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Showing posts with label writing historical romance. Show all posts
Showing posts with label writing historical romance. Show all posts

Monday, 2 January 2017

Take a tour across 7th Century Anglo-Saxon England


My current 'work in progress' (THE WHISPERING WIND —Book #1 of The Kingdom of Northumbria) is now with my editor. 😊

I've been stuck into writing over the past couple of months—with two manuscripts on the go—but have wanted to write a blog post to give some background about the setting of my upcoming novel.

In THE WHISPERING WIND my characters do a lot of travelling! 

Aelfwyn and Leofric set off from the northeast of England and travel down the Yorkshire coast to Whitby and then on to Lincolnshire. They finally travel back into Yorkshire to what is now York. Only the towns, villages and landmarks they visit are nothing like modern, or even medieval, England—as such the photos below only depict what these places look like now!

Britain in Anglo-Saxon times

So far, I've written six novels and a novella set in Britain's exciting 7th Century. My novels have focused on three kingdoms in particular (East Anglia, Mercia and Northumbria) but others such as Powys, Kent and the East Saxons also crop up in the stories. The Anglo-Saxon place names I use in my novels are far different to the modern names of towns, villages and landmarks. Not only that but the spelling varied hugely. For example, the Anglo-Saxon name for York was spelled Eoforwic, Eoferwic or Eoforīc—depending on the source.

Let's take a look at what England looked like all those years ago...

The tour: from Bebbanburg to Eoforwic

Bebbanburg (Bamburgh)
Today the mighty red stone fortress of Bamburgh looks out to sea from a high rocky headland. In the 7th Century it was called Bebbanburg—named after Bebba, the wife of the Northumbrian king, Æthelfrith.

In the period of my novel (mid 7th Century), Bebbanburgh looked nothing like today's fortress. Instead it would have been a great fort, built mainly in wood with gate houses at each corner. Inside the fort there would have been a large village of timber and wattle and daub dwellings, workshops and stables.

 'My' Bebbanburg (which first makes an appearance in Book #2 of The Kingdom of Mercia - Darkest before Dawn), also has a 'great tower' made of the same red stone as the rock upon which the fort stands. There's no evidence to suggest that Bebbanburg had a 'great tower'—however when I visited Bamburgh Castle I discovered that these great towers were precursors to Medieval keeps. So I decided to include one in Bebbanburg.

Lindisfarena (Lindisfarne)
Holy Island as it's now known has long been a setting I've wanted to include in one of my books. There's something incredibly mystical about this windswept island that's only accessible via a tidal causeway.

Lindisfarne is one of the United Kingdom's most iconic spots of religious pilgrimage—and the place the Vikings first came ashore.

Lindisfarne priory was founded in 635 AD by King Oswald. My current story takes place in 670 AD, so around 35 years after the priory was built. The monastery became the religious heart of the Kingdom of Northumbria until the Vikings sacked it in 793 AD. After that, the surviving monks fled and the monastery wasn't rebuilt until 300-400 years later.

I deliberately set this book at this time so that I could include Prior Cuthbert in the novel. Saint Cuthbert is one of the most important saints of Medieval England. After his death many miracles were attributed to him. Cuthbert only appears for a handful of chapters, I really enjoyed bringing him to life.

Read more about what Lindisfarne would have been like in my recent blog post.

Streonshalh (Whitby)
In 657 AD, King Oswiu of Northumbria (the father of the king in my upcoming novel) founded the abbey at Streonshalh. Today this location is the beautiful seaside town of Whitby. At the time, the abbey would have perched on the cliffs above a tiny fishing village.

Like the buildings in the locations above, the abbey would have looked very different to the ruins visible today. It would have had a wooden perimeter filled with a collection of buildings that included a great hall, a refectory, a weaving shed, the abbess's lodgings, an orchard—as well as a collection of huts where the nuns lived. Also, in early Anglo-Saxon times, monks as well as nuns dwelt at Streonshalh—the division of the sexes did not come till a bit later in history.

