. To Alex, he is initially very strange. Heck, the entire situation is strange: no, wait—it’s impossible!
Matthew is as taken aback as Alex is—perhaps even more, as the only explanation to her sudden appearance in his life must be magic. Or? Besides, what is the woman wearing? Those tight, tight breeches she calls ‘djeens” showcase her every curve, as do her other garments. No, had she been his woman, he’d never have allowed her to set a foot outside dressed like that, all of her exposed, like.
Alex quickly realises that in this new time she has to adapt. ASAP. And one of the first things she must embrace is an entire new wardrobe. “Yay me,” she mutters as she shakes out shift and petticoats and heavy skirts and bodice and. . .
I must admit that I wasn’t entirely thrilled when Alex landed in 1658. The seventeenth century is not my sartorial favourite – especially when it comes to male fashion.
This period dress thing is difficult.
First of all, as the writer of historical fiction it is important to understand what people wore, who wore what and how it was worn. In some cases it’s straightforward: stockings cover your feet and the nether part of your legs no matter if you live in the twentieth century or the fifteenth. But take that rather ugly male adornment that Henry VIII was so proud of flaunting – the codpiece – and I am somewhat stumped. How did it work? ( Okay, so I’ve looked this up; strings, buttons or hooks kept this decorative little (hmm) flap of fabric in place.)
Secondly, it helps if the writer in question finds the period attire alluring in some way or other. It’s difficult to write convincingly about handsome men in codpieces and padded breeches when all you see in your head is something resembling a man in a huge diaper.
Finally, there must be a familiarity with how people dress and undress. “He told her to turn around and zipped up her gown,” is not a good description of the intimacy between man and wife in the fourteenth century. (BTW, the modern zipper owes a lot to Swedish inventor Gideon Sundback. It’s nice to know us Swedes have contributed to human development: dynamite, zippers, gauge blocks, the AGA cooker.) Having exploring male fingers encountering panties in the sixteenth century is also something of an anachronism, and should the dashing regency rake pulls down his boxers you’re not reading historical fiction, you’re reading about a masquerade.
To avoid such gaffes, I’ve spent a lot of time researching the period and have accordingly done my fair share of staring at what few clothes survive from the seventeenth century—like James II’s elegant attire exhibited in the Victoria & Albert museum. Okay, so that is later in the century, but all that lace, all those embroideries, and that gigantic wig! Plus, the high heels on the shoes. . . Nope, not at all my cup of tea.
Earlier in the 1600s, men wore wide breeches, sashes, lace, ribbons—like these young and elegant Stuart brothers in Van Dyke’s portrait.
To the seventeenth century young girl, they were likely delectable. To Alex, not so much. She’d be hard put not to laugh her head off. So it is fortunate that when she first meets Matthew, he is in a ragged shirt and equally ragged breeches, fleeing from pursuing soldiers. It is also fortunate that Matthew would no more adorn himself with ribbons than he would dance attendance on the king—he is a man of Parliamentarian convictions. No, Matthew wears plain and well-made clothes, now and then adorned with a ruffled cuff or an elegant collar.
Obviously, Matthew expects this new female companion of his to dress sedately, which is how Alex finds herself obliged to re-learn just how to dress.
In the seventeenth century, there were no bras, no panties. Instead, the undergarment is a shapeless elongated linen shirt that comes to just below the knees. This shift is worn over stockings that come to just above the knee and are fastened by garters. “I can help you with those,” Matthew suggests, and there is a twinkle in his eyes as he helps Alex fasten the stockings with pink ribbons. Just because he doesn’t wear ribbons, it doesn’t mean she can’t, he says. In fact, he rather likes the fact that she is wearing them—and that he tied them into place. Over the shift—which also doubles as nightgown—Alex now dons a corset. “Ugh!” she groans as she tightens into place. The corset she has ties in front—only people who can afford a ladies maid have corsets that tie in the back. She has to struggle a bit to get it to sit right, and then there are the petticoats, tied into place at her waist and falling to mid-calf. Only the very, very rich have garments that fall all the way to the floor. Most women have skirts high enough to allow them to work and walk without dragging the hem in the dirt.
