ANNA BELFRAGE

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The good, the bad and the ugly – a smorgasbord of pirates

hh-pirates-whole-series-2016Today, I’ve invited Helen Hollick to join me here on Stolen Moments. Helen is the author of many, many books, among which her books about Emma of Normandy and Harold II of England deserve a special mention. As do her wonderful books about the dashing pirate Jesamiah Acorne and his adventures in the early 18th century. I must admit to being somewhat addicted to the Seawitch series – and Jesamiah. Now, in difference to real pirates, Jesamiah is a “good” pirate. So far, he hasn’t tortured, raped, terrorised or otherwise intimidated his fellow men. Thank heavens for that!

hh-2-helen-mediumObviously, to write books about an imaginary pirate requires that you do your research. It is therefore not exactly surprising that Helen knows A LOT about pirates. So much, in fact, that she has now written a non-fiction book, Pirates: Truth and Tales, about these maritime bandits – most of them anything but good!

So, I now turn you over to Helen and her post about some not-so-nice men.

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Were there any good pirates? They might be a tad difficult to find, unless you go back as far as Ancient Greece when a pirate was respected and admired as a warrior figure; the word pirate comes from the Greek verb, peiran: to attack.

There’s no denying that pirates were thieves, murderers and rapists – the terrorists of their time, although during the seventeenth and earlier eighteenth century they were tolerated, even encouraged, by various Kings, Queens and Governments of England because they plundered the ships of countries which were enemies. Spain mostly.

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Favourite hunting grounds of the pirates

The handful of years between 1700-1722 was the Golden Age for these scurvy knaves of the sea. They might be dashing heroes in the eyes of Errol Flynn and Johnny Depp fans, but were darn nuisances to the Spanish and merchant traders. Funny how piracy, under the guise of legal privateering, was acceptable when it involved English ships with mostly English crews plundering Spanish treasure for the benefit of King and Country, but as soon as their deeds started hitting the pockets of merchants back home in England, the pirates had to go.

To be fair, trade between England and the American Colonies, pre 1700, was only on the cusp of exploding into Big Profit Territory – ergo uninteresting to those of piratical inclinations. Land such as Florida and the Carolinas had nothing to offer. Virginia beyond the Blue Ridge Mountains was unknown territory. The few plantations along the coast, Chesapeake Bay, easy-access rivers and on the islands of the Caribbean and Bahamas, yielded some profit, but not much.

To earn income from land, labour was needed. This was supplied by indentured servants – on the surface mostly (but not all) willing men and women who traded several years of their lives in return for the promise of land or payment; in reality, slaves, because the majority never received any reward except cruelty, poverty, and all too often, death.

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A Buccaneer (Howard Pyle)

Then, the wars with Spain, more or less, ended and for landowners and merchants, tobacco crops became a high source of income, along with sugar and cotton. Vessels carrying these products were just what a pirate wanted. These crops were highly lucrative but required cheap labour to tend them. Forget those poor indentured fools who succumbed to illness and heatstroke. They were replaced by black African slaves. And captured slave ships, for many a pirate, were wonderful because the cargo brought in a lot of money, and once the captured ship itself was cleaned and scrubbed – inside and out – it made a good pirate vessel, for slavers were usually designed for speed. The quicker the Atlantic crossing, the less likely the ‘livestock’ would die in transit.

The most famous ‘bad’ pirate, Blackbeard, had, for a short while, a splendid flagship which he renamed Queen Anne’s Revenge. He had ‘acquired’ her in November 1717 while she was being used as a French Slaver. We don’t know what happened to her cargo, but we do know the ship’s fate. Blackbeard ran her aground in 1718 off the coast of North Carolina, where her wreck was found many decades later in 1996.

Stede Bonnet was known as the ‘Gentleman Pirate’, so was he perhaps the ‘good one’? I personally am curious whether his name was Bonnet as in a lady’s hat, or Bonnay with a French-sounding twist to it? We will never know, except Bonnet (as in hat) doesn’t sound very piratical does it? Nor was he successful as a pirate. After messing things up several times, he was eventually captured and hanged. He had only turned to piracy to escape his nagging wife. Divorce, I feel, would have been an easier option.

Several notorious pirates fitted the category of ‘ugly’ – as in temperament rather than looks. (Although I would wager they were not especially handsome!)

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More Howard Pyle – pirates fighting

Among the worst was Edward ‘Ned’ Lowe. Born in London in 1690, he was a known thief. His younger brother was hanged for burglary, and Lowe himself fled to the Caribbean in 1710, probably to avoid a similar fate. He met a girl, married, had a child, the wife dying in childbirth. He tried to hold down a legitimate job, but losing his temper he killed a man, commandeered a ship and turned to piracy. He seems to have respected marriage and women, though, for when capturing ships and forcing men to join his crew, he never insisted that married men should join him. A ‘good’ man after all? Ha! Read on.

Lowe captured more than one hundred vessels and became feared for his cruelty and liking for torture. His favoured method of discovering where valuable cargo was stashed, or punishing someone who crossed him, or who had a face he didn’t like, was to place a slow-match (a rope fuse) between the fingers of bound hands and set light to the rope, which would burn slowly, roasting the flesh to the bone. Another favourite was to suspend his victims by the ankles from a yardarm and drop them to the deck, repeating the process until they died.

As an early form of bungee-jumping, this particular style is not to be recommended.

Then Lowe captured a Portuguese ship, the Nostra Seigniora de Victoria. She was carrying 11,000 gold Portuguese moidores, worth at the time around £15,000 (you can add at least one more zero to that today,) but rather than the treasure falling into pirate hands the ship’s captain heaved it all into the sea. In fury Lowe cut off the man’s lips and boiled them in water, then forced the unfortunate victim to eat them. Lowe then murdered him along with the rest of the crew. He was also said to have burned a Frenchman alive. Definitely not a nice man.

In 1723 he sailed to the coast of Guinea where he met up with a previous partner. The partnership lasted two days, Lowe was abandoned by his friend and most of his crew – they’d had enough of his ugly nastiness. He sailed off due south and was never heard of again.

I doubt many shed tears over his loss!

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Ugh! That Lowe character seems like someone best avoided at all costs. Thank you, Helen, for sharing his story with us. Too bad he sort of sailed off and disappeared – although I’ve heard there is an alternative version of his fate, whereby he was captured by the French and hanged. Good riddance, I say.

hh-piratesAs to Pirates: Truth and Tales, it has already received some great reviews. Like this one:

In this informative and comprehensive book, the author takes the idea of pirates and piracy. Interspersed throughout is the author’s impressive knowledge of historical detail and it is obvious that a great deal of research has gone into bringing this piratical guide to life. Skilfully blending historical facts with literary fiction, sometimes, the book reads as lightly as a novel, at other times, we come sharply back to reality with daring tales of mischance and menace, of lives ruined by too much grog and too many loose women, and which ended, all too often, dangled at the end of a hangman’s rope. Throughout the book, the author’s real life buccaneers nestle comfortably alongside their more colourful literary counterparts. I especially enjoyed seeing the author’s own pirate creation, Jesamiah Acorne, from The Sea Witch Voyages, come to vibrant life in his own much deserved chapter. However you like your pirates, be they real or imaginary, there is no doubt that Pirates: Truth and Tales, is a great dip in and out of kind of book and whichever page the book falls open at, you are guaranteed to find a fascinating snippet into the life and times of these colourful, and it must be said, decidedly, dangerous characters. (Jaffa Reads Too)

Should you want to know more about Helen and her books, I recommend you stop by her website or her blog, or on twitter, or on FB. See? Helen’s all over the place!

 

Me and them – a beleaguered writer and her characters

It is strange with characters: once you’ve created them, they never go away. Not even when you’re no longer writing about them, but have moved over to other invented loves. They lurk in your head, mostly as silent shadows of themselves, now and then substantially more vociferous.