THE WHISPERING WIND begins around 13 years after Streonshalh Abbey's founding, at the time when Abbess Hilda (or Hild) lived there. She was the founding abbess and, like Cuthbert, was one of Medieval England's most important saints.

Lincylene (Lincoln)
I was born near Lincoln (in the market town of Louth) so this setting is very close to my heart. Lincoln was founded as a Roman fort called 'Lindum Colonia'.

Lincylene was the seat of the Anglo-Saxon kingdom of Lindesege (Lindsey). The King of Lindesege in THE WHISPERING WIND is called Eatta. He appears in the list of Anglo-Saxon monarchs for the kingdom although I could find no details about what kind of man he was. As such, my depiction of him comes entirely from my own imagination.

The settlement I describe in my novel is surrounded by a surviving town wall that was constructed by the Romans. The spot which currently has Lincoln's magnificent cathedral, housed the king's Great Hall and an early church built of wood and stone.

Eoforwic (York)
This town was an important hub during Anglo-Saxon England. Sitting on the confluence between two rivers: the Ouse and the Foss, Eoforwic was accessible by river to the coast (something the raiding Vikings later found very useful).

Like Lincoln, York has Roman origins. The city was founded in 71 AD, when the Ninth Legion conquered the Brigantes and constructed a wooden military fortress on flat ground above the River Ouse close to its confluence with the River Foss. Later it was resettled by the Angles in the 5th Century.

High wooden ramparts would have surrounded the town and there would have been a number of boat building and fishermen's huts along the banks of the Ouse. Like Lincoln, I placed the Great Hall and the town's church at the highest point overlooking the town. And like Bebbanburg, I created a low gate—through which you enter the town—and a high gate that houses the Great Hall.

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Looking forward to immersing yourself in these settings?

I should have a release date for THE WHISPERING WIND soon—so watch this space! 😊



Monday, 20 July 2015

How to create historical romance heroines that readers love

Readers tastes have changed. It used to be that a swooning, simpering heroine who lacks backbone, was not only commonplace in historical romance, but also acceptable to readers.

These days, that just won't fly.

Modern women are independent, self-directed and increasingly focused on interests beyond finding romantic fulfillment and Mr Right. Many just aren't interested in reading about women who lack spark - these days feisty is in, passive is out!

For historical romance, the challenge for authors is to create a female lead who is both true to the time, and someone modern readers can actually relate to. No easy task.

I write historical romance set in a brutal age - 7th Century Anglo-Saxon England. I don't shy away from the grittier details of the time, or the fact that women in that period were the property of men. My readers demand realism, they don't want stories tied up with a pretty bow. However, at the same time, they don't want to read about subjugated, abused women who have no rights, freedom or autonomy.

It's a challenge I enjoy...

I love creating believable female leads that my readers can relate to... and here are three guidelines that help me do just that.

  • USE ARCHETYPES NOT STEREOTYPES: women have been women throughout the ages. Just because our heroine lives in a time where women didn't have many rights doesn't mean she's a doormat. Feisty females have always existed - it's just that many didn't make it into the history books! Write about women you feel you could know. It doesn't matter what time she lives in, most women want friendships and a sense of fulfillment in life. Most of them want to love, and to be loved in return. Many have insecurities about their looks, weight or intellect. Stay away from cliche and make your women real.
  • FIGURE OUT WHAT SHE WANTS: whether she lives in a castle or a hovel, your heroine is not going to exist in a vacuum.What are her hobbies and her pet-hates? What are her goals, aspirations and dreams?  How do events, other characters, and the hero conflict with them?
  • DEVELOP RELATIONSHIPS: it's not just about the love story between the heroine and hero that matters. We learn a lot about someone by seeing how they relate to those around them. Siblings, friends, servants and pets - ensure your heroine has a network around her, so that the reader sees her as a 3D character.
I write about women who rarely get to choose their husband - yet none of my heroines are wimps. Even if it appears that our female lead has few choices at all in life. she still can retain her emotional and intellectual independence. Sometimes, she can also rebel.

