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.
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.
“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 delighted to welcome the Historical Fictioneers and their new book, Betrayal, to the blog. Here’s the blurb;
“Betrayal, treachery, treason, deceit, perfidy—all names for the calculated violation of trust. And it’s been rife since humans trod the earth.
A promise broken
A mission betrayed
A lover’s desertion
A parent’s deception
An unwitting act of treason
Betrayal by comrades
Betrayal by friends
Could you resist the forces of misplaced loyalty, power hunger, emotional blackmail, or plain greed? Is there ever redemption, or will the destruction visit future generations and even alter history? These questions are still with us today.
Read twelve tales by twelve accomplished writers who explore these historical yet timeless challenges from post Roman Britain to the present day.”
This sounds like a fascinating project, and the authors have been busy answering my questions (yes, all of the authors:)) Enjoy.
How did the collection come about? (whose idea was it)?
The popularity of short fiction has been on the rise, and many of my author acquaintances have been writing shorter works: some as reader magnets they offer for a newsletter sign-up; others for their websites or on retail sites.
I was working on a series of short stories myself when an article landed in my inbox. A group of suspense/mystery writers had collaborated – with great success – on a free anthology. In that case, eight authors contributed to their book. Their individual ‘fans’ were thrilled to get a free story, and at the same time, they introduced their readers to authors they might not know. This sounded like a great way to tempt lovers of historical fiction to sample a new author, a new era. You’ve heard the old adage: ‘don’t re-invent the wheel.’
In November 2019, I broached the idea of an anthology with Cryssa, Annie, and Anna, who I’d met virtually through our work as co-editors of the English Historical Fictions Authors blog. Anna & I also met face-to-face at the HNS Denver conference in 2015, and I met Cryssa at HNS in Oxford, UK, in 2016. This was supposed to be the year I met Annie, but… COVID19.
Fortunately, these ladies were on board for the idea. We created guidelines for the stories and talked themes, word count, cover design, costs, and marketing before reaching out to eight more writers. And lo and behold…we give you Betrayal!
Will Jane Reader devour every story in the anthology? Will Joe Reader discover a new author, a new era, that intrigues. We all hope so!
Why did you choose the theme of “Betrayal” for your books?
When we were considering what could connect all the stories, we couldn’t rely on a unifying event like the Norman Conquest since we all write different eras. This meant that theme needed to be the unifier. Betrayal is a primal emotion. It stirs up our deepest fears. One can’t be betrayed by an enemy. Only those closest to us, the people who know our vulnerabilities and our weaknesses can wield this power against us. Each story explores betrayal in its many facets—shifting alliances, deception, intrigue, vengeance, and treason. Ultimately, they all examine the calculated violation of trust.
What was the once piece of advice you were given about writing historical fiction that has proved invaluable?
Elizabeth St. John
I wish I had been given the advice personally, for it came in an interview I read with Hilary Mantel, a historical fiction author I greatly admire. “My chief concern is with the interior drama of my characters’ lives,” she said, shortly after winning the Man Booker prize for Wolf Hall. “From history, I know what they do, but I can’t with any certainty know what they think or feel.”
That one sentence gave me the confidence to move from extensive research to writing the fiction that became my trilogy, The Lydiard Chronicles. I could use my learnings to form the foundation of my characters, knowing I was free to weave their deeds, loves, friendships and enemies into their thoughts and feelings.
I’d written three books before I was persuaded to employ the services of a professional historical fiction editor. Before then, I’d used a general editor who had an interest in history but focused on spotting typos and making sure the commas were in the right places.
The editor who supports me now is able to take a much deeper view of my writing, as she checks for consistency across a series. Most importantly, she also provides developmental comments to support my revision process, and it able to fact-check details to help with historical accuracy.
This service can be expensive, but in the UK the costs can be reclaimed against tax. Although I find editing one of the least satisfying aspects of the writing process, I always look forward to seeing what comments my editor has made.
Do your research as best as you can, but recognise when it is time to stop researching and start writing.
I come from the formal end of history with a masters’ degree so I’m strict about getting the facts right by using three different sources. That’s the problem, of course. Sometimes there are none. Our job, according to writing friend Conn Iggulden, is to fill those gaps intelligently. So, we are back to thorough research, but fired by our imaginations.
I don’t pay a lot of attention to how-tos, but I did read Stephen King’s “On Writing”. He said something I really took to heart. To paraphrase it, he said your first job is to entertain someone who had a hard day at work and just wants to relax. That statement gave me pause. I’m so worried about getting the story “right” that I sometimes forget that it has to be entertaining. The reader probably doesn’t care about the historical accuracy if it gets in the way of a good story.