“Here.” Matthew hands her the heavy skirts. And yes, they are heavy, making it hard to, for example, run. Or jump a fence. Once Alex has stepped into them, he helps her tighten them into place. A bodice, a shawl to cover what may remain exposed of her chest and then Matthew holds out a cap. “No way!” She backs away, staring at the embroidered linen coif. “You must cover your hair,” he says. She refuses. There is a slight. . . er . . . argument. Things end in a compromise: she will not cover her hair indoors, but otherwise she will either wear a coif or a hat. Matthew would prefer both, but he is pragmatic enough to realise this isn’t a battle he will win. Besides, Alex is having to handle a lot of change as it is. “Tell me about it,” she mutters. She isn’t overly impressed with the food. Or the lack of chocolate. Or of tea. “I thought they had tea in the seventeenth century,” she groans. “They do,” I tell her, “but it is very, very expensive.” “Oh.” She gnaws her lip, her shoulders slumping. Which is probably why Matthew expends a ridiculous amount on a ridiculous small quantity of tea next time he goes to Edinburgh, pleased by the way she lights up from within when he hands the precious package over.
Over time, Alex will become accustomed to her new clothes, even if she will quite often think longingly of jeans and sweatshirts, of Converse and shop-bought socks. (She hates to knit)
But while she adapts to her new life on the outside, she remains a woman of modern conviction and outlook, which will now and then cause her quite some problems in her new time. It is fortunate that she has Matthew to guide her. On the other hand, there will be countless of occasions when Matthew will owe his life and sanity to her, the strange lass he found concussed and burned on an empty Scottish moor. Two halves made whole are my Alex and Matthew, no matter such details as sartorial arguments!
Thank you so much for such a fabulous post. I just can’t imagine all the lace:)
Here’s the blurb
On a muggy August day in 2002 Alex Lind disappears. On an equally stifling August day in 1658, Matthew Graham finds her on a Scottish moor. Life will never be the same for Alex – or for Matthew.
Alexandra Lind is thrown three centuries backwards in time to land at the feet of escaped convict Matthew Graham.
Matthew doesn’t know what to make of this strange woman who has seemingly fallen from the skies—what is she, a witch?
Alex is convinced the tall, gaunt man is some sort of hermit, an oddball, but she quickly realises the odd one out is she, not he.
Catapulted from a life of modern comfort, Alex grapples with her new existence, further complicated by the dawning realization that someone from her time has followed her here—and not exactly to extend a helping hand.
Potential compensation for this brutal shift in fate comes in the shape of Matthew, a man she should never have met, not when she was born three centuries after him. But Matthew comes with baggage of his own and on occasion his past threatens them both. At times Alex finds it all excessively exciting, longing for the structured life she used to have.
How will she ever get back? And more importantly, does she really want to?
Buy Links
This title is available to read on #KindleUnlimited.
Had Anna been allowed to choose, she’d have become a time-traveller. As this was impossible, she became a financial professional with two absorbing interests: history and writing. Anna has authored the acclaimed time travelling series The Graham Saga, set in 17th century Scotland and Maryland, as well as the equally acclaimed medieval series The King’s Greatest Enemy which is set in 14th century England.
Anna has also published The Wanderer, a fast-paced contemporary romantic suspense trilogy with paranormal and time-slip ingredients.
Her Castilian Heart is the third in her “Castilian” series, a stand-alone sequel to her September 2020 release, His Castilian Hawk. Set against the complications of Edward I’s invasion of Wales, His Castilian Hawk is a story of loyalty, integrity—and love. In the second instalment, The Castilian Pomegranate, we travel with the protagonists to the complex political world of medieval Spain. This latest release finds our protagonists back in England—not necessarily any safer than the wilds of Spain!
All of Anna’s books have been awarded the IndieBRAG Medallion, she has several Historical Novel Society Editor’s Choices, and one of her books won the HNS Indie Award in 2015. She is also the proud recipient of various Reader’s Favorite medals as well as having won various Gold, Silver and Bronze Coffee Pot Book Club awards.