Every time I pick up a historical or fantasy romance, I want to read about a heroine I can relate to on some level. Grace Draven, who writes fantasy romance, does a great job of this - I love her heroines. Sure, we live in completely different worlds to the heroines in these stories, but we're all women. Are we really that different?

And since, the majority of romance readers are also women, it makes sense to write for them!

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Sunday, 15 February 2015

My hero: Cynddylan, Prince of Powys


Great news - THE BREAKING DAWN has just come a step closer to publication! I've finished writing the manuscript and am now going through the editing process.

Calling it the 'editing process' makes the whole thing sound more painless than it actually is. Editing requires taking a hard look at the story you've created and, with the help of a talented editor, unraveling what works and what doesn't - and making the necessary changes.

It usually involves a few tears.

Every book is different. In one, the edits might be centered around the plot, in another conflict or characterization.

The majority of the edits in THE BREAKING DAWN are hinging on the latter: the characters.

A Welsh prince with an identity crisis

I've based my hero in THE BREAKING DAWN on an actual historical figure: Cynddylan ap Cyndrwyn - the Prince of Powys. Quite a mouthful I know, but basically Cynddylan (or Dylan as he's called mostly in my story), was a 7th Century Welsh prince who famously allied himself with the Kingdom of Mercia.

I initially drew Cynddylan as an arrogant flirt who, despite the fact he was a great warrior, hated war. Then, I wondered why he just wasn't working. Once I dug a little deeper into history, I discovered that the Prince of Powys had a fiery temper, was stubborn, and had a ruthless streak.

Unsurprisingly, once I reworked him using these details, Cynddylan came to life.

We don't have many historical details about Prince Cynddylan, although more than some of the other rulers of the time. Most of the details about him come from two famous poems: Marwnad Cynddylan (The Deathsong of Cynddylan) and the Canu Heledd (Heledd's lament), a 9th century poem in which his sister sings of her brother's death. Both are hauntingly beautiful, if grim, poems.

In a nutshell, here's what my research unearthed about Cynddylan:
  • He wore a mail shirt and purple cloak
  • He was fiery, stubborn, brave and ruthless - a great warrior
  • He went to battle alongside King Penda of Mercia, against the Northumbrian King, Oswald, bringing 700 warriors with him. They fought together in the Battle of Maserfield (Maes Cogwy in Welsh), in the summer of 641 A.D. The battle ended with Oswalds defeat, death and dismemberment
  • He died fairly young in battle and never married (I ignore this detail - it's a romance after all!)
  • He had 9 sisters and 12 brothers (I also ignore this detail - for the sake of the story - preferring to shrink the family to one sister, Heledd, and one brother, Morfael)
  • After the Battle of Maserfield, Cynddylan appears to have fallen out with Penda
  • Details around Cynddylan's death are hazy - he may have fought (and died) alongside Penda again at the Battle of Winwaed in circa 655 A.D. (We don't get this far in the novel - I prefer to leave Dylan's future open, for the reader to decide...)
 And in case you're wondering, here's how I imagine Cynddylan looks...

Cynddylan ap Cyndrwyn (played by the actor, Ioan Gruffudd), the Prince of Powys. Dylan (as he's known by most, in my story) led the Welsh army that came to Mercia's aid against the Northumbrians. http://www.jaynecastel.com/coming-soon

(Welsh actor, Ioan Gruffudd)

Watch this space for news on the actual publication date!

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Monday, 19 January 2015

The Breaking Dawn - first draft nearly complete

Writing is a long process - and (for me, at least), the most enjoyable part of it is writing the first draft. There's a magic in seeing the story unfold. I always loosely plan my novels before writing them - but I make sure I leave room for my characters to 'take over'.