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Apparently, not the last…

“Just because you’re done with us, doesn’t mean we’re done with you,” Alex Graham tells me, graciously accepting a cup of tea. (Now and then, we have these intense tea sessions in my head: all my characters and me. Like a major reunion…)
“Really? I’d never have guessed,” I reply. For the last few weeks, Alex and her 17th century hubby have been very active in my brain. So actiove, in fact, that I’ve written another 110 000 words about them. And here was I, thinking To Catch a Falling Star was the last in The Graham Saga.
“What do you expect?” Matthew asks, looking up from where he’s mending a rake. “We still have plenty of life left to us, and surely you must sympathise with our need to find out what happens to our bairns, our friends?”
I do. Heck, I want to find out too. It’s just that at present, I am mostly with Adam and Kit and the struggles they’re facing in 14th century England. Or with Jason and Helle, as we speak facing off with their own personal nemesis.
“Yes, please get on with that, would you?” Jason says, an accusing expression in his bloodied face. “You can’t leave us here, dangling between life and death for much longer.”
“Sorry.” I hand him a big cup of tea – and a huge slice of chocolate cake which he promptly passes to Helle. Jason doesn’t do sweet stuff. He’s into broccoli and chicken and other healthy stuff. “You’re making me sound very boring,” he says, those amber eyes of his giving me an accusing look.

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Coming 2017…

So maybe I should add that he’s very, very old, remembers most of his 50 odd lives, and has the most amazing mahogany coloured hair. Plus he’s been looking for Helle in each and every one of those lives with like zero success rate except for the life when he found her floating dead in Paris—and this one.
“A very persevering man.” Helle drags her blonde curls off her face, revealing that she too is looking the worse for wear. “Look, could you please just finish this scene before I catch my death of a cold and die?” Oh, right: she’s soaked. And if I were her, I’d be more worried about drowning.
“She can’t swim?” Kit asks, eyeing Helle over the rim of her mug. My 14th century leading lady stays close to her man, the green of her kirtle complementing her blue eyes. And her red hair, except that she isn’t showing us any hair, neatly veiled as behoves a modest wife.
“Modest?” Adam chuckles. “Haven’t you heard what she did to save me from certain death?”
Err, yes, I have. I wrote it, remember? Central scene in In the Shadow of the Storm… “Ah, aye, so you did.” He looks a bit confused. “But tell me, is it you that writes in which direction things will go, or is it we who direct you what to write?”
“I can swim,” Helle pipes up before I can reply to Adam’s question. “But I’m no fan of deep water.”
“And yet there is no need to swim in the shallows,” Kit replies. She nibbles daintily at her chocolate cake. “What is this?”
“Something as yet not discovered back in your time,” Alex tells her. “Just making a name for itself in our time.”
“Our time?” Helle leans forward. “I thought you were from my time.”
“I was.” Alex smiles at Matthew and squeezes his hand. “But now his time is my time.” She fixes me with one of those death-ray looks she uses to quell her many children. “You could have chosen a time with more modern comforts.”
“Sorry.” I jerk my thumb at Matthew. “He was in the 17th century. That’s where he belongs, rooted to his time in a way you’re not.”
“Aye,” Matthew says. “I prefer not being dragged through time.” He nods at Adam. “What do you think?”

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The next Adam & Kit book, coming in April

“Plenty of challenges in my time,” Adam replies. “I do not need to further complicate things.” He looks away.
“Will Mortimer win, do you think?” Matthew asks.
“You know, don’t you?” Adam asks.
“Aye, I do.”
“So why ask?” Adam demands, getting to his feet. “Is it to taunt me, for not knowing what to do when the lord I love as a father usurps the powers of the young king I serve and love just as much?”
Matthew clears his throat. “No, of course not.” He grasps Adam’s arm and pulls him into a rough embrace. “You’re a good man, de Guirande. Your conscience will guide you.”
“Amen to that.” Kit sets a hand to Adam’s shoulder. “And I’ll be there.”
“Nothing you can do, sweeting,” Adam tells her. He sighs. “Nothing either of us can do.” He turns my way. “How will it end?”
“Sorry. Can’t tell you.” I make a zipping gesture over my mouth.
“Bloody enervating writers,” Alex mutters, joining her husband and Adam and Kit. “Think they can decide our lives just as it pleases them.”

In the case of Roger Mortimer, I am restricted by historical facts—as I am, if to a lesser extent, when telling Matthew’s and Adam’s story. But I don’t say that out loud. Besides, when it comes to my invented characters, I rarely feel entirely in control. To answer Adam’s question, generally things turn out with me on control. Until they take a firm hold of their fates—even if it plays havoc with my initial plotline. Just as their continued presence threatens to play havoc with my sanity.

“Tsss!” Alex gives me a light shove. “Admit it, you love having us here.”
I do. Of course, I do. Without them, my head would be very empty. Sort like a huge black coffin without a corpse in it.
“You just have to accept it,” Helle says, handing me the last of the chocolate cake. “We may only exist in your head, but we’re the immortal ones here. Long after you’re gone to dust, we’ll still be around, sitting on a bookshelf or a Kindle somewhere.”

Well, that put me in my place, didn’t it? Me, the mere mortal, has spawned invented characters that potentially will outlive me. For some reason, that makes me smile before going in search of the Advil. Seriously, must they talk so much? And at the same time?

Making it good in tough times – meet Aethelflaed

headshotcroppedToday I am very proud to host Annie Whitehead here on Stolen Moments. Annie has a thing about Anglo-Saxon England – most understandable, IMO – and so far, she has published two books set in this period. I have read the first book, To be a Queen, and so enjoyed it I just had to have Annie drop by & visit. The second one, Alvar the Kingmaker, already resides on my Kindle. Anyway: you want to know more about Annie, I suggest you drop by her blog or her website. And just like that, I turn you over to Annie. Enjoy!

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It’s fair to say that life in Anglo-Saxon England was tough. Whether you were a noble, or a slave (yes, they kept slaves) there were certain hazards which could not be avoided: wounds festering, tooth enamel being worn away by chewing bread made from roughly-ground flour, Viking raids, infestations of worms, and other nasties such as ergot, a fungus which attached itself to cereal crops and was toxic to humans who subsequently ate it.

So, in general, it’s probably also fair to say that women were no better off than men, although maybe they didn’t accumulate so many war wounds. But they could wield power, and influence, and some of them rose to great prominence in what was, essentially, a warrior society.

Certain ladies come immediately to mind: Emma of Normandy – queen, wife of kings, mother of kings, and possibly the first spin doctor. And with her great work of propaganda, she allowed us a glimpse of the status of another woman, her rival, Aelfgifu of Northampton.

The Encomium Emmae Reginae, commissioned by Emma to bolster her reputation and the claims to the throne of her son Harthacnut, seeks to destroy his rival Harald’s claims by denying that he was King Cnut’s son. But it goes further, also denying that Harald is even the son of Aelfgifu of Northampton. Clearly his position as the son of a great Northampton lady is important.

Another royal lady was also called Aelfgifu. Her brief time as consort was remembered for a scandal, when she was found in bed with her husband the king, and her mother, but despite this she was able to amass such riches during her lifetime that in her will she bequeathed, among other treasures, a necklace worth 120 mancuses, two armlets, each also worth 120 mancuses, and grants elsewhere of 100 mancuses and 200 mancuses. A mancus was either a gold coin, or a weight in gold of around 4.25 g, equivalent to a month’s wages for a skilled worker in medieval Europe. This lady was clearly very rich, not only in material goods, but in estates too – many of her bequests were grants of land.

annie-aethelflaed_as_depicted_in_the_cartulary_of_abingdon_abbeyPerhaps the epitome though, of successful Anglo-Saxon women, was Aelthelflaed, Lady of the Mercians, daughter of Alfred the Great. Granted, her position as daughter of the king gave her a certain amount of guaranteed wealth and status. But the same can be said for many ‘princesses’ (not a term that was used in this era). She was extraordinary, even by the standards of the day, and she is remembered in some annals as a queen, even though the title was never hers by right. She certainly knew how to be one however.

Her story begins like so many, with an arranged marriage of political convenience. She was married off to the Lord Ethelred of Mercia, Alfred’s only ally against the invading Vikings. (It speaks volumes to me that Alfred ‘the Great’ needed to secure his ally in this way – and I’m passionate in my belief that Mercia played a very large part in Alfred’s successes. I digress, though.)

It’s always been assumed that Aethelflaed grew up elsewhere than at her father’s court, and a prime candidate for her childhood home would have been Mercia. At the time of her birth, Mercia was ruled by King Burgred, who was married to Alfred’s sister. Alfred’s wife was a Mercian noblewoman, so there were strong family ties between the two kingdoms.

However, as a bride, returning to the midlands, Aethelflaed would not necessarily have been welcomed. Indeed, there is a (later, medieval) tale that she was attacked on her way to Mercia, by Mercians who were not in favour of alliance between the two countries.