The best piece of advice is to remember that historical fiction is not ‘about’ history. Like all fiction, it is about a story. Do your research, but don’t let it swamp the story. Your readers may admire your attention to period detail in descriptions of clothing or buildings, but they won’t be reading your work at all if your story does not hold their interest.
Historical fiction defines when and where your story is set, but that is no substitute for skillful storytelling. Sometimes you have to rein in your interest in history to ensure that every chapter end persuades the reader to follow your tale to the end.
Many years ago, I sent my first WIP to an editor. The lady in question had been one of the teachers at a writing course I took and I really admired her writing, so it took some courage to send her my manuscript. Overall, she was very positive—except for one thing. “Scrap all attempts at writing period dialogue,” she wrote. “You have no idea how they spoke back then, I have no idea, the reader has no idea. The only thing we know for sure is that we probably wouldn’t understand them—or they us. Instead, write vivid and gripping dialogue so as to really hook the reader.” Yes ma’am, I thought, feeling my shoulders sag with relief and have since then concentrated on using dialogue to drive scenes rather than set them.
When I first began writing one of my university professors instilled in us the importance of thorough research. ‘Don’t be sloppy,’ he said, and went on to show us the importance of thoroughly researching from every perspective. Once you’ve read all you can, select the point of view from which you wish to write, and stick to it. I’ve written about many people from the Tudor period and they often appear in more than one book but they are never the same. People change depending on who is viewing them. Margaret Beaufort when written from Elizabeth of York’s perspective in A Song of Sixpence is initially a rather interfering, annoying mother-in-law but in The Beaufort Chronicle, which is written from Margaret’s own point of view, she is quite different. Viewpoint is important. It is also crucial that the opinion of the author does not interfere with that of the protagonist. In the author’s note I sometimes add the codicil, ‘The views expressed in this novel are not the author’s own.’
I’m not sure that I ever have been given advice specifically about writing historical fiction. But one thing I always try to bear in mind is the Dorothy Dunnett Quotation which is used as a banner for the Historical Writers’ Association/Dorothy Dunnett Short Story Award, of which I was the inaugural winner, and for which I am now a judge: “History is all very well, but it’s just the showcase. It is the arena in which your characters will perform, and which supplies the conflicts, stresses, dilemmas and the struggles they’ll get through.”
Live the scene. Walk through the events, not as a historian with the benefit of hindsight, but through the eyes of your character who can’t know that a battle is being lost (and why), or the true cause of a fire that destroys their city. Instead, tap into how your character would be feeling during these key moments, be it fear, rage, tenderness or love. Explore their world through what matters to them. If we look back on the historically momentous occasions of our age, we’ll find that we process these events through the lens of our own limited perspective, and in the end, it’s the people around us who make the most lasting impact on our lives.
A critique partner at my weekly writers group asked why I wasn’t using the real (okay, legendary) Robin Hood when I introduced a very Robin-like character in a story I took for the group for feedback. I had a flimsy excuse: ‘oh, he’s been done before by some very talented writers.’ They convinced me to introduce my own Robin-who-is-not-yet-Hood. I was bringing my own perspective, coming into the legend from a different angle. That story, Robin, and other characters from the legend, ended up being an important part of my novel Men of the Cross and ultimately drove plot arcs for Books II & III of my Battle Scars trilogy. My current work in progress, Rogue, takes the legend a step further.
Early on I was advised to let the research be my guide. While I write outlines, I also know that in the course of doing research, I will go wildly off course and the book will be better for it. So many wonderful characters and plot twists come straight out of history. The old adage “truth is stranger than fiction” crosses my mind a lot when I’m doing research. Often I’ll use a sort of collage of real events to come up with a plot point, or I’ll honor a long-forgotten person whose name crops up once in an obscure document by using his or her name in my story. I love those small moments of juxtaposing the real with the imagined.
Why do you think historical fiction continues to fascinate?
Elizabeth St. John
Our fascination with the past often comes as a result of wanting to understand and connect with our present. There is, I believe, a certain reassurance to read of surviving great peril, overcoming terrible odds, enduring overwhelming sadness or loss. When we look for meaning in our own lives, looking back at the past can be consoling, offer hope and inspiration for a way forward. Many of my readers tell me they particularly enjoy the perspective of less well-known people, who may have moved in influential or royal circles, and were observers of great historical events, yet lived and loved much as we do today.
And, I think we all enjoy the travelling through historical fiction into another world, a past that is just out of reach but still evident in ruined castles, captivating portraits and fascinating insights from documents left behind.