Find out more about Anna, her books and enjoy her eclectic historical blog on her website, www.annabelfrage.com
I’m delighted to welcome Anna to the blog, and she’s written a fabulous post about her historical research.
Those unruly Welsh – a post about those that would not give up
Some years ago, I published His Castilian Hawk, where the story is set against the backdrop of Edward I’s conquest of Wales in 1282-83. Some may think that after Dafydd ap Gruffyd was executed in late 1283, Wales was permanently cowed, bowing its neck abjectly before its new overlord. Not at all like in Scotland, where the Scots just wouldn’t give up, no matter what Edward I threw at them.
Hmm. I dare say those medieval Welshmen would snort—rather loudly—at the notion that they somehow lacked in bravery. Also, one must keep in mind that the English king could command vastly more men than the Welsh could. Plus, Wales was not a cohesive unit as Scotland was. No, Wales was subdivided into various little principalities, and since the death of Llewellyn Fawr in 1240 no one had really managed to unite all Wales again. Also, large chunks of Wales had been under English control for yonks, ruled over by the so called Marcher Lords.
So it was a fragmented people who were invaded by the English in 1282-83, and in some places people didn’t overly care who sat in the nearby castle. Besides, many Welshmen had no reason to risk their neck for Llywellyn ap Gruffyd or his brother as they were princes of Gwynedd, not of Wales. But that does not mean the Welsh had rolled over and given up. In fact, there’d be a sequence of rebellions—of varying size—over the years. What all those rebellions have in common is that they failed, even if the impressive Owain Glyndwr in the early 15th century came close to success.
In my latest release, Her Castilian Heart, the adventures and misfortunes that beset my fictional protagonists, Robert FitzStephan and his wife Noor, are to some extent set against the backdrop of another Welsh rebellion, that of Rhys ap Maredudd.
Rhys was a member of the royal house of Deheubarth, a principality in mid Wales. Deheubarth and Gwynedd were traditional enemies, so when Dafydd ap Gruffyd prodded his older brother into rebellion in 1282, Rhys sided with the English. Actually, already in the Anglo-Welsh wars of 1276-77, Rhys submitted to England, hoping that by doing so he’d be able to keep his lands—and regain the impressive Dinefwr Castle, the traditional seat of the princes of Deheubarth.
In the aftermath of the 1282-83 conquest, Rhys was rewarded for his loyalty with more land. “And Dinefwr?” he asked. King Edward likely raised an eyebrow. No way was he about to return such an impressive castle to a Welsh princeling. Instead, he forced Rhys to sign a quitclaim, effectively handing over “his” castle permanently to the English king. Rhys may not have liked this, but he seems to have swallowed his disappointment and instead focussed his attention on fortifying his remaining castle of note, Dryslwyn.
But it must have rankled, losing Dinefwr. Also, Rhys seems to have been under the impression that he’d been promised Dinefwr if he rode with the English against his fellow Welshmen. Whatever the case, in 1287, Rhys rebelled.
He had some initial success, but King Edward’s appointed regent, Edmund of Cornwall (the king himself was in Gascony) acted with speed, assembling a huge host that marched into Wales. By October, the rebellion had effectively been stamped out until all that was left was a core of determined men besieged at Dryslwyn. This was when King Edward’s interest in siege machines came in handy: soon enough several huge trebuchets began bombarding Dryslwyn’s walls with projectiles. In all that upheaval, Rhys managed to slip away.
For some weeks, things were quiet, but in mid-November Rhys popped up again, urging his fellow Welshmen to join his rebellion. A new, much smaller force was assembled to sort things out—one in which I’ve included Robert FitzStephan and his friend, Roger Mortimer. Rhys took refuge in yet another castle, this time the triangular-shaped Newydd Emlyn.
The English packed together their siege weapons, loaded them onto carts, requisitioned forty oxen and hauled them all the way up to Newydd Emlyn. Ten days of siege and the English won—but the elusive Rhys had managed to slip away. Again.