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Edward the Elder

The war against the Vikings fared better once Alfred and Ethelred were working in partnership, and went better still when Alfred’s son, Aethelflaed’s younger brother, Edward, reached an age where he too could fight. Edward, later known as Edward the Elder, was an admirable warrior and strategist. Bear that point in mind…

At some point, around the year 902, Ethelred of Mercia was struck with some kind of debilitating illness. It would have been easy, and perfectly natural, for Edward (who had at this point succeeded his father to the throne) simply to annex Mercia and rule it himself. But he didn’t. Even after Ethelred’s death, apart from putting a couple of strongholds, London and Oxford, under his direct control, he allowed his sister to remain in charge of Mercia. Yes, a fit, able, strong young king allowed his sister, a woman, to rule.

Maybe the Mercians, fiercely independant, would have put up too much resistance. But just think – they didn’t rise up against her, she who was not really ‘one of them’. They didn’t rebel against Edward, and they didn’t put up a candidate of their own. They, like Edward, were happy to be led by a woman. One can only wonder what her personal qualities must have been, to inspire such loyalty.

annie-aethelflaed_-_ms_royal_14_b_viDid she actually fight? I’m not sure. But she was definitely present at the siege of Derby, where she lost thegns ‘who were dear to her’ and we can infer that it was she who oversaw the successful defence of Chester in 907, because we know that by this time her husband was incapacitated. In 917, an abbot of whom she was fond was murdered by the Welsh, and she led an army into Brycheiniog, attacking the fort on Llangorse Lake and taking many hostages. Clearly, this was not a lady to be crossed.

Even when she died, she was in the middle of negotiations with a deputation from the north, who had asked for her help against a fresh wave of invaders.

I think her achievements rank her alongside the likes of Boudicca, of Joan of Arc, of, well – there aren’t that many others, are there?

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Aethelflaed – courtesy Richard Tearle

And yet history barely remembers her. I think it’s largely because the main primary source for this period is the Anglo-Saxon Chronicle, which was commissioned by Alfred the Great, and was written by monks of Wessex, who naturally had a bias towards the West Saxons. But she is remembered in the old capital of Mercia, Tamworth, where in 1918 they erected a statue of her. I hope she would be pleased!

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My review

annie-queenI must admit that while I find Anglo-Saxon England fascinating it is also a bit of an unchartered territory for me, and while I had heard Aethelflaed mentioned, I did not know much about her prior to reading this book. Now, of course, I know much more, starting with the fact that our protagonist grew up in an environment of fear – her father, Alfred the Great experienced his fair share of setbacks, and when he did, his immediate family lived in fear of their lives, something that in many ways marked Aethelflaed for life.

Ms Whitehead presents a serious child who grows into a serious young woman, then a serious wife. A woman for whom duty comes first, no matter what her heart’s desires may be. A lady who has every intention of doing what she can to never again experience fear, which effectively means halting and defeating the Vikings. Aethelflaed is an engaging character, and by the time she is old enough to be torn between her duty to marry as her father wishes and her own desires, I, as a reader, have developed a personal relationship with little Teasel which makes her anguish my anguish. Except, of course, that I, as the reader, have the privilege of glimpsing into the mind of Ethelred, Aethelflaed’s husband, and realise Alfred has chosen wisely – both for political and personal reasons.

Strong characters are the pillars on which this novel is built, firmly rooted in a historical and geographic context that is beautifully presented. It is apparent Ms Whitehead knows her period inside out, with period details inserted seamlessly into the narrative. It is equally apparent she loves her protagonist – which is maybe why I love her too!

 

 

When it snows, it snows – meet Christoph Fischer and his hidden body

christoph-14958177_10153777270967132_571098312_oHi Christoph, and welcome back to Stolen Moments! Last time you were here, it was to do a guest post related to your book In Search of a Revolution. Today, you are here because I’ve recently read your book “The Body in the Snow”. These are two very different books – one is set against the grim history of war in Finland in the 1940s, the other is a cosy mystery. What are your thoughts about writing in two such different genres?
It may be a little self-defeating to switch genres and make my loyal readers wait longer for a new historical novel, but I enjoy writing in different genres. I need it so that everything stays fresh and original. If I wrote the same genre back to back I fear the outcome might become formulaic and repetitive.

Is the writing process different when writing a historical versus a contemporary?
You have to do a lot more research for a historical novel, more ground and preparation work, although it is essential for all books to check your facts. On the other hand, I don’t plot too much in advance and keep the emphasis on the characters, who often challenge me by changing their minds, so, for me, the process itself remains similarly dynamic and flexible.

christoph-14962826_10153777270952132_988519440_nAnd speaking of the writing process, you are an extremely productive author – how long does it take you to write a book?
The impression of my productivity stems from the fact that I wrote seven novels before I published the first one, so I’m off to a head start compared to others.
From the first word to being published, so far the minimum time needed has been seven months. I can write a first draft within about three weeks, with several re-writes then needed before I feel confident to send it off to beta-readers. Including their feedback more re-writes follow, then two back and forth with my editor, then formatting and a last edit. I started “Ludwika” in May 2015 and published it in December the same year.
In contrast, my next novel, “African August” was written in 2010 and has been re-written, dismissed, brought back to life and re-edited several times. It’s an adventure story and doesn’t quite fit into my portfolio, but I believe in the story, so it will be published as part of a charity box set – hopefully by the end of the year, which makes it almost 6 years from first word to being published.

I must say I was quite surprised when I read the blurb for The Body in the Snow. How long have you known you wanted to write a whodunit?
I’ve been reading a lot of crime fiction when I was young, from Enid Blyton to Agatha Christie. When I met my partner, who is a complete fan of mysteries, I was introduced to the Martin Beck series and was (initially) forced to watch “Midsummer Murders” and “Death in Paradise”. My partner is annoyingly brilliant at spotting who did it and that got me into the mind-set of the writer rather than consumer of whodunits. In 2012 I had the idea for the setting and I’ve been working on the book ever since, with changing confidence that I could pull it off.

gabriel-metsu-writingI imagine that when writing a mystery, plotting becomes crucial. Would you agree?
Plotting is more important in a mystery, that is true, but I’m not a great plotter during the first draft. I had four or five ideas of who should have done it and started writing the novel with all possibilities open until the story demanded that I closed one avenue off after the other, until I was left with the last two. I went back to re-write the book, ironing out the now inconsistent parts of the story and around the 90% mark decided on the culprit. I went back to the beginning again and finished.
Writing while not knowing for sure whodunit, helped to keep the mystery for me and avoid a “writing-by-numbers”. If I didn’t know, then it would be more difficult for readers to figure it out, I reckoned. In any case, writing cosy mysteries allows for more colourful characters and more emphasis on their backgrounds.

Your main character is Bebe Bollinger, a self-centred, vain, has-been diva who desperately wants to make a come-back. It could have been very tragic, but instead Bebe is a vibrant (if at times enervating) woman with no intention of giving up on life. Is she purely a figment of your imagination, or have you been inspired by people you know?
Some mannerisms and characteristics are stolen from real life people or celebrities, but these individuals then all didn’t fit the specific idea that evolved in my head. Having worked for an airline and the British Film Institute, I’ve come across enough Diva behaviour to write a village hall full of such characters.

I must admit to laughing out loud at the notion of re-igniting your career by partnering with dear Engelbert in the Eurovision contest. Seriously, what did you think of “Love will set you free”? (As a Swede, I am tempted to holler “Euphoria” instead)
I thought the song was sweet, although not a hit, probably disadvantaged by the positioning at the start of the competition. It’s more an album filler than a chart topper and would never win the “Melodiefestivalen” the way “Euphoria” did.
But I’m admittedly never one to pick the winner. I had “Euphoria” nowhere near my Top Ten that year, whereas I regarded “Hero”, “Popular” and “La Voix” as top contenders…

I happen to know you’re one of those nice people who openly admit to being a Eurovision fan. So which are your top three favourite Eurovision songs?
Amongst the massive amount of music classics that the contest produced I have to go with “Waterloo”, “A little Peace” and “Save Your Kisses for Me”. (Anna: And I just have to add that Ein Bisschen Frieden is a big favourite of mine. )
However, as I’m always one for the underdog, of the non-winning songs I would like to mention songs that I in fact listen to far more often: “Karleken Ar” by Jill Johnson, “Sata Salamaa” by Vicky (Virve) Rosti and “Amsterdam” by Maggie MacNeal.

Back to your book: The Body in the Snow has three strong female characters living as uncomfortable neighbours in a little hamlet – and a somewhat hen-pecked man, Ian. How do you feel about him?
I think he is the classic decent Welsh bloke who aims to do the right thing, has a big, community-driven heart and unfortunately is married to a difficult woman. I have a lot of sympathy for him and his predicament. In an environment of three head-strong women he finds it difficult to create an atmosphere of harmony and peace which is all he really wants.

