Meet historical fiction author, Elizabeth Bailey

I am really delighted to invite my fellow Sapere Books author, Elizabeth Bailey, as my guest this month.

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Welcome, Elizabeth!

My first question has to be where did your love of storytelling and writing begin?

My father read to us and my older sister made up stories for my brother and me, thus fostering an early interest in literature. I can’t remember when stories were not part of my life. Difficult to recall when I began to write them. In school, for festivals, and for pleasure.

My first fairy tale featured a hero who had to rid the lake of a plague of giant spiders in order to win the princess – hence romance. But the darker side was there too in an epic tragi-poem of a sailor who murders the mermaid who loves him. Shades of the future there?

There is a touch of horror in there for me too – spiders!

Do you find switching between the two very different genres of romance and crime keeps your writing fresh?

To be honest, I don’t switch much. I’m either writing romances one after another, or mysteries ditto, whatever happens to be driving the bread and butter. I contributed to anthologies with five other authors, producing a string of Regencies which became the Brides by Chance Regency Adventures. My Lady Fan mysteries had languished when I lost my first publisher. When Sapere picked them up, I began a feverish assault on those and haven’t swapped back yet. I write the occasional snippet of something completely different when the mood strikes.

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You touch on the paranormal in some novels, is this an area of research that you find fascinating?

I am absolutely sold on the supernatural. Powers above the norm, which I believe we all possess if we can access them. Telepathy is everywhere. You think of someone out of the blue and then they ring you up. Magic. Saying which, I was hooked on the Harry Potter series and I’m a sucker for fairy tales. As for past lives, we have all lived many times before. Far too much proof for doubt. One of my paranormals is based on an incident from one of my own past lives. I have no truck with the prevalent one-life belief!

That is fascinating. I admire your certainty.

In the ‘Lady Fan Series’ your protagonist is a woman who has to overstep the conventions of a lady in her day. This is a difficult challenge for an author and is a factor I also try to balance. How do you enable her to complete her investigations in a credible way for the period?

This is why I gave her Lord Francis. He is both husband and champion, her protector, and he can go where Ottilia can’t. If she does venture where ladies don’t, she is always accompanied by a stout male guardian – Francis or her Barbadian steward. Nevertheless, she still gets into dangerous situations. Her medical lore is gained from helping her brother doctor Patrick, with whom she lived for years before her launch into solving murders.

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Her background is “the middling sort” – genteel but not moving in the first circles. She observes the aristocratic milieu she is now in with an outsider’s eye, and she is free of the shibboleths governing the behaviour of ladies in that strata. That’s why she oversteps the bounds of convention, relying on her status for impunity. She has married into the elite where eccentricity is tolerated. In other words, she gets away with it!

Writing a series with recurring characters means that they have to continue to grow and develop with each new novel. How do you keep track of their biographies so that this development is consistent?

Wow, I have no idea! Every story has its own “bible” with cast, places, etc and snippets of potential plot, all of which I add to as I go along. The basics are copied into the new bible for a new book. If I’m missing one, I get it from an old bible. I probably ought to keep a spreadsheet, but I know I’d never manage to keep it up! I’ve always written this way – a cast/plot document and a text document, plus research docs, discarded text in a temp doc in case I need to retrieve it.

How I keep track is a mystery, but I do. So far. The characters who keep coming back are a fistful really. When other family members intrude, it’s usually in a minor way and about the only thing I have to figure out is how old they are now. Francis and Ottilia have developed without much help from me. They evolve story by story. I do enjoy their relationship. They have their ups and downs, but I find readers are engaged by their enduring love story.

When I began the series, I determined to marry them off after the first book because a personal bugbear of mine is those off/on romances that persist through a whole series. Why can’t they just get it together? Instead, I decided to give each story a secondary romance, but in the event, it turned out my hero and heroine are still very much the romantic couple in every story. I didn’t plan it. They just are, those two!

You have had some fascinating career roles to date: acting, directing, teaching and of course writing. Has each one contributed something to your current profession of being an author?

Absolutely. Theatre has shaped my writing. Dramatic structure parallels story structure in terms of build-up, highs and lows, climax and denouement, not forgetting cliff-hanger scene endings, “curtain” in drama. There’s also motivation, emotional journey, conflict (inner and external), character, dialogue, sub-text – the spaces between the words and character introspection. As an actress, these things became part of me. As a teacher, I had to dissect them. Ditto as a director, viewing my “staged drama” as a whole moving picture. The difference is that words encourage the reader to watch “the play” in their imagination.

You have been blessed with cross-cultural experience and travelled widely throughout your life. Do you agree that these aspects of life help to deepen an author’s ability to create engaging characters and plots?

I think it has given me a large tolerance of other cultures. Perhaps most telling, an understanding that human nature is pretty much the same, nation to nation. Such cultural differences as there are consist by and large of moral standards and artistic appreciation. But the human condition is what it is throughout. We all run the gamut of emotions and struggle with our personal demons as we try to survive. Observation enables you to engage as you mirror the inhabitants of the world around you.

Who or what would you say has had a strong influence on your life/work ethic?