For the coming four years, he somehow managed to stay hidden. Some people think he may have escaped to Ireland, but if he had, one wonders why he came back only to be captured. In 1291, Rhys ap Maredudd was executed in York, far from the land of his birth. His son and namesake was to spend the coming fifty years in prison.
Rhys was not the last Welshman to rebel against Edward. Some years later, the fires of rebellion would yet again threaten Edward’s iron hold on this his newest dominion—but of that I will write in the next book in the series!
Thank you so much for sharing such a fascinating post. Good luck with your new book and with writing the next one.
Here’s the blurb:
Blood is not always thicker than water…
At times a common bloodline is something of a curse—or so Robert FitzStephan discovers when he realises his half-brother, Eustace de Lamont, wants to kill him.
A murderous and greedy brother isn’t Robert’s only challenge. He and his wife, Noor, also have to handle their infected relationship with a mightily displeased Queen Eleanor—all because of their mysterious little foundling whom they refuse to abandon or allow the queen to lock away.
Eustace is persistent. When Robert’s life hangs in the balance, it falls to Noor to do whatever it takes to rip them free from the toothy jaws of fate. Noor may be a woman, but weak she is not, and in her chest beats a heart as brave and ferocious as that of a lioness. But will her courage be enough to see them safe?
Trigger Warnings: There is some sexual (consensual) content. Also some violence
Had Anna been allowed to choose, she’d have become a time-traveller. As this was impossible, she became a financial professional with two absorbing interests: history and writing. Anna has authored the acclaimed time travelling series The Graham Saga, set in 17th century Scotland and Maryland, as well as the equally acclaimed medieval series The King’s Greatest Enemy which is set in 14th century England.
Anna has also published The Wanderer, a fast-paced contemporary romantic suspense trilogy with paranormal and time-slip ingredients.
Her Castilian Heart is the third in her “Castilian” series, a stand-alone sequel to her September 2020 release, His Castilian Hawk. Set against the complications of Edward I’s invasion of Wales, His Castilian Hawk is a story of loyalty, integrity—and love. In the second instalment, The Castilian Pomegranate, we travel with the protagonists to the complex political world of medieval Spain. This latest release finds our protagonists back in England—not necessarily any safer than the wilds of Spain!
All of Anna’s books have been awarded the IndieBRAG Medallion, she has several Historical Novel Society Editor’s Choices, and one of her books won the HNS Indie Award in 2015. She is also the proud recipient of various Reader’s Favorite medals as well as having won various Gold, Silver and Bronze Coffee Pot Book Club awards.
Find out more about Anna, her books and enjoy her eclectic historical blog on her website, www.annabelfrage.com
Today I’m featuring an excerpt from 1066 Turned Upside Down by author and Anglo-Saxon historian Annie Whitehead
A MATTER OF TRUST
by Annie Whitehead
Wearing the crown is one thing, but if Harold were to rule with any security and authority, he needed the support of the northern earls. At some point between his coronation and April 16th, he travelled north to try to secure that support. It has often been said of Earl Morcar that he ‘owed’ his earldom to Harold, who had endorsed him after his brother Tostig had been ousted. The Earldom of Mercia had once been a separate kingdom, and nationalist fervour had often caused problems for the kings of Wessex. Mercia had strong links with the neighbouring Welsh, and Edwin’s family had been close allies of Gruffudd of Gwynedd, whose death was engineered by Harold. Edwin and Morcar’s grandfather had been a political rival of Harold’s father, and the Godwin family had caused their father, Aelfgar, to be removed first from an earldom in East Anglia and then, briefly, from Mercia. These two families had ‘history.’
Late February – York
The message, when it arrived, had been simple. Edward dead, Harold is king. Come north. Riding to answer his brother’s call, Edwin had his grandmother’s words still ringing in his ears. ‘Our time has come, now. It is time to make Mercia great again.’