Will Bebe Bollinger be back in a future book?
Definitely. I have a lot of ideas, just not enough time to produce the next title as quickly as I would like. Bebe has a career to chase, maybe Eurovision 2013, maybe as singer on a cruise ship, maybe solving another mystery in her hamlet in Wales?
Other than Bebe, what are you working on at present?
I’m organising a series of local Book Fairs and Literary Festivals at the moment, so I’m glad I wrote the forthcoming “African August” before all of this started. It’s an adventure story about a lawyer who quits society to seek adventure and cheap living in Africa, without quite knowing what he let himself in for. It is based on some experiences I had when travelling the continent as cabin crew and the naïve ideas I had when first setting foot into the jungle.
I’m also about to finish the sequel to my psychological thriller “The Healer”, working title “The Sanctuary on Cayman Brac”. Arpan, the healer, now lives in the Caribbean, where the story is set. Some unfinished business and lose ends from the first book are set to disturb his peace. The book also features some characters from my other thriller, “The Gamblers” to give them a sort of sequel as well.

Thank you for stopping by, Christoph, and good luck with all your projects. Personally, I feel somewhat exhausted just reading about all this so I will now curl up in my sofa with a  cup of tea. And for those curious to hear what I thought about The Body in the Snow, read on!

About the book:

Fading celebrity Bebe Bollinger is on the wrong side of fifty and dreaming of a return to the limelight. When a TV show offers the chance of a comeback, Bebe grabs it with both hands – not even a lazy agent, her embarrassing daughter, irritating neighbours or a catastrophic snowfall will derail her moment of glory. But when a body is found in her sleepy Welsh hamlet, scandal threatens.

My thoughts
Snow is a bummer. At least, that is something Bebe Bollinger and her neighbours Dora, Ian & Christine agree on. That’s pretty much the only thing they agree on, seeing as Bebe considers Dora somewhat vulgar and Christine an OCD maniac who is a royal pain in the nether parts. Ian, however, she likes – plus it is handy to be on good terms with the single man in the remote Welsh hamlet in which they all live.

Why Bebe Bollinger, famous ex-artist who desperately wants to revive her career, is living out in the back of beyond is a bit unclear. Maybe it is easier to be not-so-famous when living in a place where no one cares if you’re famous. After all, Christine mostly cares about parking and will go to great lengths to ensure her undisciplined neighbours don’t park on the road. And Dora is an odd fish (as per Bebe) who seems to genuinely enjoy living close to nature and is far more interested in birds than in Bebe.

And there, dear peeps, you have the central cast in Christoph Fischer’s latest book, The Body in the Snow. Further colourful additions include Bebe’s VERY loud and demanding daughter, said daughter’s boyfriend, and the future murder victim. While not wanting to give too much away, let’s just say that the obvious reasons for offing the victim turn out to be not so obvious, and suddenly Bebe herself is involved in the murder investigation centred round the corpse found in the snow.

Bebe is a vibrant person whose main interest in life is herself – and her flagging career. Not exactly the most introspective of people, she is blind to her own pushiness and endearingly vulnerable beneath her diva façade. Burdened with the daughter from hell, an ineffectual agent and the insight that she is getting old, Bebe is determined not to give up on life or her ambition to yet again become a household name. The author has done a great job in creating a character who is potentially dislikeable and still making her likeable – precisely because she is so human, warts and all.

The mystery as such trundles along, but is rather secondary, IMO, to the story surrounding Bebe. As a classic crime story, The Body in the Snow could have done with some more pace. As a cosy read on a rainy Sunday afternoon, this is a book that makes you feel just that: cosy. And as to Bebe – well, I for one hope to have the pleasure of her company in future books. After all, ladies like her don’t grow on trees, neither in the real world nor in the fictional one!

And, obviously, by now you’ll be jumping up and down in your eagerness to buy The Body in the Snow – which you can do by following this link.

About the author
Christoph Fischer was born in Germany, near the Austrian border, as the son of a Sudeten-German father and a Bavarian mother. Not a full local in the eyes and ears of his peers, he developed an ambiguous sense of belonging and moved to Hamburg in pursuit of his studies and to lead a life of literary indulgence. In 1993 he moved to the UK and now lives in Llandeilo in West Wales. He and his partner have several Labradoodles to complete their family.

For more info about Christoph and his many books – both historical and contemporary – drop by on his various “social media” homes.
Website: http://www.christophfischerbooks.com/
Blog: http://writerchristophfischer.wordpress.com/
Amazon: http://ow.ly/BtveY
Twitter: https://twitter.com/CFFBooks
Facebook: http://www.facebook.com/WriterChristophFischer?ref=hl

Digging up the Tudor roots

Okay, I’m going to come clean: I am NOT a major Tudor fan. I’ve had it up to here (waves hand around eye level) with novels featuring Henry VIII and Anne Boleyn. Likewise with Elizabeth I – undoubtedly an intriguing lady – maybe not so much with Mary Tudor. Which is why I surprised myself when I bought a book about Owen Tudor – but hey, all I knew about this particular Tudor was that he’d seduced Henry V’s widow  and that this happened like 100 years before Henry VIII’s heyday. Turns out I enjoyed the book, which is why I’ve invited the author, Tony Riches, to pop by.

TR Owen and Jasper BooksWelcome to my blog, Tony! By now, I have read quite a few of your books, and I recently enjoyed (yes, to my surprise – see above) both Owen and Jasper, the first two books in your Tudor trilogy. Why this fascination with the early Tudors?

Hi Anna – and thank you for inviting me to your blog. I was born within sight of Pembroke Castle, birthplace of Henry Tudor, so was naturally intrigued by how Henry became King of England. Surprised to find there were no books about Owen Tudor, the Welsh servant who married the widow of King Henry V, I began researching his life and discovered the fascinating story of how the Tudor dynasty began. I soon had more than enough material for a book and decided to write the trilogy, with Henry being born in the first book, coming of age in the second and becoming king in the third.

In Owen, you present Catherine of Valois as being prone to depression, if not full-blown mental instability. Tell us a bit about this – did your research lead you to conclude she was somewhat frail, or is this a case of “filling in the blanks”?

Although there is no direct evidence of Catherine’s ‘instability’ it’s recorded that her father, Charles VI of France, suffered from delusions, such as the belief he was made of glass. He began violently attacking his servants and had to be locked up for his own safety. Catherine’s son Henry VI also suffered from ’lapses’ and is reported as falling into some form of depressive catatonic state. Importantly, both her father and her son sometimes failed to recognise their own family and, as the link between them, Queen Catherine must have feared for her own mental health. She became a recluse at Bermondsey Abbey after Owen was arrested and her sons taken from her, so it was easy to imagine how this might have caused tension in her relationship with Owen Tudor.

In Jasper, Henry VI is already showing clear signs of retiring mentally from the world, leaving his forceful wife to cope on her own. Do you think there were ever discussions among the Lancastrians to depose him?

Yes – he was definitely unfit to rule, so if it had not been for the protection of Queen Margaret of Anjou I’m sure he would have been ‘retired’ through ill health much earlier. It’s fascinating to wonder how history might have changed if he’d not remained on the throne…

There has been speculation regarding the paternity of Prince Edward, Henry VI’s son. What is your take on it?

The only person who knows for certain is Queen Margaret, although providing the king with a male heir transformed her status in the country. By all accounts she was an attractive and lonely young woman, so given her husband’s mental and physical state at the time the temptation to take matters into her own hands must have been overwhelming.  (Ha! A true diplomat, Mr Riches…)

You paint a very engaging picture of Jasper Tudor – a man loyal to a fault, both to his brother and his nephew. Was this your starting point when you decided to write about him?

I wanted to show Jasper as a man with plenty of weaknesses. He always seemed to run from battles to save himself, he wasn’t a great military tactician, often failed to listen to good advice and didn’t settle down and marry until he was fifty-five.  At the same time, Jasper was an easy man to like, as he always put others first. There is no question of his loyalty to Henry Tudor or his diplomatic skills, qualities which were vital for the future of the Tudor dynasty.

 

In Jasper, the Welsh are talked into supporting Henry Tudor because he’s Welsh and rides under the Welsh dragon. Were there benefits to the Welsh during Henry VII’s reign?