My values echo my father’s. A true gentleman, he had wide tolerance, liberal ideals, intelligence. Articulate, funny, considerate and kind, he was a big teddy bear to me. As to work ethic, I imagine my mother’s bundle-of-energy personality must have rubbed off on me. Not that I could keep up! But I do have her drive to push through and get things done.

You have been published and self-published. What would you say are the main advantages or disadvantages of each?

Oh, this is a hard one. These days, you can’t talk of leaving promotion to others because both avenues require you to play your part in touting the books. I think traditional publishers help with visibility and take the burden off in terms of editing, proofing, formatting, book cover design and initial launch. On your own, you have to do it all and that’s tough. On the plus side, you have artistic control and personal satisfaction, even if sales are not as easy to promote.

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What advice would you give your younger self if you could as you set out on a life as an author?

Well, this is interesting because I am constantly giving advice to new authors. I’m not sure I would give the same advice to my younger self because things were very different in publishing when I started out. I had also already struggled to make it as an actor so persistence was not new to me. I think I would say: “Just do it. You’ll regret it if you don’t.”

What is next for Elizabeth Bailey?

Here’s where I reveal the dream! If I get my dearest wish, it will be a TV series of Lady Fan. That would put the icing on the cake of my writing career.

Thank you for taking the time to answer all my questions and I wish you every success in your career and in life. I hope you realise your dream!

 

 

 

Catching up with Nicola Cornick!

 

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Welcome back, Nicola!

Thank you very much! It’s a pleasure to be here.
What have you been doing since you stepped down from being chair of the RNA?

It was only after I stepped down at RNA Chair that I truly realised what an intense two years it had been so the first thing I did was to go on a long holiday, which was a wonderful break and also a way of marking the end of what had been a very important and significant part of my writing life. Then I came back and got stuck into my latest manuscript which is a dual time novel set in the 15th century with the mystery of the Princes in the Tower at its heart.

The role of RNA Chair was one I enjoyed enormously and I did all I could to further the cause of romantic fiction during my time on the committee, but I was very happy to hand it on to the next generation of romantic fiction writers. They are doing a truly stellar job during the most difficult and unpredictable situation that could have hit us all and I admire them so much for it, and all the member of the RNA who are making this 60th anniversary year very special despite the challenges.
What was it about the protagonist’s story that attracted you to the lady behind The Forgotten Sister?

My dual time fiction centres on women whom I think of as being in the footnotes of history, those characters whose stories have been told usually from a male perspective or not at all. In this instance I was drawn to Amy Robsart, wife of Robert Dudley who was, of course the favourite of Queen Elizabeth I. Both Elizabeth and Dudley are big characters whose love story tends to dominate the narrative and Amy is usually portrayed, if she’s mentioned at all, as a helpless victim who dies in mysterious circumstances. I wanted to give Amy some agency and tell the story of her life and death from her own perspective, and also to look at how the legend and myths about her grew after her death.

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How did you learn about the history of Lady Diana Spencer of The Woman in the Golden Dress?

There’s a room at Lydiard House in Swindon, where I am a trustee that is devoted to Lady Diana Spencer and her artistic work. The very first time I stepped into the “blue closet” as it’s known, I was enchanted by her drawings and the designs she did for Wedgwood. I went away to read more about her and her life. It was intriguing to discover that not only was she an ancestor of the late Princess of Wales as well as her namesake, but that their personal lives had some uncanny parallels.

 

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What are the specific challenges of writing an absorbing dual time novel?

For me the challenges are huge, firstly because I’m not by nature a planner but a dual time novel really does need careful plotting in order to weave the two timelines together successfully. Then there’s the challenge of fitting what is essentially two stories into one book and giving them both sufficient depth. Also, there is the issue of making sure that the present and the historical strands are both equally compelling. Most authors have a preference for writing one over the other but it’s our job to make sure the readers enjoy them both equally.
What do you do to stay fit – physically and mentally in this lock down situation?

I find that my physical and mental health are connected even more closely than usual at the moment. We’re all under enormous stress and living through an unprecedented situation and we all have to find the means to cope. I make sure that I take a walk each day – I’m fortunate to have a dog so I always have a walking companion and we’ve been exploring all the walks in our local area. I also do a Pilates class each week via zoom and an additional workout each week. That’s about the best I can do as I have an auto-immune condition that varies considerably from day to day in its effects; if I’m not feeling great, I will still go out and sit in the garden so I get fresh air and sunshine.
Mentally I find that having a schedule each day helps me to concentrate and I also limit the number of times I watch or read the news. Keeping in touch with friends and family remotely and having the dog to cuddle are the other two essentials for me!
How has the current situation affected the voluntary work you do with the Guide Dogs?

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We’ve had to put our work with Guide Dogs on hold at present as it isn’t possible to train puppies in all of the things that they need to do with shops, libraries and other venues closed and travel at a minimum. Fortunately, it’s still possible to do plenty of training in things like obedience, and to keep dogs entertained and interested with other games and activities! There’s going to be a lot of work to do when we’re all allowed to go out again!

I wish you, your new novel and hope that you and guide dog, Lucy, stay safe and have lots of hugs! 

