It’s a happy 4th birthday to my publisher, Boldwood Books, so I’m sharing 4 books/authors that have inspired me on my journey to becoming an author, and they might not be what you expect.
Many authors of historical adventure/historical fiction often cite the greats when talking about their influences, Bernard Cornwell, Simon Scarrow etc etc (you get the picture), but those aren’t my author heroes. My first intention was to write historical fantasy, and my literary heroes are giants of that genre ( and you might realise here why I write so many series)
Terry Pratchett – his Discworld books, with their humour, recurring characters, and themes which are still very relevant, used to see me staying up late at night to finish them. I now listen to the audiobooks – which have luckily just been rerecorded and I adore all the versions.
Katharine Kerr – the Deverry series. WOW. I might have told this story before, but I will never forget the day (many years ago) when I picked up my first Deverry novel. I’ve been reading them ever since. The wonderful mix of history/myth and the intertwining ‘lives’ of the characters have always thrilled me. And, on a personal note, the way that the death of one of the main characters was handled, gave me comfort when I was bereaved, many, many years ago. These things stick with us.
Anne McCaffrey – the PERN novels. I reread these books all the time. I’ve also read many of her other novels as well, but PERN were the ones for me. The timelines, the mixing of past and present, the DRAGONS. Just a fabulous set of novels. (These are still in a box somewhere from my recent move, and so I can’t share the images of my old covers, but the new ebook covers are delightful.)
Tom’s Midnight Garden – perhaps a strange one to include, but I read the book as a very young child, and I think the magic of the story, the interweaving of the narrative with past and present – certainly pushed me to seek out other novels that were very similar. At heart, I think I’ve always been intrigued by fantasy.
So yes, not many historical fiction novels there – but all of them have an element of the historical, and of course, Terry Pratchett has the humour, which I also try and incorporate into my stories these days. (Check out my new Discworld characters). And head over to my TikTok to see more of my Deverry collection. Some of these books came straight from Katharine Kerr herself (squee),and I treasure them. I also have some cards from the original UK cover illustrator.
I’ve been with Boldwood since just before their 2nd birthday – we celebrated birthday number 2 in an online Zoom. It was fab. Since then, I’ve met many of the authors and the ‘team’ behind the success of Boldwood in person. And, the other members of the Warrior Chronicles, Donovan, Peter, JC Duncan and me, try and have a chat once a month to share our knowledge, chat about random things and generally have a giggle. So, in the spirit of that, here are 4 (well 4.5) writing tips from me.
WRITE – it sounds stupid, but I do think it’s important to write, if not every day, then when you can fit it in. Routine is super important. As is setting yourself boundaries and deadlines. So, if you want to be a writer, you must write. It doesn’t have to be every day. It doesn’t have to be loads. If you’re struggling with the element of being an author that is writing, then I highly recommend taking part in NaNoWriMo in November of each year. I’ve been taking part for about ten years now. The lessons learned about routine will stay with you – and when they don’t – well, you can hop back on the NaNoWriMo train the following year.
BELIEVE IN YOUR WRITING – again, this might sound stupid, but it’s something I’m only really just starting to do. I’ve always been a little embarrassed by it all. And yes, there’s a very thin line between believing in it and being OTT about it – tread carefully.
PIVOT IF YOU MUST – my intention was always to write historical fantasy. When that didn’t work out as I quite expected, I moved to historical fiction – yes, it’s not that much of a move away, but it does mean I’ve had to stop putting dragons in my story.
NOT EVERYTHING WORKS – as I said above my first love is fantasy but that didn’t quite work out. Equally, I’ve tried to write other stories over the year and for one reason or another, they didn’t work. I have a number of unfinished manuscripts – a Tudor-esque fantasy, a sort of space-opera thing, and a more personal story – that I’ve started, many times, but for one reason or another, the time isn’t right for those stories, or the stories aren’t right for this time. As above – pivot if you must. You can, hopefully, always tell THAT story in another way, or if not, use elements of THAT story elsewhere. Which brings me to point 4.5 – never permanently delete anything:)
Happy 4th birthday Boldwood Books, and happy writing everyone!