The history books offer us the bare facts, and even those are often disputed, but rarely put the flesh on the bones. History is about the lives of real people, who lived and died, and historical fiction can help to ‘fill in the gaps’ in a narrative which for many can be inaccessible.
It’s also intriguing to explore the differences in cultural attitudes to such things as love and marriage, childbirth and death, crime and punishment. I’ve also enjoyed learning about the less well-known people around the central figures, such as kings and queens.
The best historical fiction transports the reader, evoking the sights, sounds and even the smells of a different time and place. For me, the fascination is to begin to understand the motivation of figures from history, and to discover why they acted as they did.
Because, until Back To The Future becomes true, or Dr Who turns up in the TARDIS, it is the only way that we can travel back through time – and not worry about getting home again for dinner.
Wanting to know where we come from is a timeless urge but wanting to have a glimpse in a vivid way about how people in the past lived is a strong part of that. Well-written historical fiction gives us the feel of how people tried to make sense of their lives in vastly different circumstances. They were still people, after all.
Sometimes we take a rather idealised view of the past, but as with anything in fiction, it’s an imagined landscape. And sometimes, we wonder how we would act and behave in those times. Historical fiction gives us, from the safety of our armchairs, an emotional connection to the slaughterfields of Cannae, the elegance of the Belle Époque, the dangerous headiness of Byzantium, being under siege in a medieval castle or caught up in the exciting revolutionary transition of the 19th century.
Speaking for myself, once I discovered that history is about real people and real situations (not just names and dates), about love and hate and deceit and disappointment, I was hooked. I’d much rather learn about an event that really happened than a legend from someone’s head. I’m still not sure most readers feel the same way I do, but since history repeats itself, why not be prepared.
The sheer diversity of historical fiction is what keeps readers coming back to this genre for more. It retains its appeal because of its immense variety and breadth of scope. Readers can enjoy romance, action, thrillers, or crime in stories set in any period of the past – it’s like being in a time machine without all the distracting technology. The contrasts between time periods are stark but whether you want to read about World War Two or Roman Britain, historical fiction offers it all.
The Betrayal anthology illustrates this very well with twelve authors writing stories set over a vast expanse of time and employing different writing styles to tackle the same underlying theme.
I think it offers an element of escape. We also tend to believe that life was simpler then, things less complicated and complex. To some extent, that is probably true as the majority of those alive in the past had little time to spend considering anything but how to find food and somewhere to sleep. But no matter the era, the people who live in the times would laugh out loud at the notion that their lives were simple. Take the political machinations in republican Rome, or the complexities of the English Civil War—whatever else you’d call them, they sure weren’t simple! Still: escaping to the past offers a breather from our time. And well-written historical fiction will not only expand the reader’s knowledge about a period, it will usually shed further light on the human condition as such.
There are many different reasons. As an author, I read a lot of non-fiction as part of my research, and while it informs, it can be quite dry. Historical Fiction not only tells us what happened, it helps us feel it. A non-fiction account of an execution will tell you what happened and why it happened but a fictionalised version, while based on the same contemporary account, makes the reader suffer alongside the victim. Fiction promotes not only understanding but empathy so the reader shares the protagonist’s pain.
I think that reading fiction, generally, is a form of escape. The reader wants to be transported far away from the everyday. And where better to escape to a more simple world, a more romantic world even, than the past? Okay, the past wasn’t always pretty, but isn’t there something more appealing about a horse ride than a trip in a modern car? Perhaps the reality wasn’t so lovely but we can imagine the beautiful houses, built when architecture wasn’t just about functionality. I think there is also an appeal because of the link to the fairy tales we were told as children, which are centuries old, and usually had old-fashioned illustrations, so there is a sense of comforting familiarity, too.
I’ve heard it said that we read to either escape or to learn. Historical fiction allows us to do both. This genre takes us to places where we could otherwise never go. Given the chance, who wouldn’t want to go back in time and experience historical events first hand—to be with Elizabeth I as she stares down the Armada or to ride along with Charles II during his nerve-wracking escape from Parliament? But historical fiction also offers opportunities to learn, not just about the past but also to make sense of the present. History tends to be cyclical and it’s not hard to recognize echoes of the past in today’s struggles. There’s always a comfort in having a roadmap.
Historical fiction gives a reader a glimpse of a past they rarely see in history textbooks, textbooks that mainly consist of names, events, and dates. Those texts may – or may not – be accurate or complete, and they rarely factor in the human component. So historical fiction fills in the gaps. It makes history come alive and can transport the reader back in time. Perhaps it reveals more about the famous, or the infamous, but even being introduced to an ordinary person in extraordinary situations brings a better understanding of the past.