The Welsh had been subjugated, second-class citizens for centuries, not allowed to own land or even carry a sword, so it must have been compelling to believe Henry was their prophesised saviour, ‘Y Mab Darogan’, the ‘son of destiny’. There is scant evidence that Henry VII ever returned to Wales once he was king, however, although he generously rewarded those who supported him at Bosworth.

As a writer, I found it interesting to note that Owen is written in first person, present tense, while Jasper is third person, past tense. Why have you used two such different approaches?

I started writing Owen in the third person, then read Hilary Mantel’s Wolf Hall and was impressed by the sense of immediacy she achieves. I enjoyed the challenge of re-writing Owen in the first person and present tense – but Jasper was always third person in book one and I decided to continue this. I understand some readers struggle to get in to first person, present tense, although the feedback and reviews (and international sales) suggest it wasn’t an issue.

Your trilogy is to be concluded with a third book (obviously) named Henry. It seems to me the world of historical fiction readers is very polarised when it comes to Henry Tudor – what is your take on this enigmatic man?

I respected Richard III’s courage at the end of my book Jasper – and now I’m keen to present a fresh perspective on the man Henry was. He inherited a bankrupt throne and left it richer than it had ever been. He oversaw the longest period of peace for centuries, uniting families and establishing a new style of monarchy. (I’m attending the Bosworth anniversary re-enactment next month, however, and am sure the ‘Ricardians’ will take some convincing!)

What I found very interesting in Jasper was how distant you depicted the relationship between Margaret Beaufort and her son, Henry. Not so strange, really, seeing as he was raised by others than her, but somewhat at odds with the notion that she was the “power behind the throne” once he became king. What are your thoughts on Margaret and her relationship with Henry?

Margaret Beaufort was a fascinating woman, and I relied on numerous sources but was particularly impressed by Elizabeth Norton’s Margaret Beaufort: Mother of the Tudor Dynasty. The price of Henry’s long exile was that his mother would have been a complete stranger, as for many years they couldn’t exchange letters, yet she never stopped working for his return and became his most trusted advisor once he was king.

Finally, when will we be able to read Henry?

I am now working on the first draft and plan to launch Henry, Book Three of The Tudor Trilogy by Easter next year.

Thank you so much for dropping by, Tony – and for giving me a new perspective on the Tudors!

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TR Tony Riches 2016Tony Riches lives with his wife in Pembrokeshire, West Wales and is a specialist in the history of the fifteenth century, with a particular interest in the Wars of the Roses and the lives of the early Tudors. For more information about Tony’s books please visit his popular blog, The Writing Desk and his WordPress website and find him on Facebook and Twitter @tonyriches.

One more in the gang of four

HNSIndieFinalist2016For those that have been following my blog over the last few weeks, you’ll have noticed I’ve spent some time promoting the four finalists in the Historical Novel Society Indie Award 2016. Why? Because these are very good books, historical fiction at its best – plus, of course, I’m one of the final judges. And I won the award last year, so I know just how much nail-biting goes on in secret among our four ladies.

AM LBF_0053_smToday, the turn has come to Alison Morton – the last of the four to be featured. Alison is a lady who lives in France, speaks French like a native and yet comes across as very English – with a whiff of the stern Roman. This is probably why she writes books set in a fictitious country called Roma Nova – Alison’s books fall in the alternate history category, which has its own challenges, primarily that of building a credible context. AURELIA is the fourth in the series – but it is also the first, at least chronologically. And for those who enjoy nail-biting, this is a one of those reads that has you doing just that – and staying up far too late. Anyway, let’s turn things over to Alison and hear what she has to say about her book!

Tell us a bit about the inspiration behind your book!
While I was drafting the first three Roma Nova thrillers, particularly SUCCESSIO, I became increasingly intrigued by the heroine Carina’s clever and no-nonsense grandmother, Aurelia. Her public role was well-known – head of a powerful family, senator, businesswoman, imperial advisor – but she gave out strong ‘keep out of my past’ signals. I wanted to know how her story tied up with that of Caius Tellus, the traitor who’d grabbed power in the Great Rebellion, and who was the mysterious man who turned up in SUCCESSIO with a red rose, a flower that Aurelia hated.The only way to answer these questions properly was to write Aurelia’s story as a young woman.

Did you know already from the beginning how the plot would progress, or did “things happen” as the story trundled along?
The antagonism between Aurelia and Caius Tellus was set up as historical backstory in the INCEPTIO, PERFIDITAS and SUCCESSIO, as was the shadowy history of the Tellus family and the Great Rebellion. Secondly, silver, its extraction, processing and selling was and is Roma Nova’s lifeblood; anybody or anything threatening that was threatening economic survival. The third factor was to dig into Aurelia’s military career, discover how she became a government spy and of course, to unearth the identity of her life-long love… Throw all those in the pot and the story worked itself out.

For me, it is with the re-write of the first draft that the story goes from black and white to technicolour – i.e. this is my favourite part of the writing process. Which is yours?
I sweat the first draft out with cursing, tea and backache. The story is more or less there, but the first self-edit is where it twists threads, wrings emotions, ramps up the action and makes life nearly unbearable for the protagonist. It’s also where I look at the lighter moments and bring in a few quips and quirks about the characters, so it’s more fun.

What was the most difficult scene to write in your novel?
When the heroine feared her small daughter had been abducted.

Describe your protagonist in maximum five words.
Tough, compassionate, impatient, intelligent, loyal

Are you planning any sequels to your book?
The sequel, INSURRECTIO, came out on 12 April – a few weeks ago! And I’m drafting the next (see curses, tea and backache above).

What were your main reasons for going down the indie route with this book?
As for the first of the series, INCEPTIO. Alternate history stories from a debut author were a little quirky for the mainstream when I started in 2010, although the Roma Nova series has now secured me a top agent for a number of my rights. I love the control over design, production and timing that indie authors enjoy, plus the ability to use my previously acquired business skills. Once an entrepreneur…

Going forward, do you see yourself as remaining an indie author? Which are the pros and cons?
We are extremely lucky to live during a publishing revolution, or is it evolution? I see myself as an author, full stop. Some rights I will retain and others I will sell for mainstream publishing if the occasion arises. But whatever choices I make, I will still be directing my own writing career. This is the essence of being indie.

Finally, what does it mean to be a finalist for the HNS Indie Award 2016?
When the email with the news pinged into my inbox, I stared at it, let out a whoop of joy, then danced round the office. Finally, I celebrated with champagne. More soberly(!), I am deeply honoured. The HNS indie review scheme is unique; AURELIA being selected as an Editor’s Choice was wonderful, being shortlisted as one of nine for the 2016 Indie Award was unbelievable and now being one of the final four is dizzying. If AURELIA goes no further, I will be thrilled out of my socks that she has come so far. Of course, I hope she may take the ultimate accolade…

Thank you, Alison, and I imagine all the finalists are hoping for that ultimate accolade 🙂 If you want to learn more about Alison and her Roma Nova world, visit her website. And for those curious about AURELIA, here’s the blurb:

AURELIA_cover_image800x520Late 1960s Roma Nova, the last Roman colony that has survived into the 20th century. Aurelia Mitela is alone – her partner gone, her child sickly and her mother dead – and forced to give up her beloved career as a Praetorian officer.

But her country needs her unique skills. Somebody is smuggling silver – Roma Nova’s lifeblood – on an industrial scale. Sent to Berlin to investigate, she encounters the mysterious and attractive Miklós, a known smuggler who knows too much and Caius Tellus, a Roma Novan she has despised and feared since childhood.

Barely escaping a trap set by a gang boss intent on terminating her, she discovers that her old enemy is at the heart of all her troubles. She pursues him back home to Roma Nova desperate now he has struck at her most vulnerable point – her young daughter.

On Amazon US
On Amazon UK

The other finalists are Barbara Sjoholm, Maria Dziedzan and Lucienne Boyce

Running for the finishing line

HNSIndieFinalist2016Time to present yet another of the finalists in this year’s Historical Novel Society‘s Indie Award. And as this book feaures a Bow Street runner, obviously the author is hurtling towards the finishing line, head to head with her three competitors.This is yet another excellent read – but then, as I’ve said before, the one thing that was a given regarding the four finalists for the HNS Indie Award was that quality would be consistently high.