(I’m going to share another post about my four most influential authors later today- you might not be surprised by how ‘fantasy’ they all are).
When English teacher Gemma Lamb’s school flat is wrecked by storms, maverick headmistress Hairnet insists the girls must fund its repair by setting up their own businesses – the start of a series of hilarious unintended consequences.
Meanwhile Gemma’s worries are compounded by the arrival of bossy new girl Frieda Ehrlich, sponsored by a mysterious local tycoon whose wealth is of dubious origins. Fearful for the school’s reputation, Gemma recruits an old friend to help investigate the tycoon’s credentials, jeopardising her romance with sports teacher Joe Spryke.
What is Frieda hiding? Why is her sponsor living in a derelict manor house? Why is his chauffeur such a crazed driver? And what has become of McPhee, Hairnet’s precious black cat? With a little help from her friends, Gemma is determined to solve these mysteries, restore her flat and save the school.
For anyone who loved St Trinian’s – old or new – or read Malory Towers as a kid. St Brides is the perfect read for you!
Artful Antics at St Bride’s is book four in the St Bride’s series of boarding school books for grown-ups.
Taking place immediately after the events of book 3, Gemma returns to work to find her staff flat in turmoil, and she’s not the only one. The old building is in much need of some repair work. And so sets in motion the decision to allow the students to begin their own businesses in the hope of making some money to fund the repairs. And, while that’s happening, a mysterious and rather grumpy new student arrives mid-term and causes a few problems.
What, I hear you say, does all this have to do with art? Well, the new student suggests the Sixth Form hold an art exhibition to sell their work, and of course, her father is invited, alongside the man who’s sponsoring her time at the school.
As we’ve come to expect with a St Bride’s story, not all is as it seems. Gemma is determined to get to the bottom of the story about the ruined house that the new girl’s sponsor and father are currently living in – uninhabitable is not the word – added to which, Max Security is also acting strangely, and then McPhee disappears as well.
I do love the St Bride’s series. The tales are gently told but engaging and keep the reader guessing until the end. Perfect for relaxing after a hard day at work or when you just want a bit of ‘chill time.’ They’re lovely, escapist fiction for all those who grew up on the Chalet School, Malory Towers, Trebizon and St Claires stories.
Read my reviews for the earlier books in the series
Debbie Young is the much-loved author of the Sophie Sayers and St Brides cosy crime mysteries. She lives in a Cotswold village where she runs the local literary festival, and has worked at Westonbirt School, both of which provide inspiration for her writing. She is bringing both her series to Boldwood in a 13-book contract. They will be publishing several new titles in each series and republishing the backlist, starting in September 2022.
I’ve just been checking my Spotify and discovered I could share this with my readers. My books with Boldwood should be on there – the stories of young Icel and the Brunanburh series. Son of Mercia doesn’t seem to be connected to the main account, but I found it below. Enjoy.
And here are some of my favourite moments in the novel, as Icel marvels at what’s been left behind by those who came before him.
And then we come to a stop. In front of me, there’s a structure I can hardly comprehend. All around it are smaller piles of stones, no doubt the remains of other buildings. Beneath my feet, I walk on gravel and tufted grasses. Lifting my feet to peer down, I question whether the whole place was once laid with stone upon which to walk? I pause, gaze around me. In the distance, almost further than the entire settlement of Tamworth, are hints of more walls, more random pieces of white stone, discarded and abandoned. I don’t see any crops or greenery, only shrivelled weeds and little else. If I were to live here, where would I grow my food? Where would Wynflæd harvest her herbs from? The place is dusty and barren, just as Wulfheard told me.
There’s a forest of stone plinths guiding us towards the smell of campfires, with some immobile figures on them, all missing arms, or legs, or feet or even heads, their whiteness attesting to being made from some sort of priceless stone. To me, they look so similar to the bodies of the dead that, for a moment, I can’t quite decipher the intent behind them. And Brihtwold is no help. I can hardly ask what this place is because I should already know.