His gloves offered protection from the chilly air, a remnant of the winter that was slow to depart, but now he took them off, feeling the reins pressing into his palms while he stared at the leather embossing on his pommel. He had thought for a long time before setting out and was not convinced, even now, that he had done the right thing. They rode through the southern gateway of the erstwhile Viking kingdom of York, where the base of the stone watchtower was strewn with flowers, and had to slow their pace to avoid the press of people, brought out by the late winter sunshine and the presence of the King. The Godwins. Harold Godwinson was standing outside the Earl’s hall, with members of the northern nobility, among them Edwin’s brother, Morcar, the present Earl of Northumbria. Edwin dismounted and handed his reins to a waiting horse-thegn.
His younger brother came running to him, grinning wide enough to split his face. The afternoon sun shone on his hair. It had already left its mark on his face, where a band of fresh red covered his nose and the upper part of his cheeks. Despite the chill, he was in his undershirt. There was a slash in the sleeve; even today, Morcar had been in the yard, practising his sword skills. Edwin had not seen Morcar for some months, but Morcar wasted no time on such greetings.
‘Edwin, you must agree to Harold’s kingship. Tostig was earl, and we threw him out. And when Tostig tried to take Northumbria back, Harold did nothing to help him. Think on it, he chose me as earl, over his own brother.’
Edwin sniffed. It wasn’t much of a compliment. It was no ill reflection on Morcar, but Harold had simply chosen his only available option, as a condemned man might choose life instead of the gallows.
As if hearing his thoughts, Harold Godwinson moved away from the steps of Morcar’s great hall. Moustaches neatly trimmed, carmine tunic blowing in the breeze, he descended with his unmistakeable swagger towards the newly arrived nobles, but Edwin could detect the doubt: the tilt of the head, the slump of his shoulders when the nobles he walked past refused to bow, instead folding their arms across their chests.
Harold stepped toward the Mercians, giving a slight wave of the hand held at hip level, an involuntary betrayal of his thoughts; that the opinions of those on the steps mattered less than those of the men he was approaching.
What happens next? Does the Earl of Mercia accept Harold’s friendship? Find out in 1066 Turned Upside Down
Thank you so much for sharing an excerpt from your story. It’s good to see The Earl of Mercia featured.
Intrigued?
Here’s the blurb:
Have you ever wondered what might have happened if William the Conqueror had been beaten at Hastings in 1066? Or if Harald Hardrada had won at Stamford Bridge? Or if Edward the Confessor had died with an heir ready to take his crown? If so – here is the perfect set of short stories for you.
1066 Turned Upside Down explores a variety of ways in which that momentous year could have played out very differently.
Written by nine well-known authors the stories will take you on a journey through the speculative ‘what ifs?’ of England’s most famous year in history.
READERS’ COMMENTS
“1066 Turned Upside Down is the exemplar for how analytical counterfactual history should be done, combining the best elements of fiction and non-fiction to create an immensely impressive achievement.”
“As a collection, the quality of the writing is exceptional and the variety of possible outcomes presented is truly fascinating.”
“The collection is assembled in such a way that between the ‘alternatives’ are the related facts as they happened, as far as historians and archaeologists know – which still leaves room for these experienced writers’ imaginations.”
“A book I will read and re-read. I heartily recommend it”
“The real joy of a collection of stories like this is, of course, that you are likely to be introduced to writers you may not have come across before.”
1066 Turned Upside Down is a collection of eleven alternative history short stories of a ‘what if’ nature imagined by nine well-known successful authors:
JOANNA COURTNEY Ever since Joanna sat up in her cot with a book, she’d wanted to be a writer and cut her publication teeth on short stories and serials for the women’s magazines before signing to PanMacmillan in 2014 for her three-book series The Queens of the Conquest about the wives of the men fighting to be King of England in 1066. Her second series, written for Piatkus is Shakespeare’s Queens exploring the real history of three of the bard’s greatest female characters – Lady Macbeth, Ophelia and Cordelia.