Great fiction can bring history to thrilling life. Historical fiction allows us to escape into utterly different worlds that still resonate with the familiar. There is nothing like connecting with a character from the past who is motivated by the same goals and feelings that we have today. We can empathize; we know what it’s like to struggle through life’s challenges and exult in life’s triumphs. But we have the extra bonus of hindsight when we read these stories of the past. Anyone who has nodded off with boredom reading dry history books and then becomes obsessed with the same events and time periods by reading masterful historical fiction knows the power of this genre.
A lifelong history enthusiast, Judith Arnopp holds an honours degree in English/Creative writing, and a Masters in Medieval Studies. Judith has written twelve novels to date, nine of which are based in the Tudor period covering women like Elizabeth of York, Anne Boleyn and Mary Tudor, but her main focus is on the perspective of historical women from all roles of life. The Beaufort Chronicle: The Life of Lady Margaret Beaufort (three book series) covers the transitional period between Bosworth and the death of Henry Tudor. She is currently taking a break from Tudor women and writing from the perspective of Henry VIII in “A Matter of Conscience.”
Cryssa Bazos is an award-winning historical fiction author and a seventeenth century enthusiast. Her debut novel, Traitor’s Knot is the Medalist winner of the 2017 New Apple Award for Historical Fiction and a finalist for the 2018 EPIC eBook Awards for Historical Romance. Her second novel, Severed Knot, is a B.R.A.G Medallion Honoree and a finalist for the 2019 Chaucer Award.
Anna Belfrage wanted to become a time-traveller but ended up as a financial professional with a passion for writing and history. She has authored the acclaimed time travel series The Graham Saga, set in the 17th century, and the equally acclaimed medieval series The King’s Greatest Enemy, set in 14th century England. Anna has also published The Wanderer, a contemporary romantic suspense trilogy with paranormal ingredients. Her latest release, His Castilian Hawk, is a story of loyalty and love set against the complications of Edward I’s invasion of Wales.
Derek Birks lives in Dorset, England, though he spent his teenage years in Auckland, New Zealand, where he still has strong family ties. For many years he taught history in a large secondary school before turning his hand to writing historical fiction. His stories, set both in the medieval period and late antiquity, are fast-paced and action-packed—almost no character is safe. He has also produced a series of non-fiction podcasts on the War of the Roses. When he is not writing, he enjoys travel, walking and watching films.
First published in 1994, Helen Hollick became a USA Today Bestseller with her historical novel, The Forever Queen(titled A Hollow Crown in the UK), with the sequel, Harold the King (U.S: I Am the Chosen King), being novels that explore events that led to the Battle of Hastings in 1066. Her Pendragon’s Banner Trilogy is a fifth-century version of the Arthurian legend, and she writes a nautical adventure series, The Sea Witch Voyages. Her non-fiction books are Pirates: Truth and Tales, and Life of a Smuggler. She lives in an eighteenth-century farmhouse in North Devon, runs Discovering Diamonds, a review blog for historical fiction, and occasionally gets time to write . . .
Amy Maroney lives in Oregon, U.S.A, with her family. She spent many years as a writer and editor of nonfiction before turning her hand to historical fiction. When she’s not diving down research rabbit holes, she enjoys hiking, drawing, dancing, traveling, and reading. Amy is the author of the Miramonde Series, a trilogy about a Renaissance-era female artist and the modern-day scholar on her trail.
Alison Morton writes the award-winning Roma Nova series featuring modern Praetorian heroines—tough but compassionate women. She puts this down to her deep love of Roman history, six years’ military service, a Masters in History and an over-vivid imagination. It was hot that afternoon when, staring at a particularly beautiful mosaic, she started wondering what a modern Roman society would be like if run by strong women. Now, Alison blogs, reads, cultivates a Roman herb garden and drinks wine in France with her husband.
Charlene Newcomb lives, works, and writes in Kansas. She is an academic librarian (retired) by trade, a U.S Navy veteran, and has three grown children. When not at the library, she is still surrounded by books trying to fill her head with all things medieval and galaxies far, far away. She loves to travel and enjoys quiet places in the mountains or on rocky coasts. But even in Kansas she can let her imagination soar.
Tony Riches is a full-time author based in Pembrokeshire, Wales, UK, and is best known for his Tudor trilogy. After a career in the Royal Air Force he held senior roles in the National Health Service and Local Government. When researching his books Tony likes visiting the actual locations and discovering elusive primary sources. In his spare time he enjoys sailing and sea kayaking.