‘They’re in the centre of the settlement, in a stone-built building, one of the few that still stands to two levels. We head towards the east, and it’s in the centre. It’s difficult to miss it during the daytime, what with the ruined columns that still stand, and the statues that guide our steps towards it, but in the darkness of night, it might be a little more tricky.’
Wolf of Mercia is book 2 in The Eagle of Mercia Chronicles, and I had a lot of fun thinking about what the settlement might have looked like in the 830s, hundreds of years after Londinium was abandoned.
You can read all about Londonia below.
Londonia, the setting for Wolf Of Mercia
I’ve been avoiding taking my Saxon characters to London for quite some time. Bernard Cornwell, I feel, has done a fine job of explaining London to readers of his The Last Kingdom books. I wasn’t sure I had a great deal more to offer. But how wrong I was.
Londonia, the name suggested by Rory Naismith in his Citadel of the Saxons, for the combined settlement of the seventh century, seems a neat and tidy way of referencing both settlements, the Roman Londinium, and the Saxon Lundenwic. And yet, both settlements were so very different, it seems wrong to try and make them appear unified, at a time when they really weren’t. The ‘wic’ element of the name means it refers to a market site, somewhere where trade took place.
The River Fleet, now a lost river of London, once divided these two settlements, the one built of stone with high walls that may have been as tall as six metres, and the other, built of wattle and daub, and entirely open to the River Thames. It’s believed the lost River Fleet might have been substantial enough over 1200 years ago that a bridge was built over it. And this reminds travellers to the past of the mistake of assuming landscapes haven’t altered. It’s often easy to remember that buildings and roads might have changed, even that rivers might have changed course, and that sea levels might have risen or fallen, but an entirely lost river is a new one for me.
Neither should we consider Londinium, the Roman fort, to always have appeared as we imagine it. A brief look through the archaeological details for Roman Londinium, reveal that it changed dramatically over time. Most obviously, the walls for which it’s so famous, were not part of the original structure, they weren’t built until AD180-220. The earliest timbers so far found on the site date to nearly one hundred and fifty years earlier.
The number of inhabitants inside those stone walls seems to have waxed and waned throughout the period of Roman Britain, and there is some suggestion that it might have been abandoned as early as the fourth century, and therefore, much before the acknowledged ‘end of Roman Britain’ came in the early years of the fifth century. The bridge crossing from Londinium to Southwark, on the southern shore, may also have disappeared by the fourth century. There is therefore, a great deal to unpick. And for my characters, in the ninth century, just what would they have walked through? It’s an intriguing question. Would there have been abandoned statues, half-collapsed buildings, an eerie quiet, or would much of that have already disappeared, perhaps even been ‘robbed out’ as we know happened in other places, most notably along Hadrian’s Wall where stone often appears in the fabric of later churches.
As to Lundenwic? Are we to truly believe that it was little more than a boggy riverfront site? In fact, the location was chosen precisely to miss the boggy area from where the River Fleet would have joined the River Thames. But why move from behind those stone walls? The huge area of Londinium, was simply too vast for a much diminished population to attempt to control. The settlement that developed in Lundenwic was half as big as that of the Roman site, with a population of around 7000 (compared to an estimated 25,000-30,000 in Londinium at its peak). It consisted of small buildings, tightly packed together with small alleyways leading off from a few main roads. But, these main roads were fitted with wooden drainage ditches. While it might not have been the majestic sweep of a huge walled city, it wasn’t quite the hovel it’s often been betrayed as.
And, these two separate settlements, didn’t last for that long individually. But, in the year AD830, it’s just possible that young Icel may have walked through a serviceable, if abandoned Roman settlement when he visited Londinium, and that was too good an opportunity not to incorporate into the new book, Wolf of Mercia.