Joanna’s fascination with historical writing is in finding the similarities between us and them –with an especial goal to provide a female take on some of the greatest stories we think we know. www.joannacourtney.com
ALISON MORTON writes the award-winning alternative fiction Roma Nova thriller series featuring tough, but compassionate heroines. She blends her deep love of Roman history with six years’ military service and a life of reading crime, historical, adventure and thriller fiction. A ‘Roman nut’ since age 11, she started wondering what a modern Roman society would be like if run by strong women. She has recently branched out into a contemporary crime setting with Double Identity, the first of a planned series.
ANNA BELFRAGE Had Anna been allowed to choose, she’d have become a time-traveller. As this was impossible, Anna has authored the acclaimed time travelling series The Graham Saga, set in 17th century Scotland and Maryland, as well as the equally acclaimed medieval series The King’s Greatest Enemy set in 14th century England. Anna has also published The Wanderer, a fast-paced contemporary romantic suspense trilogy with paranormal and time-slip ingredients. His Castilian Hawk – returning to medieval times and her most recent release, The Whirlpools of Time, a time travel romance set against the backdrop of brewing rebellion in the Scottish highlands. Anna has won several awards including various Gold, Silver and Bronze Coffee Pot Book Club awards. www.annabelfrage.com
ANNIE WHITEHEAD is an historian and prize-winning author. Her main interest in history is the period formerly known as the ‘Dark Ages’. Her first novel, To Be A Queen, is the story of Aethelflaed (daughter of Alfred the Great), who came to be known as the Lady of the Mercians. Alvar the Kingmaker, tells the story of Aelfhere of Mercia, a nobleman in the time of King Edgar. Cometh the Hour goes further back in time to the seventh century, to tell the story of Penda, the last pagan king of Mercia. Annie has twice been a prizewinner in the Mail on Sunday Novel Writing competition, she won first prize for nonfiction in the new Writing Magazine Poetry and Prose competition, and was the inaugural winner of the HWA (Historical Writers’ Association)/Dorothy Dunnett Society Short Story Competition and is now a judge for that same competition.
Annie has had two nonfiction books published. Mercia: The Rise and Fall of a Kingdom (Amberley Books) has been an Amazon #1 Bestseller. Women of Power in Anglo-Saxon England was published by Pen & Sword Books in 2020.
CAROL McGRATH is the author of The Daughters of Hastings Trilogy. Her fifth historical novel, The Silken Rose, first in The Rose Trilogy, published by the Headline Group, is set during the High Middle Ages. It features Ailenor of Provence and was published in 2020. The Damask Rose about Eleanor of Castile was published in 2021. The Stone Rose, Isabella of France, follows in 2022. Carol has also written Historical Non-Fiction for Pen & Sword.
ELIZA REDGOLD is an author and ‘romantic academic’. Her bestselling historical fiction includes her Ladies of Legend trilogy, starting with Naked: A Novel of Lady Godiva released internationally by St Martin’s Press, New York. Her historical romances are published by Harlequin Historical, London (Harper Collins). They include Playing the Duke’s Mistress, Enticing Benedict Cole, The Scandalous Suffragette and The Master’s New Governess. They have been translated into multiple languages including Italian, Polish, Czech, Danish and Swedish, and are available internationally.
G.K. HOLLOWAY After graduating from Coventry University with an honours degree in history and politics, he worked in education in and around Bristol, England, where he now lives. After reading a biography about Harold Godwinson, he studied the late Anglo-Saxon era in detail. When he had enough material to weave together facts and fiction he produced his novel. 1066 What Fates Impose, a story of family feuds, court intrigues, assassinations, plotting and scheming, loyalty and love, all ingredients in an epic struggle for the English crown. www.gkholloway.co.uk
HELEN HOLLICK moved from London in 2013 and now lives on a thirteen-acre farm in North Devon, England. Born in London, Helen wrote pony stories as a teenager, moved to science fiction and fantasy, and then discovered the wonder of historical fiction. Published since 1994 with her Arthurian Pendragon’s Banner Trilogy, followed by her 1066 era duo. She became a USA Today bestseller with her story of Queen Emma: The Forever Queen (titled A Hollow Crown in the UK), and its companion novel, Harold the King (titled I Am the Chosen King in the U.S.A). She also writes the Sea Witch Voyages, a series of pirate-based nautical adventures with a touch of fantasy. Commissioned by Amberley Press she wrote a non-fiction book about pirates in fact, fantasy and fiction and a non-fiction book about smugglers, published by Pen and Sword.