THE BREAKING DAWN is nearly done, and I will be sad when it is.

Once the first draft is written, I do a thorough read-through and then the editing process begins. This can be anything from three to five drafts - depending on how many 'issues' my editor highlights with the story.

Shortly after that, I begin to wonder why I bother writing at all. Fortunately, that feeling soon passes and I roll up my sleeves and do the work needed to make the story as strong as it can be. Then, once the editing process is done, the proofing begins - a tedious but incredibly important stage.

While all of the above is taking place, I usually start dreaming about my next story, and the moment I hit the 'publish' button on Amazon KDP, I am itching to get started on my next writing project.

It's a never-ending process. You dream about a story. You write it, edit it and polish it - and then send it out into the world for others to enjoy. Sometimes I get so caught up in my latest project, that I forget about the books I have already written.

However, I do try not to neglect them. My last novel, THE DEEPENING NIGHT, has been well-received, and a recent Amazon giveaway helped get the novel noticed by historical romance fans.

Take a look at my latest review for THE DEEPENING NIGHT, up on Regan Walker's Historical Romance Review blog.

Tomorrow (21 January 2015), I'll be Regan's guest blogger, with a post all about Anglo-Saxon England, so keep an eye out for it - you could be in to win a free Kindle copy of the book!



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Would you like to read a prequel novella to the KINGDOM OF THE EAST ANGLES series for free?


Sign up to Jayne's monthly newsletter and receive a FREE copy of NIGHT SHADOWS (PDF format). Newsletter subscribers will also get sneak previews of upcoming novels, behind the scenes 'extras', snippets about Anglo-Saxon England, and podcasts from Jayne!





Saturday, 15 February 2014

Can you really set a romance in Anglo-Saxon England?

There aren't a lot of historical romances set in Anglo-Saxon England available. Viking and Medieval, yes - but not Anglo-Saxon. 

The Anglo-Saxon period covers from approximately 400 A.D. (with the departure of the Romans), until 1066 (with the arrival of the Normans). 1066 marks the beginning of the what we now call the 'Middle Ages'.

However, the Anglo-Saxon era can be divided between the post and pre-Viking periods. The 'North Men' began attacking the east coast of Britannia, on 793 A.D - when they destroyed the abbey of Lindisfarne on the North-east coast. This marked the beginning of the 'Viking Age' - that led up to the Norman conquest.

Now, there are plenty of Viking romances available. A quick search on Amazon will bring up a wealth of titles for anyone who loves reading historical romance set in this period. There are lots of steamy tales about blond Viking warriors abducting maidens, taking them home as slaves and then falling in love with them. Many romance readers can't get enough of these stories.

So why aren't there plenty of Anglo-Saxon romances available as well? 

Does this period not lend itself to love-stories as well as the Viking era?

I believe it does.

Anglo-Saxon Britannia is a period shrouded in a lot of mystery. It is not very well documented historically, as much of records of this period were destroyed during the Viking raids. Much of what we have learned about this era has come from epic poems, such as Beowulf. Writing in this period requires a touch of fantasy, a love for writing about raw emotions and big themes - with a touch of violence and bloodshed. These were gritty times, after all!

I write my historical romances exclusively in this era - 7th century Anglo-Saxon Britannia - and I love setting my romance adventures in this period. In fact, I'm always looking for books to read, set in this era!

My current series is set during the 7th century - during the last years of the dominance of the Kingdom of the East Angles before the rise of Mercia as a dominant power. My first book in the series, Dark Under the Cover of Night, was inspired by, and based around, the last year in the life of King Raedwald - the king thought to be buried in the famous Sutton Hoo longship in Suffolk. This novel's love story centers around Raedwald's daughter and her forbidden love for the son of her father's arch-enemy.

