I’m delighted to welcome Elizabeth St John to the blog to tell me a bit more about the research she undertook when writing The Godmother’s Secret.
If you knew the fate of the Princes in the Tower, would you tell? Or forever keep the secret?
In a complete moment of serendipity, I discovered that a 15th century ancestress, Elysabeth St.John, was the godmother to Edward V, the eldest brother of the missing Princes in the Tower. When I was looking for inspiration for my new book, The Godmother’s Secret, I literally entered my own name into our digitised family tree to see who else was recorded. I had just completed my 17th Century historical fiction trilogy “The Lydiard Chronicles” and was looking for a whole new generation to fall in love with. As a little background, my books are inspired by my own family stories that I have discovered through our ancestral records, diaries, letters, and the locations they lived in. I’m fortunate the St.John family was prominent in English history, and so we left quite a trail—which can be both good and bad!
So, back to Elysabeth St.John, Lady Scrope. In medieval times, a godmother was considered a blood relative, and was responsible for the spiritual wellbeing and security of their godchild. A serious commitment. Where the history gets interesting is Elysabeth St.John was also the half-sister to Margaret Beaufort, mother of Henry VII. Elysabeth’s husband, Lord John Scrope, was a close ally and relative of Richard III. Margaret was married to Thomas Stanley, a powerful northern lord an ally of Edward IV and Richard III. So not only was Elysabeth (a Lancastrian) godmother to the York heir, and married to a fervent York supporter, she was also aunt to the Tudor claimant. For anyone familiar with the Wars of the Roses, and the ultimate battle at Bosworth Field, you’ll know how that worked out. Talk about family feuds!
And remember, the princes went missing. Their bodies were never discovered, and no one was ever found guilty of murdering them. Even the bones that are claimed to be theirs in Westminster Abbey are not authenticated. Their disappearance is the biggest mystery in English history. As a historical fiction novelist, I could weave in genuine family facts and create my version of their story. About halfway through the first draft I came across a piece of research (basically a dynastic marriage) that made my story plausible, which was really exciting. As far as if my version is true? It’s historical fiction. As writers, we create narratives from the known facts, sift through rumours and gossip until we find the source – or can dismiss them.
Of course, wading into the biggest controversy in English history is bound to raise some eyebrows. Did Richard III kill his nephews? Was Margaret Beaufort to blame? Why did the Duke of Buckingham suddenly rebel after the princes disappeared? Or was the whole murder accusation Tudor propaganda? I hope readers enjoy the way I’ve presented the story of the Princes in the Tower.
Wow, what a fabulous story, and connection. Thank you so much for sharing. Good luck with the new book.
Here’s the blurb:
What if you knew what happened to the Princes in the Tower. Would you tell? Or would you forever keep the secret?
November, 1470: Westminster Abbey. Lady Elysabeth Scrope faces a perilous royal duty when ordered into sanctuary with Elizabeth Woodville–witness the birth of Edward IV’s Yorkist son. Margaret Beaufort, Elysabeth’s sister, is desperately seeking a pardon for her exiled son Henry Tudor. Strategically, she coerces Lancastrian Elysabeth to be appointed godmother to Prince Edward, embedding her in the heart of the Plantagenets and uniting them in a destiny of impossible choices and heartbreaking conflict.
Bound by blood and torn by honour, when the king dies and Elysabeth delivers her young godson into the Tower of London to prepare for his coronation, she is engulfed in political turmoil. Within months, the prince and his brother have disappeared, Richard III is declared king, and Margaret conspires with Henry Tudor to invade England and claim the throne. Desperate to protect her godson, Elysabeth battles the intrigue, betrayal and power of the last medieval court, defying her husband and her sister under her godmother’s sacred oath to keep Prince Edward safe.
Were the princes murdered by their uncle, Richard III? Was the rebel Duke of Buckingham to blame? Or did Margaret Beaufort mastermind their disappearance to usher in the Tudor dynasty? Of anyone at the royal court, Elysabeth has the most to lose–and the most to gain–by keeping secret the fate of the Princes in the Tower.
Inspired by England’s most enduring historical mystery, Elizabeth St.John, best-selling author of The Lydiard Chronicles, blends her own family history with known facts and centuries of speculation to create an intriguing alternative story illuminating the disappearance of the Princes in the Tower.
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 these 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.
Having spent a significant part of her life with her seventeenth-century family while writing The Lydiard Chronicles trilogy and Counterpoint series, Elizabeth St.John is now discovering new family stories with her fifteenth-century namesake Elysabeth St.John Scrope, and her half-sister, Margaret Beaufort.
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.