Recently she has ventured into the ‘Cosy Mystery’ genre with her Jan Christopher Mysteries, the first of which is A Mirror Murder. She runs Discovering Diamonds, an independent online review site for Historical Fiction, primarily aimed at showcasing Indie writers.
RICHARD DEE was a Master Mariner and ship’s pilot, now living in Brixham, South Devon. His novels include Science Fiction and Steampunk adventures, as well as the exploits of Andorra Pett, a reluctant amateur detective. www.richarddeescifi.co.uk
Connect with the authors of 1066 Turned Upside Down
Today, I’m excited to welcome Anna Belfrage to the blog with a post about her new book The Castilian Pomegranate.
Getting things right – or how a historical fiction writer sorts out her facts
When I set out to write a novel, I usually already have a sequence of real events I want to use as anchors to my story. The reason why The Castilian Pomegranate ended up set in present-day Spain was because I had somewhat fallen in love with medieval Spanish history, and in particular with one rather amazing lady, Maria Alfonso de Meneses, better known as Maria de Molina.
So what did I know about Maria de Molina? Well, I had heard of her since childhood, this wise queen who would somehow rise over the losses that dotted her life to lead Castile through extremely difficult times. She lost her husband young, stood as regent to her very young son, had to deal with the rebellion of her former brother-in-law, somehow managed to raise her son to adulthood only to have him die far too young and leave her—yet again—as regent to a boy king, her grandson.
But to properly flesh her out, I needed to know more, and while I am quite happy to use Wikipedia as a starting point—it always makes me roll my eyes when people dismiss everything on Wiki as being incorrect—I went looking elsewhere. I found a series of talks about medieval Spain on YouTube—and as I speak Spanish the selection was quite large—and spent several happy hours listening my way through them. My conclusion? This was a very complicated time for Castile.
Reconquista battles
Several years of successful Reconquista had expanded the realm every which way, and to help administer it, the Castilian court used the well-educated Jews, while at the same time tensions between Christians and Jews were slowly growing. Things would explode one day in the late 14th century when the Christian of Sevilla more or less murdered every single Jew they could find, but in the period I am writing about, hostilities were not at that point.
Likewise, with the Reconquista came a growing Muslim population now under Christian control. These Mudéjares were usually accorded the right to practise Islam, but were also viewed with some suspicion by the Christians who were probably more worried about the tide turning and having the Moors reclaim ther recently reconquered land than about the issue of faith as such.
To get a feeling for what life might have been like I read books about Moorish Spain, I dug out essays about “la Convivencia” –the period after the reconquest when Muslims, Christians and Jews had to somehow rub along. Once again, internet proved my friend, with a lot of interesting stuff available through various sites like Google Scholar or Academia.edu
I’ve also spent some time browsing Real Academia de Historia – an excellent site if you know what you’re looking for!
When writing a book set in a specific period, I like getting a feel for the cultural context: what songs did they sing, what stories did they tell? I am fortunate in that I have an excellent guide into medieval Spain in Ramón Menéndez Pidal, one of those old-school intellectuals that had a keen interest in almost anything. One of the subjects he had a passionate relationship to was the medieval Spanish literature, the so called cantares de gesta and their roots in the legends and songs of Visigoth Spain. Let’s just say it was a sheer joy to sink back into books I have not revisited since I studied Spanish at university. All that reading had a side effect as I just had to write a post about one of those old legends and have another post almost ready to go.