HNS Blog pic smallToday, it is Lucienne Boyce’s turn to clamber atop the hot seat. Lucienne is a lady not much given to flamboyance, neither in real life nor in her writing. Instead, in Bloodie Bones she presents us with a sparse, elegant prose, where every word has been carefully chosen so as to convey a very precise meaning – or so, at least, it seems to me as I read. Bloodie Bones is a book about justice – not necessarily as per the letter of the law. It is a story of what happens when those that have choose to ignore the few rights of those that do not have, especially in an 18th century society where new laws benefit the rich. One man is given the difficult task of seeing justice done, a balancing act in which the engaging Dan Foster must not only follow the law but also his conscience.

Tell us a bit about the inspiration behind your book
I’ve always been interested in radical history, and especially in the relationship between justice and law – the point at which people are prepared to break the law to fight for their rights. That’s what links my non-fiction work, which is on the suffragettes, with my fiction. In Bloodie Bones Dan Foster, a Bow Street Runner who is also an amateur pugilist, is sent to investigate the murder of a gamekeeper which is connected with local protest about a recent land enclosure. By focussing on a character whose job is to uphold the law, I can reflect the theme of the boundaries between lawlessness and protest, especially as Dan himself often recognises that the law is not always just. I also wanted to write about the enclosure movement which is often skirted over by historians as if it was an inevitable “progression”, when in fact it brought with it much suffering and injustice. One of the most important literary inspirations for the book was John Clare’s beautiful poem The Mores, which brings home the impact of enclosures on the working people affected by them.

Did you know already from the beginning how the plot would progress, or did “things happen” as the story trundled along?
Yes, I knew from the beginning how the plot would progress. I plan my stories in advance, though I do leave some detail to be worked out along the way. It’s good too to leave space for the story and characters to develop.

For me, it is with the re-write of the first draft that the story goes from black and white to technicolour – i.e. this is my favourite part of the writing process. Which is yours?
Difficult question. I love it all: the research, the drafting, the redrafting, redrafting and redrafting…

What was the most difficult scene to write in your novel?
The scene where the boy, Walter Halling, meets Lord Oldfield and his gamekeeper in the woods. Lord Oldfield commits an act of terrible cruelty, which is based on real incidents. As I was writing it I was not only imagining but also commemorating the suffering inflicted on the weak and helpless then and now – I couldn’t help crying. If there is to be anything remotely resembling “progress”, then I want it to be to a stage where want, cruelty and suffering are no longer tolerated. (“Hear, hear,” Anna says!)

Describe your protagonist in maximum five words.
A man of disguises & secrets.

Are you planning any sequels to your book?
Yes, Bloodie Bones is the first in a proposed series of Dan Foster Mysteries. I’ve just finished drafting the second and sent it off to its first editor.

What were your main reasons for going down the indie route with this book?
I’d already self-published one novel with SilverWood Books (To The Fair Land), and was impressed with their service, so I went with them again.

Going forward, do you see yourself as remaining an indie author? Which are the pros and cons?
I think ideally I’d see myself as a “hybrid”. For example, I’m currently writing a biography of a suffragette, and I’d like to find a mainstream publisher for that if at all possible.

The pros of being an indie are that you are in control of the project – you don’t, for example, have to accept cover designs you don’t like. It also takes a long time to bring a book out in the mainstream – you can wait six months or more for a response to your submission, and then if you’re accepted it can be two or more years before the book appears. This was the experience I had with To The Fair Land: I went through a long period of making submissions, got a lot of interest and a number of those “nearly made its” familiar to so many of us, until eventually the book was accepted by an independent publisher. I can’t tell you how thrilled I was – but three years later the book still hadn’t appeared. No one’s to blame for this, things were tough in publishing, but from my point of view I just felt as if my life was on hold while I waited for something Out There to change. The decision to withdraw the novel and publish it myself was a difficult one, but in the end it was the right decision. Now I feel as if I’m moving forward in so many ways, with lots of projects on the go, and plans for more books, and being part of a fabulous indie community…I only wish I’d had the courage to do it sooner.

But there are cons, not least the cost. On the other hand, if you aren’t prepared to invest in your own work why should you expect someone else to do so?

Finally, what does it mean to be a finalist for the HNS Indie Award 2016?
Whether you’re mainstream or indie, you’ll always be haunted by anxiety about whether or not your work is good enough. So it’s a tremendous encouragement to me that Bloodie Bones has been read, enjoyed, and judged good enough, particularly by people who are experienced readers of historical fiction. It gives me hope that I’m doing something right. I don’t think the nagging doubts ever go away , and in many ways I don’t think that’s necessarily a bad thing – complacency is no spur to achievement – but the thought that there are people who actually like my work is tremendously uplifting. And it’s given me a good excuse to crack open a bottle of bubbly!

Thank you, Lucienne – and I hope you’ve enjoyed the bubbly 🙂 For those eager to know more about Lucienne and her books, I suggest you pop by her website. And as to Bloodie Bones, here’s the blurb:

BloodieBonesCover-198x300“Parsons and tyrants friends take note. We have born your oppreshuns long enough. We will have our parish rights or else Bloodie Bones will drink your blood.”

When Lord Oldfield encloses Barcombe Wood, depriving the people of their ancient rights to gather food and fuel, the villagers retaliate with vandalism, arson and riot. Then Lord Oldfield’s gamekeeper, Josh Castle, is murdered during a poaching raid. Dan Foster, Bow Street Runner and amateur pugilist, is sent to investigate.

Dan’s job is to infiltrate the poaching gang and bring the killers to justice. But there’s more to Castle’s death than at first sight appears. What is the secret of the gamekeeper’s past and does it have any connection with his murder? What is Lord Oldfield concealing? And did someone beside the poachers have a reason to want Josh Castle dead?

As tensions in Barcombe build to a thrilling climax, Dan will need all his wits and his fighting skills to stay alive and get to the truth.

On Amazon UK
On Amazon US

The other finalists are Barbara Sjoholm, Maria Dziedzan and Alison Morton

UPDATE! Lucienne was one of the joint winners CONGRATULATIONS!

The good reasons behind strict courtship rules

MG 2014 posterToday, I turn my blog over to Maria Grace. She has been writing fiction since she was ten years old, but those early efforts happily reside in a file drawer and are unlikely to see the light of day again, for which many are grateful. After penning five file-drawer novels in high school, she took a break from writing to pursue college and earn her doctorate in Educational Psychology. After 16 years of university teaching, she returned to her first love, fiction writing.

She has one husband, two graduate degrees and two black belts (which I find most impressive!), three sons, four undergraduate majors, five nieces, six new novels in the works, attended seven period balls, sewn eight Regency era costumes, shared her life with nine cats through the years and published her tenth book last year. Phew: just reading that makes me exhausted, even if I keep even pace both on the sons and books front. No nieces, though…Anyway: without further ado I turn you over into Maria’s capable hands – did I mention she’s something of an expert on the Regency era?

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I’m so excited to be visiting with Anna today. I love her blog and all the wonderful stories she tells. Often, she writes about the consequences and intrigues associated with arranged marriage.
I can’t say I long for a return to those days myself, but it is really interesting to look at what a tizzy parents went into when society moved away from the practice.

MG pnp-man-courting-woman Felix Friedrich von EndeUntil around 1780, arranged marriages were de rigueur. It made sense – more or less – considering that marriage was a business and often political arrangement. But then the Enlightenment happened and philosophers made a mess of things that were working perfectly well – more or less.

The pesky notions of reason and individualism over tradition got people thinking that perhaps personal preference should play a role in one’s marriage choices. That led to considering love and – ack! – romance as possible players in the field and that lead to something near panic for parents and anyone else who cared about social order and stability.

But never fear, enter the conduct literature writers to rescue humanity from itself. Authors readily offered advice on how to judge character, how to behave in public toward the opposite sex, how to attract the opposite sex, even the proper way to make or refuse an offer of marriage.

Out of this advice, strict rules for behavior during courtship developed. The rules safeguarded both sexes. Gentlemen required protection from being trapped into matrimony and ladies needed to be guarded from becoming attached to men who were not honest in their intentions toward them.

Arguably, the cardinal rule of courtship became to seek compatibility and friendship rather than romance, since the former might stand the test of time and could provide far more enduring and stable relationships than fleeting passion. Young men were counseled not to embark upon courtship lightly, and young women not to give affections too easily.

MG regency englandI cannot even understand how it is flattering to a man’s vanity, to gain the affections of a deserving and too credulous woman, whom he never intends to marry. He ought to lose more in his character for integrity, than he can gain as one successful in courtship. His manner of address, consisting of a visible attachment. While his heart is not engaged, is most detestable hypocrisy. And to say that he is not bound in honour, because he has subjected himself to no specific promise, is the highest aggravation of his guilt. Were he to act in the same manner in his common transactions with mankind, his character would be forever blasted. (Gener, 1812.)