Dark Under the Cover of Night, in turn, inspired the following two books in the Kingdom of the East Angles series (which can all be read as stand-alone novels). The second novel, Nightfall till Daybreak, is centered around the reign of King Sigeberht (Raedwald's stepson), who comes back to Britannia to claim the throne from a usurper, after many years exile in Gaul. Here, the love story is between Sigeberht's most trusted retainer, and one of the king's slaves.

The third book (due to be released on Amazon in the next couple of days!) is The Deepening Night. This novel's love story is centered around King Annan of the East Angles (who takes the throne after Sigeberht is killed). Annan has been forced to 'bend the knee' to Mercia - and must marry the sister of a man he loathes in order to ensure peace for his people.

There are an endless supply of ideas for stories in the Anglo-Saxon period. 

It was a brutal time, in many ways; a time when men were warriors and women had to be very strong to survive. It was a time when Christianity was beginning to make in-roads into the local culture, conflicting with pagan beliefs, and bringing with it new ideas and influences. It was a time of powerful emotions: love, honor and vengeance.

If you love this period as much as I do - and enjoy reading character-driven, adventure romance set in a time when only the strong survived - why not give my novels a try? I love to hear from my readers, so please let me know what you think!

CLICK ON THE COVERS BELOW TO FIND OUT MORE!

      

Out on Amazon in the next two days!


Monday, 10 February 2014

Historical accuracy in novels - rabbits and getting your facts right

I'm in the final edits of my latest historical romance, set in Anglo-Saxon England (The Deepening Night) - and part of that process is doubling checking my historical facts.

I write historical romance that's set in a sketchy period of British history: 7th century Anglo-Saxon Britain. Many of the details we have about this period were actually recorded a few centuries (mostly by monks) after the events actually took place. The Viking raids on the eastern coast of England destroyed what few written records there were, and so historians have had a tricky job of pasting it all together.

This misty historical period can be both a blessing and a curse! It's a blessing in that, since I write historical romance, I can 'play' a little with history - shift one or two dates, and adapt historical figures and events to suit the purposes of my story. However, it can be a curse because checking details such as weaponry, food, habits, clothing and building materials can send an author round in circles. Everything is open to interpretation.

Take, for example, the issue of rabbits.

Now, I took it for granted that there were ALWAYS rabbits in the British isles. Rabbits play a huge role in my books set in the 7th century. Chicken wasn't part of the Anglo-Saxon diet, and foods such as potatoes, tomatoes, wheat and sugar would not enter Britain until much later. I mention rabbits as a major meat source, especially for the poor. Yet I also write about clothing and wall hangings made from rabbit skin. It was a fact I felt pretty sure on - but then I read something that made me break out into a cold sweat...

Some historians believe that the rabbit was not introduced to England until the Norman conquest.

Arggh! This meant that my references to bunnies - in all three of my books - was wrong!

Panicking, I dug a little deeper, before realizing - with enormous relief - that not all historians believe rabbits arrived after 1066. Instead, many insist that rabbits came with the Romans, who kept them fenced off in warrens and harvested them for meat and fur.

Here's an interesting article from the Telegraph, explaining the archaeological evidence that proves that rabbits - or 'conies' as they once known, arrived with the Romans.

Massive sigh of relief - I had not been putting my readers after all!

This might not seem a big deal but getting historical details right is important, both for authors and readers. Don't be fooled into thinking readers of historical romance don't know their history - they do! However, for writers of historical fiction, it can be easy to get your facts wrong - especially when dealing with everyday details, facts that we take for granted.

Hence, I will never look at the humble bunny in the same way again!

Sunday, 15 December 2013

What’s your perspective on love?

One of the best things about picking up a book by a romance author you’ve never read before, is discovering a different perspective on love. The plot-lines of romances are deceptively simple, in that they are all about a couple that fall in love. However, it is the complexity of the developing relationship between the main characters, and the uniqueness of their love, chemistry and story, which makes romance such a well-loved genre.