One of the things I always spend a lot of time on is flora and fauna—I will never forget Bernard Cornwell telling a full auditorium at an HNS Conference how a fan had contacted him to tell him there were no snowdrops in the UK in the period he was writing about – except, it turns out there probably was 😊 In The Castilian Pomegranate I had to do some serious editing when I realised that the oranges grown in Spain at that time were bitter oranges, the type you used for essences and oils, the dried peels use as spice, while the fruit itself was much too bitter to eat. There went my scene with my heroine closing her eyes with pleasure as she tasted her first ever orange…
Ultimately, when writing about an era so far back in time, the facts offer little but a skeleton on which to build my story. It is the delicious gaps in between that tickle my imagination, where I have to make assumption based on what little I do know when shaping my characters and their reactions to the world around them. That, dear reader, is where the “fiction” in historical fiction comes into play, while all that research helps ground the narrative in a historical setting that I—like most historical fiction authors—do my best to breathe careful life into.
Thank you so much for sharing your research. Good luck with the new book. (I am always wary of mentioning rabbits as some people say there were brought to the UK by the Romans, and others by the Normans – so, no rabbits in my Saxon England).
Here’s the blurb:
An enraged and grieving queen commands them to retrieve her exquisite jewel and abandon their foundling brat overseas—or never return.
Robert FitzStephan and his wife, Noor, have been temporarily exiled. Officially, they are to travel to the courts of Aragon and Castile as emissaries of Queen Eleanor of England. Unofficially, the queen demands two things: that they abandon Lionel, their foster son, in foreign lands and that they bring back a precious jewel – the Castilian Pomegranate.
Noor would rather chop off a foot than leave Lionel in a foreign land—especially as he’s been entrusted to her by his dead father, the last true prince of Wales. And as to the jewel, stealing it would mean immediate execution. . .
Spain in 1285 is a complicated place. France has launched a crusade against Aragon and soon enough Robert is embroiled in the conflict, standing side by side with their Aragonese hosts.
Once in Castile, it is the fearsome Moors that must be fought, with Robert facing weeks separated from his young wife, a wife who is enthralled by the Castilian court—and a particular Castilian gallant.
Jealousy, betrayal and a thirst for revenge plunge Noor and Robert into life-threatening danger.
Will they emerge unscathed or will savage but beautiful Castile leave them permanently scarred and damaged?
Had Anna been allowed to choose, she’d have become a time-traveller. As this was impossible, she became a financial professional with two absorbing interests: history and writing. Anna has authored the acclaimed time travelling series The Graham Saga, set in 17th century Scotland and Maryland, as well as the equally acclaimed medieval series The King’s Greatest Enemy which is set in 14th century England.
Anna has also published The Wanderer, a fast-paced contemporary romantic suspense trilogy with paranormal and time-slip ingredients.
The Castilian Pomegranate is the second in her “Castilian” series, a stand-alone sequel to her September 2020 release, His Castilian Hawk. Set against the complications of Edward I’s invasion of Wales, His Castilian Hawk is a story of loyalty, integrity—and love. In The Castilian Pomegranate, we travel with the protagonists to the complex political world of medieval Spain, a world of intrigue and back-stabbing.
All of Anna’s books have been awarded the IndieBRAG Medallion, she has several Historical Novel Society Editor’s Choices, and one of her books won the HNS Indie Award in 2015. She is also the proud recipient of various Reader’s Favorite medals as well as having won various Gold, Silver and Bronze Coffee Pot Book Club awards.
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)?
Charlene Newcomb
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?
Cryssa Bazos
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.
Tony Riches
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.
Helen Hollick
Do your research as best as you can, but recognise when it is time to stop researching and start writing.
Alison Morton
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.
Mercedes Rochelle
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.
Derek Birks
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.
Anna Belfrage
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.
Judith Arnopp
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.’
Annie Whitehead
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.”
Cryssa Bazos
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.
Charlene Newcomb
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.
Amy Maroney
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.
Tony Riches
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.
Helen Hollick
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.
Alison Morton
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.
Mercedes Rochelle
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.
Derek Birks
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.
Anna Belfrage
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.
Judith Arnopp
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.
Annie Whitehead
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.
Cryssa Bazos
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.
Charlene Newcomb
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.
Amy Maroney
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
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
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
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.
Helen Hollick
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
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
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
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
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
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
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.
M J Porter 