Kings of War, the sequel to King of Kings, is now available in audio, narrated by the fabulous Matt Coles. This is the story of the battle of Brunanburh fought in 937. (Check out my post on where exactly Brunanburh was fought).
Here’s the blurb:
Can the King of the Scots and the Dublin Norse triumph against a united England?
AD934
King Athelstan of the English has been successful in uniting the many kingdoms of Britain against one enemy, the Viking raiders.
But men who are kings don’t wish to be ruled.
Constantin, King of the Scots, rebelled against the Imperium and was forcibly brought to bend the knee to Athelstan and England at Cirencester.
His son Ildulb seeks bloody vengeance from Athelstan following the battle at Cait and the death of his son.
Olaf Gothfrithson, king of the Dublin Norse, having asserted his power following his father’s death has his sights set on reclaiming Jorvik.
Can the united might of the Scots and the violence of the Dublin Norse, descendants of the infamous Viking raiders, bring King Athelstan and his vision of the united Saxon English to her knees?
An epic story of kingsmanship that will result in the pivotal, bloody Battle of Brunanburh, where only one side can be victorious.
The scop song that is so important to events in both King of Kings and Kings of War existed, although I have manipulated it to my purposes and changed some of the more obscure references within it. That said, the poem, Armes Prydein (The Prophecy of Britain) is itself fascinating and is believed to have been a Welsh response to the imperium of King Athelstan of the English, and Hywel’s, of the South Welsh, close connection to the English and Athelstan. It has been dated to about 940, although it might be slightly earlier or later.
In King of Kings and Kings of War, my version reads,
‘And after peace, commotion everywhere,
Brave, mighty men, in battle tumult.
Swift to attack, stubborn in defence.
Warriors will scatter the interlopers as far as Cait
The Welsh and the men of Dublin, the Scots and the Norsemen,
Those of Cornwall and Strathclyde will reconcile as one.
Kings and nobles will subdue the interlopers, drive them into exile
Bring an end to the dominion, and make them food for the wild beasts.
There will be no return for the tribes of the Saxons.’
In its entirety, it foretells a uniting of the Welsh, with all the other kingdoms then in Britain, against the English, or Saxons, those people who had run roughshod over the island at some point between 400-600, when the Saxon kingdoms emerge with more clarity.
Somewhat similar to the legendary figures of Welsh literature, (although not Arthur at this stage) – Cynan and Cadwalladr ap Cadwallan are named – it was a call to arms to defeat the Saxons/English. (I’m going to share a post about Cynan as well).
It’s been nearly a decade since I first conceived of this storyline, but reading it all over again, and adding a whole host of new details, I confess, I feel pretty proud of myself for weaving the poem into my story of Britain in the 920s and 930s, and appreciate that the suggestion the poem dates from this period does indeed make perfect sense, even if there are also other suggestions about its origins.
King of Kings and Kings of War are now available, telling the story of the greatest battle on British soil that many have never heard from (or at least hadn’t before Seven Kings Must Die was filmed), Brunanburh.
First things first, no one actually knows where the battle of Brunanburh took place. No one. There are a number of different sites that historians have suggested from the one I’ve chosen in Kings of War, indeed, upwards of forty of them, although Bromborough in Cheshire, Brinsworth in South Yorkshire and Burnswark in Dumfries and Galloway are the most well-known. It’s worth noting that these different locations range all over Britain, from Devon to Scotland from the east coast to the west.