Each romance author focuses on different aspects of love. For some, the ‘getting together part’ happens early on in the story, as deepening the relationship is the part these writers enjoy focusing on. Kathryn Le Veque (who writes epic medieval romances) does an excellent job of this. Others write ‘love heals all’ novels, in which our couple leave painful pasts behind with the assistance of their newfound love. Then there are those where the main characters learn to accept who they are through love; and others where the lovers must grow as people before they can truly be happy together.

Each reader also has their favourite approach to the telling of a love story. I particularly enjoy the ‘calm at the end of the storm’ approach to romance. The whole book is a whirlwind, an adventure, before our lovers are finally able to be together. It’s for this reason that I read – and write historical romance.

If you're a historical romance writer, what perspective do you take on love? It might be something you've taken for granted; it's only when we step back from our own work that we notice there is, indeed, a pattern to the themes we write about and approaches we take.

The period I write in (7th Century, Anglo-Saxon Britannia), lends itself to ‘love through adversity’ tales. Life was hard in Anglo-Saxon England – only the strong survived! Men were tough, and even the gentle ones had to be warriors. In this period, war, feuding and the hardship of getting through one winter to the next, made even daily life a challenge. This said, it was a magical era; the age that brought us epic poems like Beowulf, a culture that inspired writers such as Tolkien.

My romances are about strong men and women, kept apart by circumstance. In many cases, they start off with plenty of reasons to hate each other, but it’s the setting that provides their greatest obstacle. Conflicts such as blood-feud, slavery and arranged marriage play huge roles in my Kingdom of the East Angles Series.


The beauty of setting a novel in such a distinctive period is being able to completely immerse yourself in a unique world. It’s more than just researching the history, customs and clothing of the period – but about creating conflicts and characters that could never exist out of that time and place. 

My perspective on love, and one that I share through my writing, is that it’s an adventure – a journey rather than just a destination – what’s yours?

Thursday, 17 October 2013

The Deepening Night - the new book of the Kingdom of the East Angles is underway

Starting on a new book is always an exciting moment for any author. It's the rewriting, editing and polishing process that gives one grey hairs, and makes you wonder why you put yourself through it.

Of course, you know exactly why you do it - to be able to see your story come to life, and for others to read and enjoy the novel once its finished. At least, that's why I write. I love sharing my stories with others.

The Kingdom of the East Angles series has, in many ways, been very easy to write. These days, I plan and research meticulously before I ever sit down to write. I employ a far more 'businesslike' attitude to my writing. I schedule writing time, and I stick to it. I also keep records of my writing, so that I can get a sense of when, where and how I'm most productive. Plus, it helps that these stories are gritty, romantic adventures set in my favorite era - they're great fun to write!

I'm very excited about my new project - the last of The Kingdom of the East Angles series - The Deepening Night.

The Kingdom of the East Angles is a series of historical romance novels set in Anglo-Saxon East Anglia. These are stand-alone novels set around the lives of actual East Anglian Kings: Raedwald, Sigeberht and Annan, and spanning eight years, from 624-631 A.D - at a time when the East Anglian kingdom's power was beginning to wane under the threat of Mercia.

Dark Under the Cover of Night, the first story in the series, begins in 624 A.D. The novel takes place at the end of King Raedwald reign (the king thought to be buried in the Sutton Hoo longship), and is the story of Raedwyn and Caelin: lovers who are kept apart by feuding fathers. The second novel in this series 

Nightfall till Daybreak, takes place five years after the first story. This novel is centered around King Raedwald's stepson, Sigeberht, who returns to Britannia from exile in Gaul to take back the East Anglia throne for the Wuffinga family. This is the tale of Freya and Aidan, a slave and a warrior, and of the king who rules their fates. 

The Deepening Night is the third, and final, story in this series. This tale begins in the spring of 630 A.D., and is the story of Annan - the proud East Anglian king who must 'bend the knee' to Mercia - and Saewara, the sister of Annan's enemy. 

Here's a sneak peak at the cover art for the novel. Click on the image to find out more about Annan and Saewara's story.