Mercedes Rochelle is an ardent lover of medieval history, and has channeled this interest into fiction writing. Born in St. Louis, Missouri, she received her B.A in Literature at the University of Missouri before moving to New York to “see the world”. The search hasn’t ended. Today she lives in Sergeantsville, N.J with her husband in a log home they had built themselves.
Elizabeth St. John
Elizabeth St. John spends her time between California, England, and the past. An acclaimed author, historian and genealogist, she has tracked down family papers and residences from Lydiard Park and Nottingham Castle to Richmond Palace and the Tower of London to inspire her novels. Although the family sold a few country homes along the way (it’s hard to keep a good castle going thee days), Elizabeth’s family still occupy them—in the form of portraits, memoirs, and gardens that carry their legacy. And the occasional ghost. But that’s a different story . . .
Annie Whitehead has written three award-winning novels set in Anglo-Saxon England:To Be A Queen, about the life of Æthelflaed, Lady of the Mercians; Alvar the Kingmaker set in the turbulent tenth century when kings died young and not always of natural causes, and Cometh the Hour, the story of King Penda the pagan king. Her nonfiction books are published by Amberley Books and Pen & Sword Books and she was the inaugural winner of the Historical Writers’ Association/Dorothy Dunnett Society Short Story Award.
“Many Anglo-Saxon kings are familiar. Æthelred the Unready is one, yet less is written of his wife, who was consort of two kings and championed one of her sons over the others, or his mother who was an anointed queen and powerful regent, but was also accused of witchcraft and regicide. A royal abbess educated five bishops and was instrumental in deciding the date of Easter; another took on the might of Canterbury and Rome and was accused by the monks of fratricide.
Anglo-Saxon women were prized for their bloodlines – one had such rich blood that it sparked a war – and one was appointed regent of a foreign country. Royal mothers wielded power; Eadgifu, wife of Edward the Elder, maintained a position of authority during the reigns of both her sons.
Æthelflaed, Lady of the Mercians, was a queen in all but name, while few have heard of Queen Seaxburh, who ruled Wessex, or Queen Cynethryth, who issued her own coinage. She, too, was accused of murder, but was also, like many of the royal women, literate and highly-educated.
From seventh-century Northumbria to eleventh-century Wessex and making extensive use of primary sources, Women of Power in Anglo-Saxon England examines the lives of individual women in a way that has often been done for the Anglo-Saxon men but not for their wives, sisters, mothers and daughters. It tells their stories: those who ruled and schemed, the peace-weavers and the warrior women, the saints and the sinners. It explores, and restores, their reputations.”
Women of Power in Anglo-Saxon England is an ambitious project, on a scale that few may truly appreciate as it covers over 600 years of Early English history. That’s even before factoring in just how fragmented the surviving sources are, and how complicated they can be and how many languages are involved. Or the fact that the majority of such sources were written by men, and not just men, but men in holy orders. As someone who has written about some of these fabulous women, I know just how difficult and complicated a task it is, and just how far you have to go in order to tease out the smallest details.
It is for this reason, that the book can feel a little unwieldy in places. I think that people new to the subject matter and to the time period might well struggle with the first section of the book on Pioneers in Northumbria. In an effort to include every woman, of whom so little is known that sometimes it is just a name, it can feel a little bit like a long list of women who you might not be able to fully grasp their importance in the events of the period. There might also be some frustration that the women could only be powerful because of who they married, gave birth to, or were born to. This, however, can’t be avoided. It is the nature of the sources.
And I must urge people to continue reading as the author soon lands on more solid ground (because there is more information available and the women feel more fully formed.) The chapters on Mercia and Wessex are a much easier read, and by the time we reach the chapters on Serial Monogamy and Dowager Queens, the women feel ‘real.’ Again, this is because of an increase in the source material, and potentially, because readers will know more about the tenth and eleventh centuries.
The author manages to cover an extraordinary number of women over the long centuries of the Early English period, and if there are moments where I might have included different information, or rejected some of the Saints Lives and Anglo-Norman historians from the narrative, this is a personal choice, based on my own research methodology which does seem to be the exception rather than the norm.
I confess, the book would have benefitted from a chronology for each chapter, and perhaps a slightly different format (I read an ebook so this might display differently in the paperback), but overall, I am in awe of the author’s ability to hold the narrative together and to produce something that I hope will encourage people to further research these wonderful characters who should be just as well known as their male counterparts.
Thank you to Netgalley and the publisher for my review copy.
Women of Power is released today, 30th May, and is available from the publisher as well as on other sites, although it is showing as a preorder.