Frontispiece of Bede’s Life of St Cuthbert, showing King Æthelstan (924–39) presenting a copy of the book to the saint himself. 29.2 x 20cm (11 1/2 x 7 7/8″). Originally from MS 183, f.1v at Corpus Christi College, Cambridge. (Wikimedia Commons)
As one historian has commented, more discussion has taken place about where Brunanburh was located than about its actual historical significance, which is often seen as much less important in the grand scheme of later events. Much of these difficulties arise because of the variety of names given to the location of the battle. Brunandun, in Æthelweard’s Chronicon (a later tenth century Latin copy of the Anglo-Saxon Chronicle), Symeon of Durham suggested Weondune, although known by the name Brunnaneerc or Brunnanbyrig, while Geoffrey Gaimar (another post Conquest source) names it as Bruneswerce. To add to the confusion, are some of the descriptions given about the battle. John of Worcester ( a later source) asserts that Olaf and Constantin entered the mouth of the River Humber something that Symeon of Durham echoes. It’s been suggested that John of Worcester (an Anglo-Norman writing long after the events of 937 took place) took the knowledge that the River Humber was where Harald Hardrada landed in 1066 and Svein Forkbeard in 1069 and extrapolated from it.
As part of the discussion about where the battle took place, another problem needs to be addressed, that of the belief that the English rode down the Norse as they were fleeing from the battlefield to reach their ships. A word, eorodcistum, has been taken to be a reference to horses. Paul Cavill has shown that this word actually refers to gatherings of men and need not mean that horses were involved . This therefore does away with the argument that the Norse ships were far from where the battle took place.
As well as the various sources mentioned above, the battle is also referenced in Welsh, Scottish and Irish sources. It was deemed to be significant. The Chronicles of the Kings of Alba gives a very brief account: ‘And the battle of Dun Brunde in his xxxiii year in which was slain the son of Constantin.’ While the Annals of Ulster tell us: ‘AU 937.6. A great, lamentable and horrible battle was cruelly fought between the Saxons and the Northmen, in which several thousands of Northmen, who are uncounted, fell, but their king, Amlaib, escaped with a few followers. A large number of Saxons fell on the other side, but Æ∂elstan, king of the Saxons, enjoyed a great victory.’ (Alex Woolf, From Pictland to Alba, 789-1070, p.169) (Amlaib was an Irish version of the name Olaf). A later source, that of the Historia Regum Anglorum by Symeon of Durham, tells that ‘Onlaf’ came with 615 ships. There are also many later sources that tell of the battle of Brunanburh, the distance in time to them being written, tending to add more and more details which can’t be confirmed with any accuracy.
Map design by Flintlock Covers
Pauline Stafford, who has written an extensive account of the actual writing of what we know as The Anglo-Saxon Chronicle, After Alfred:Anglo-Saxon Chronicles and Chroniclers 900-1150, (which survives in nine recensions/or versions, all with slightly different details and emphasis) states that perhaps the most famous account of the battle, the Brunanburh poem, was a retrospective addition, probably written in the twenty years after Athelstan’s death, and certainly before the death of the last son of King Edward the Elder, Eadred, in 955. Some have suggested that Edmund may not actually have been present at the battle but that it was deemed expedient to assign him a part in it, perhaps after his death, to show the sons of King Edward the Elder working together for England.
And there is one final source, which I’ve made no use of, but which many may be aware of, that of the accounting of the battle, named as Vinhei∂r in Egil’s Saga, a thirteenth-century Icelandic saga, which of course, is a tale of Egil’s involvement in the battle and tells us very little about the battle itself.
In recent years, and indeed, before I wrote the initial drafts of this book and its predecessor, there has been a move to accept the Wirral as the possible location. Bernard Cornwell has been instrumental, as has an archaeology group based in Wirral, in trying to find corroborating evidence for this. The results of the work can be found in Never Greater Slaughter by Michael Livingstone. Even now, I find it amusing that it wasn’t until Bernard Cornwell made Brunanburh one of the burhs built by the House of Wessex that I quite realized the significance of that element of the name.
In my role as writer of historical fiction, I chose the site that I thought offered the best opportunity to develop the storyline and the one that intrigued me the most. After all, it does sort of make sense that any battle for York would have taken place close to York, but equally, why would the Dublin Norse have sailed all the way around the tip of Scotland to get to York from the East Coast? If they used one of the portage routes overland then again, we must ask why. And so, I opted for the position which would be the closest way of them stepping foot on English soil.
Britania Saxonica, 17th Century Map, showing Brunanburh north of Bamburgh
Kings of War is available now in ebook, paperback, audio and hardback.