Right - back to writing!



Thursday, 25 October 2012

The magic of setting a romance in Anglo-Saxon England

When writing my first historic romance, there were two things I was sure of: that I would set the tale in Anglo-Saxon England, and that the story would center around King Raedwald – the king thought to be buried in the Sutton Hoo burial site near Woodbridge, Suffolk.

I love British history and when I studied Medieval and Anglo-Saxon literature at university, the culture and way of life of these periods fascinated me. Contrary to what many might think, there was a vast cultural difference between Anglo-Saxon and Early Medieval England. Anglo-Saxons lived in the period before the arrival of the Vikings and, later, the Normans. The Anglo-Saxons themselves had once been invaders – blond bullies from across the sea who attacked, pillaged and burned their way across Britannia before settling it, and pushing the native Celts north and west. Their arrival coincided with the departure of the Romans, who after five centuries, had decided to abandon their northernmost colony.

My story begins in 624 A.D – Britannia was largely pagan at this time as Christianity was in its infancy here. Anglo-Saxons worshipped the likes of Woden, Thor, Freya and the Roman cult of Mithras and lived by the pagan calendar of seasonal celebrations such as Yule and Beltane. They inhabited a violent world and believed that wyrd, fate, ruled the course of their lives. No dungeons or prisons existed at this time – rulers dealt with those who opposed them by exile, maiming, beheading or hanging. It was also a world of mystery and superstition – so it’s not surprising that this period influenced the likes of Tolkien. Although men dominated the Anglo-Saxon world, the women were also a force to be reckoned with and the rules of propriety and courtly conduct that came with the Norman conquest did not exist in Anglo-Saxon England. It was not a classless society, but far less stratified that Medieval England. A man, if favored, could move up through the ranks; or down if stripped of his title.

The history and landscape of Suffolk has always been close to my heart. My mother grew up in this area and I still have many relatives scattered around Woodbridge. Suffolk is a county of huge skies and a gentle, flat landscape. Marshes, woods, farmland and a beautiful shingle coast stretch for miles and, even today, it is a peaceful, forgotten area of England. I visited the Sutton Hoo burial site years ago, and was fascinated by this Saxon longship full of treasures, including the famous Sutton Hoo helmet. Many believe King Raedwald, the legendary King of the East Angles, was buried here. Upon visiting the site, which sits close to the banks of the River Deben, I felt my imagination catch fire. What if King Raedwald had a daughter? What if his daughter fell in love with the son of his archenemy? What if the story took place over the last year of Raedwald’s life and culminated with his burial on the shores of the River Deben. The idea for Dark Under the Cover of Night was born.

The Anglo-Saxons were great storytellers, although much of it was oral and told through songs. They loved stories of brotherhood, battles, quests, vengeance and valour – as seen by classics such as Beowulf. They spoke Old English, a lyrical, expressive language, ideal for epic tales. I use many Old English words throughout my story, as there were times when the modern English translation just didn’t do a word justice. The novel’s title Dark Under the Cover of Night is a translation of a line from an Anglo-Saxon poem, The Wanderer: genap under nihthelm.

To give you a final sense of the magic and beauty of this time period - which is why I set my historical romance here - I will leave you with the poem in its entirety:


Hwær cwom mearg? Hwær cwom mago?
Hwær cwom maþþumgyfa?
Hwær cwom symbla gesetu?
Hwær sindon seledreamas?
Eala beorht bune!
Eala byrnwiga!
Eala þeodnes þrym!
Hu seo þrag gewat,
genap under nihthelm,
swa heo no wære.

Where is the horse gone? Where the rider?
Where the giver of treasure?
Where are the seats at the feast?
Where are the revels in the hall?
Alas for the bright cup!
Alas for the mailed warrior!
Alas for the splendour of the prince!
How that time has passed away,
dark under the cover of night,
as if it had never been.

Excerpt from ‘The Wanderer’
Translated from Old English