A woman is often placed in a very delicate situation. She may be distinguished by a kind of attention which is calculated to gain her affections, while it is impossible to know whether the addresses of her pretended lover will end in a serious declaration. (Gener, 1812)

Female conduct manuals universally cautioned women not to be forward in their dealings with men or to encourage their advances. A woman must never confess her feelings until absolutely convinced of his intentions. Some went so far as to insist a woman must never look at a man unless he made the first advance.

Other rules to help squelch the possibilities of romantic passion included forbidding the use of Christian names, paying compliments, driving in carriages alone together, correspondence, and any kind of intimate contact.

Young, unmarried women were never alone in the company of a gentleman or at any social event, without a chaperone. (Who knew what kind of ideas she or he could get!) Except for a walk to church or a park in the early morning, a lady could not even walk without an appropriate companion. (Of course a potential suitor would not be appropriate!) Though a lady might drive her own carriage or ride horseback, if she left the family estate, a groom must attend her.

Millais The-Black-Brunswicker_John-Everett-Millais

Not the done thing…

Naturally, all forms of touching were kept to a minimum. Sakes alive, what kind of unrestrained behavior might that lead to? Putting a lady’s shawl about her shoulders, or assisting her to mount a horse, enter a carriage or climb stairs were acceptable. A gentleman might take a lady’s arm through his, to support her while out walking. But he must never try to take her hand, even to shake it friendly-like. If he did, she must immediately withdraw it with a strong air of disapproval, whether she felt it or not.
Conversations had to be extremely discreet leaving much to be interpreted from facial expressions alone. Even those were proscribed by many advice writers.

There is another Character not quite so criminal, yet not less ridiculous; which is, that of a good humour’d Woman, one who thinketh me must always be in a Laugh, or a broad Smile, because Good-Humour is an obliging Quality… . (The Whole Duty of a Woman, 1737)

Not surprisingly, it was difficult for either party to truly discern the feelings and intentions of the other. Only at the moment an offer of marriage was made could a man declare his feelings and a woman her own in return. This was arguably the desired effect and what makes it all sound so laughable to modern viewpoints.

But there were some genuinely good reasons for all of the restrictions. While philosophy did alter some perspectives about marriage, some things did not change. At the core, marriage was still a business arrangement, men and women each bringing their part to the matter. Real property, dowries and fortunes, trades, skills (including those of keeping house), social connections (of course those might be good or bad, just saying… ) and the provision of heirs were all very real commodities in the transaction. One needed to make sure that arrangements offered equitable compensation as it were, for all involved and no one, including the extended families, was being shorted in the exchange.

It light of all the fuss, modern minds might argue in favor of simply staying single and being done with it all. However, in the day staying single was definitely not a good alternative. Society did not look with great favor upon the unmarried adult. Spinsters were considered the bane of society, but bachelors were also looked down upon as still not having come into their own in society, not quite fully participating in adult life. (Vickery, 2009) A great deal rode on establishing oneself in a comfortable married state.

MG signing-the-register-by-edmund-leighton-blairIf this weren’t enough reason for anxiety, add to it that divorce was nearly impossible to obtain. It was entirely possible that one might have only one opportunity to ‘get it right’ as it were. Granted, widowhood was common enough, and some married multiple times because of it, but it probably wasn’t a good thing to count on.

No wonder parents were in a dither that their children might make a tragic mistake choosing a marriage partner. With so much on the line, can you really blame them for supporting rules designed to keep runaway passions at bay and encourage level-headed decision making?

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Thank you, Maria, for that informative piece. Must say I feel relief at not having had to negotiate such convoluted courtship rules 🙂 Now, Maria does not only write posts, she also writes books – many of them Jane Austen spin-offs, and having read one or two I can assure you she does that very well. Her latest release is called The Trouble to Check Her, and here we have that disobedient sprite, Lydia Bennet having to handle the consequences of her reprehensible behaviour (well, as per the standards of the day) in Pride and Prejudice. As per the blurb:

MG The Trouble to Check Her MEDIUM WEBLydia Bennet faces the music…

Running off with Mr. Wickham was a great joke—until everything turned arsey-varsey. That spoilsport Mr. Darcy caught them and packed Lydia off to a hideous boarding school for girls who had lost their virtue.
It would improve her character, he said.
Ridiculous, she said.
Mrs. Drummond, the school’s headmistress, has shocking expectations for the girls. They must share rooms, do chores, attend lessons, and engage in charitable work, no matter how well born they might be. She even forces them to wear mobcaps! Refusal could lead to finding themselves at the receiving end of Mrs. Drummond’s cane—if they were lucky. The unlucky ones could be dismissed and found a position … as a menial servant.
Everything and everyone at the school is uniformly horrid. Lydia hates them all, except possibly the music master, Mr. Amberson, who seems to have the oddest ideas about her. He might just understand her better than she understands herself.
Can she find a way to live up to his strange expectations, or will she spend the rest of her life as a scullery maid?

Buy links:
Amazon
BN NOOK
KOBO

Should you want to know more about Maria and her books, visit her excellent blog, Random Bits of Fascination, her other blog Austen Variations or her Amazon page.

Yet another finalist

A week ago, I introduced you to one of the finalists in this years Historical Novelist Society Indie Award. As some of you know, I was the proud recipient of this award last year, and this year I am just as proud to be one of the final judges.

HNSIndieFinalist2016I thought it might make sense to have the finalists introduce themselves and their books – having read all four, I can warmly recommend them. All of them are worthy winners, all of them are great reads. Not exactly a surprise, as the Historical Novel Society‘s Indie team under Helen Hollick does a great job of sifting through hundreds upon hundreds of indie books to create first a long-list, then a short-list. The short-listed books have been read by three judges, and their scores have chosen the final four. These final four will be judged by two judges, and hopefully James Aitcheson and I will agree on who the winner is. Well; we have to agree 🙂

HNS june 11download 008Anyway: today I’d like to introduce you to Maria Dziedzan. An English teacher and a philosopher, Maria was born in the UK, has lived and worked in the UK, and these days mostly lives there as well. But her father came from Ukraine, and it is his homeland, his people who have inspired When Sorrows Come. Set during WW II, I can assure you sorrows do come – en masse – and at times this is a read that tears your heart out. Populated by a number of unforgettable female characters – because this is a story about the women rather than their men – this is a tale of gritty survival in a Ukraine torn apart by Stalin and, subsequently, the German war-machine.

Tell us a bit about the inspiration behind your finalist book!
The first time I visited my father’s village in Western Ukraine with him, I met an old friend of his who had helped the partisans and paid the price. Nastunia had been betrayed, captured and tortured by the NKVD…and had lived to tell the tale to my father over fifty years later. She was a wizened old lady living in poverty when I met her and I was so struck by her indomitable spirit that when I came to write my first novel, after retiring from teaching, I inevitably remembered her story. So When Sorrows Come came into being.

Did you know already from the beginning how the plot would progress, or did “things happen” as the story trundled along?
Yes and no. To some extent, I was in the iron grip of historical events and I chose to limit the period of the story essentially to 1939-46. I also wove oral histories which I knew into the fabric of the timeline and then I sketched in my fictional tale around my heroine, Anna. But I also found myself exploring new seams of sub-plots along the way as I was guided by some irresistible characters.

For me, it is with the re-write of the first draft that the story goes from black and white to technicolour – i.e. this is my favourite part of the writing process. Which is yours?
It is certainly not the first draft…or not usually. I write the first draft by hand and it is then that I am assailed by thoughts of the unformed nature of what I’m putting on paper. But then I type it up and work and rework the section I’ve just written and I enjoy that more. I like the layering aspect of this stage as the storytelling is embroidered and polished. Apologies for the mixed metaphor!

What was the most difficult scene to write in your novel?
With reference to the above, a perfect example would be the wedding scene. It comes about two thirds of the way into the story and has a great deal of work to do. It must move on a sub-plot but also show changes in the heroine’s relationship with her lover. It must include a myriad of minor characters and pre-figure several disasters. And it must also be a Ukrainian village wedding. If the reader has never attended one, they must feel they’ve had a chance to enjoy one by the end of the chapter. I wrote this chapter at least 9 or 10 times in the first draft and even then came back to add details when I was re-drafting the whole novel.

Describe your protagonist in maximum five words.
Brave, indomitable and loving.