It’s release day for Kings of War, the sequel to King of Kings. This is the story of the battle of Brunanburh fought in 937. (Check out my post on where exactly Brunanburh was fought).
I’m so excited to share this story with my readers, and the cover is fantastic.
Here’s the blurb:
Can the King of the Scots and the Dublin Norse triumph against a united England?
AD934
King Athelstan of the English has been successful in uniting the many kingdoms of Britain against one enemy, the Viking raiders.
But men who are kings don’t wish to be ruled.
Constantin, King of the Scots, rebelled against the Imperium and was forcibly brought to bend the knee to Athelstan and England at Cirencester.
His son Ildulb seeks bloody vengeance from Athelstan following the battle at Cait and the death of his son.
Olaf Gothfrithson, king of the Dublin Norse, having asserted his power following his father’s death has his sights set on reclaiming Jorvik.
Can the united might of the Scots and the violence of the Dublin Norse, descendants of the infamous Viking raiders, bring King Athelstan and his vision of the united Saxon English to her knees?
An epic story of kingsmanship that will result in the pivotal, bloody Battle of Brunanburh, where only one side can be victorious.
Read the release day posts on Boldwood Books Facebook account
Kings of War is on blog tour with the fabulous hosts of Rachel’s Random Resources. I’ll be sharing their reviews throughout the next week. A huge thank you to Rachel, and the hosts.
My new book, Kings of War, is a multi-viewpoint novel telling the story of events in Britain from 925-934. I thought it would be good to share details of the historical people my character are based on.
My portrayal of Constantin, the king of the Scots, is of course fictional in King of Kings, but he is based on a historical individual, Constantin (e) II, so who exactly was he?
Constantin is a fascinating character. Again, and as with Athelstan, his exact date of birth is unknown, but it must have been, at the latest, by 877/8, when his short-reigned father died.
By 900, Constantin was the king of the Scots (we think – there is some confusion about this). This wasn’t yet quite Scotland, but it was getting there. The ancient kingdoms of Cait, Fortriu, Atholl and Dal Riata, were ruled by one king, Constantin. But, he hadn’t succeeded his father, Aed, but rather a man named Domnall II, his cousin. At this time there were two rival dynasties and they strictly alternated the kingship.
Affairs in the kingdom of the Scots often intermingled with those of the independent kingdom of Bamburgh, Strathclyde, and of course, the Norse, or Viking raiders, if you will. Indeed, the entry recording Constantin’s death in the Annals of Ulster, reads as though there was often strife.
‘Constantinus son of Ed held the kingdom for xl years in whose third year the Northmen plundered Dunkeld and all Albania. In the following year the Northmen were slain in Strath Erenn…And the battle of Tinemore happened in his xviii year between Constantin and Ragnall and the Scotti had the victory. And the battle of Dun Brunde in his xxxiiii year.’ (Alex Woolf, From Pictland to Scotland, 789-1070,p.126)
Constantin, ruling for decades, and I mean decades, seems to have brought much needed stability to the kingdom, as affairs there very much mirrored the emerging ‘England’ to the south.
‘Constantin’s reign has increasingly come to be see as one of the most significant in the history of Scotland. Not only was it very long, at least forty years, but it was also the period during which conflict and diplomatic relations between a kingdom recognisably ancestral to Scotland and one recognisably ancestral to England first occurred.’ (Alex Woolf, From Pictland to Scotland, 789-1070, p.128)
Constantin allied with the rulers of Bamburgh, and York, and also, on occasion, both Æthelflæd of Mercia and Edward the Elder, after her death. But, he seems to have been quite flexible in his thinking, and was prepared to pick and choice as he saw fit.
By the beginning of King of Kings, Constantin would have been in his mid-forties, and he was still to rule for many years to come, and he was certainly a more than adequate counterpart to Athelstan, king of the English, no doubt helped by his sons and grandsons, as his reign continued.
MJ Porter 