Are you planning a sequel to your book?
I have just completed my second novel which is not a sequel to When Sorrows Come but some of the minor characters re-appear and one in particular plays quite a large role. The two novels stand alone but contribute to each others’ stories. This current novel, though, IS the first of two, possibly three, novels which will have the tighter link of a sequel.

What were your main reasons for going down the indie route with this book?
Having sent off the first three chapters of When Sorrows Come to various agents and receiving the same polite rejection repeatedly, I decided to publish it myself because it was a story I thought should be told and one which I wanted people to read. It seemed pointless to spend a great deal of time and effort on something which would remain dormant.

Going forward, do you see yourself as remaining an indie author? Which are the pros and cons?
There is undoubtedly a lot of satisfaction to be had in seeing something you’ve worked hard on coming to fruition without waiting for chance or fashion to find you. But it would be great to have the support of a publicity department!

What does it mean to be a finalist for the HNS Indie Award 2016?
Being a finalist has given a great boost to my confidence as a writer, of course. I was still working on my second novel when the news came and it energised me to finish it although I was only about half way through. It is also wonderful to have the approbation of people who see a lot of novels, especially as When Sorrows Come is my first. Writing is a solitary activity and feedback from readers is a very precious thing…especially when it’s as positive as this!

Thank you for that, Maria! And for those eager to know more about Maria, why not visit her website? And as to When Sorrows Come, here is the blurb:

HNS WSC new front coverAnna is a young woman whose family is torn apart by the brutality of Stalin’s bullies when they enter her village in Western Ukraine in 1939. Her community, like many others, is trampled and desecrated by Bolsheviks and Fascists in turn, while Russia and Germany fight for dominance in the East. But Anna is a resilient survivor who finds her own path, despite the dangers. When her lover joins the Ukrainian Insurgent Army, she decides to help the partisans in their fight against powerful enemies. Her determination only grows as she gradually loses those she loves…but being brave doesn’t guarantee survival.

 

On Amazon US 
On Amazon UK

The other finalists are Barbara Sjoholm, Lucienne Boyce and Alison Morton

And the finalists are…

Those of you who follow my blog will know that one of my proudest moments as a writer was when I won the Historical Novel Society’s Indie Award in 2015. Seeing as it all happened in Denver, that particular city will always have a special place in my heart.

HNSIndieFinalist2016The Historical Novel Society does an awesome job when it comes to spreading the word regarding good historical fiction – both traditionally published and self-pub. This year, I have the honour of being one of the final judges for the HNS Indie Award 2016, and I thought it might make sense to allow the four finalists to introduce themselves. Having read all four books I can conclude the quality is impressively high – which does not exactly make my job any easier 🙂 Not that I’m surprised: to reach the finals, these books have gone through a rigorous selection process, and what remains is la crème de la crème as one says in French. All are worthy winners, and at this point it comes down to the subjective preferences of the judges – a bit like selecting the winner in the Olymic Women’s ice-skating event.

HNS BARBARA_S-3800(web)Today, I’d like you to meet Barbara Sjoholm. An American lady with a Swedish name – but with a large dollop of Scottish blood, she tells me. Barbara’s book is called Fossil Island and is set in the late 19th century in Denmark. For me, as a Swede, it was a pleasure to read about Georg Brandes, Carl Nielsen and Victoria Benedictsson. I suspect these are not household names elsewhere in the world, but for us up here in the north they most definitely are. Not that knowing about these people is fundamental to enjoying the book: Fossil Island is a lovely story featuring a young teenager and her first, faltering steps towards adulthood. Ms Sjoholm writes in small letters throughout, her intense scenes crawling in under your skin and leaving you short of breath. There is one particular scene involving a desperate woman, a man, and his handkerchief that is among the best I have ever read. Ever.

I’ve prepared a set of questions for all four of the finalists, and without more ado, I hereby give you Barbara!

Tell us a bit about the inspiration behind your finalist book
Fossil Island is set in late 19th century Denmark at a time of great changes in women’s roles in society and is loosely based on the real life character “Nik,” otherwise known as Emilie Demant Hatt, who later became an artist, writer, and an ethnographer in Lapland. I had earlier translated Demant Hatt’s delightful travel book, With the Lapps in the High Mountains, and had read a memoir she’d written but that wasn’t published in her lifetime. This memoir told the previously unknown story of her adolescent romance with the composer Carl Nielsen, which began when she was fourteen and he was twenty-two. There were just enough details in the memoir to awaken my interest and think what a marvelous novel it would make. Fossil Island allowed me to write about music and art, natural history, rural Denmark and Copenhagen, bicycling, and repressed and expressed sexuality, subjects just hinted at in the memoir and Carl Nielsen’s collected correspondence.

Did you know already from the beginning how the plot would progress, or did “things happen” as the story trundled along?
The basic plot was set: talented boy meets girl, and boy eventually moves on, leaving girl behind. I didn’t change Nik’s situation in life, but brought out as much as I could based on the limited facts and my knowledge of Danish society and culture. That said, I felt free to invent other characters and give them different fates, and yes, I was surprised at times at what everyone got up to.

For me, it is with the re-write of the first draft that the story goes from black and white to technicolour – i.e. this is my favourite part of the writing process. Which is yours?
I love all aspects of novel writing, from early inspiration and research to revision and polishing. Rewriting is satisfying because it’s possible to work more deeply with the underlying themes and metaphors. For instance, in real life, Nik had an uncle who owned a bicycle factory and she lived in a small village on the Limford, across the water from the island of Fur, very well known for its Eocene fossils. Both bikes and fossils play a role in the novel; it was in rewriting I explored their connections to freedom and to the layers of the past.

What was the most difficult scene to write in your novel?
It’s often the subtle scenes that are more taxing to write than the more dramatic ones. Fossil Island reproduces the repression of the 19th century novel, but also tries to suggest what Nik and her older sister might actually have been feeling about their impossible loves and longings. I felt I had to walk a line in some scenes—not saying too much, but allowing the reader to guess what emotions were stirring below the surface.

Describe your protagonist in maximum five words.
Tomboy, passionate, uncertain, high-spirited, curious.

Are you planning any sequels to your book?
Fossil Island has a published sequel, The Former World, which carries on Nik’s story through age eighteen.

What were your main reasons for going down the indie route with this book?
My agent, Robert Lescher, died while I was writing the novel, which eventually became two shorter novels. I had difficulty attracting a new agent for Fossil Island, perhaps because of the length or the relative obscurity of the subjects. I’d previously published with mainstream, independent, and university presses, but I was curious about the new technologies of printing and publishing on demand, and thought I’d like to explore them.

Going forward, do you see yourself as remaining an indie author? Which are the pros and cons?
I wouldn’t rule out doing another indie publication. I really liked the copyeditor I hired and enjoyed the whole process of making an attractive-looking book. Actually, books, plural, because my process allowed me finally to accept that I had a novel and a sequel in hand. The production, through IngramSpark, was surprisingly easy and professional looking. I had the usual indie problems afterwards with publicity and distribution, in particular getting Fossil Island into bookstores and libraries, even though I had some good reviews, but I found some ways to overcome at least some of the obstacles. It helped that I published the novel in 2015, when Carl Nielsen’s 150th anniversary was being celebrated.

Finally, what does it mean to be a finalist for the HNS Indie Award 2016?
This is my first historical novel. It’s always been a genre that I’ve enjoyed reading and it’s been lovely to be in the company of other novelists working in this field. It’s an honor to have been chosen as a finalist by HNS.

Thank you, Barbara! And for those of you who want to know about Barbara, I suggest you pop by her website. If you’re curious about Fossil Island, here is the blurb:

HNS Sjoholm_FossilIsland_Cover194xDenmark, 1887. Nik Hansen is a fourteen-year-old tomboy who spends her time dreaming and fossilizing on the nearby island of Fur, a geologic marvel. Her older sister, Maj is starting to entertain ideas of women’s rights. The summer begins with a visit from the girls’ aunt, accompanied by a young man she calls her foster son. Carl Nielsen has just finished his music studies and plans to become a composer. Flirtation turns to a secret romance between Nik and Carl, as Maj weighs an engagement to Lieutenant Frederik Brandt. The following summer brings the sisters’ intertwining stories to a head during a month in Copenhagen with their aunt, where they juggle passion, jealousy, and violent events with their search for independent lives of their own.


On Amazon US

On Amazon UK

The other finalists are Maria Dziedzan, Lucienne Boyce and Alison Morton

UPDATE! Barbara was one of the joint winners. CONGRATULATIONS!

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