 

In Sickness and In Health

In Sickness and in Health
Class prejudice is inbuilt within our culture going back centuries. In In Sickness and In Health Sophia and Isaac are meant to be together, but like so many people whose love was thwarted within the early nineteenth century, propriety, social divisions, war and need prevented this from happening.

Survival of the under classes depended upon their good health and equally good fortune as there was no health care, and knowledge of the human condition was limited, superstition and trial and error were rife. Therefore, being healthy to provide a living was essential. Isaac can provide for Sophia through his good fortune and hard work, but will not be a ‘cripple’ and a burden to her.

He and Sophia are a love match. However, he would not have dared approach Sophia if she had not been so open and honest with her desire for him. Naivety and youthful passion resulted in Isaac being sent away; his father dies in his absence. Yet, Joshua was forever proud of his son and would only wish Isaac happiness with Sophia.

Love finds a way, but at a high cost.

I have always been fascinated by the major changes that happened in the early nineteenth century. It was a period of great conflict and change: a time of war, pressgangs, and extreme social, agricultural, religious and political changes. All these impacted on the ordinary people who were left behind, whilst the wars with Napoleon dragged on.

The countryside was changing as mills were being built and cottage industries suffered, along with their communities. The population gravitated to these places of work and life in the countryside changed.

The government taxed its people harshly, whilst still fearing the possibility of a revolution as had happened in France. It was hardly surprising then that smuggling and opportunists abounded, yet in plying the trade they gave coin to an enemy. Some gangs were known for their violence, others were less so and merely supplied a ready market that crossed over social rank and was often funded by a moneyed man.

With the onset of the Industrial Revolution, Luddite activities and the growth of new money, lives were changing and the old money was feeling threatened.

In the cities ‘society’ had strict rules: influence and connections were so very important.
In my books the settings are more remote. These influences mean nothing when a character is dealing with survival, either their own or someone who they have met. So boundaries are crossed, rules of society are broken or are made irrelevant.

Most of my titles are set in an area of the country that I love: North Yorkshire, with its beautiful coast and moors.

My villages of Beckton and Gorebeck are based upon typical North Yorkshire market towns, such as: Guisborough, Yarm, Thirsk, Helmsley. By 1815 both have their own small mills situated just outside the towns.

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Ebton is based on the well known Victorian town of Saltburn-by-Sea,only my version is as I imagine it to have been at the turn of the nineteenth century.

Love is a timeless essential of life. Throughout history, love in all its forms is a constant: be it passionate, caring, needy, manipulative, possessive or one that is strong enough to cross barriers of culture or faith. When two souls meet in a situation which takes them out of their normal social strata or into a shared danger, a relationship forms as the adventure unfolds.

If you have enjoyed reading any of my titles I would really appreciate it if you could take a moment to leave a review either on Amazon or Goodreads, or wherever you wish.
It is helpful to read feedback and I am always interested in what my readers think, or would like to read next.

Stay safe in these difficult times everyone wherever you are in the world!

If you are a new writer or need advice on a work-in-progress I also offer an independent manuscript appraisal service and/or mentoring, always aiming to give constructive and professional, honest feedback. I have worked as a creative writing tutor for over fifteen years. You can contact me here for information and fees.

Meet bestselling author, journalist, interviewer, tutor, agony aunt and speaker, Jane Wenham Jones

Welcome, Jane!

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You grew up with quite a varied and strong literary heritage in your family. Were you encouraged to write and develop your own ideas from childhood, surrounded by books and such talent?

Yes, I was always encouraged to read and to write. My father wrote some textbooks (he was an English teacher), my mother writes poetry, my grandfather Frank Brookesmith had a memoir I Remember the Tall Ships published in his 80s (Foyles put on a window display!).  And his daughter, my aunt Shelagh Macdonald, won the Whitbread Prize (as it was then) for the Children’s Book of the Year back in 1977. Sadly,  she now has severe dementia and her decline was the inspiration for the mother in my last novel, Mum in the Middle. Uncles various have also been published in different ways and a couple of cousins are journalists. So writing was always seen as A Good Thing.

When did your first break as a published writer happen? Was it non-fiction or fiction first?

Short stories for women’s magazines. I started writing these when I was at home with a toddler and my brain had all but atrophied. When that toddler locked me in a cupboard and I had to talk him through phoning 999* to get me out, I realised how many stories there are all around us. And ended up publishing about a hundred of them. (For the full dramatic saga see my first non-fiction book Wannabe a Writer?)

Of all the impeccable research you have completed, is there one project or person that has intrigued, touched or surprised you more than you expected?

I often seem to include a storyline about some form of mental illness. That is in my family too.

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Many of the real issues such as dementia and cancer included are very serious and are given total understanding and respect for the impact they have on the character diagnosed and those supporting them. How do you balance this with the overall tone of your books which is humorous and optimistic?

It’s odd isn’t it, really? But humour has always been my way of getting through. There is a lot of black comedy in the worst things that happen to us, if you know where to look. And I think it is possible to still find humour and optimism in everyday life even when the chips are really down. So I suppose I don’t have any problem writing about bleak issues and amusing encounters side by side.  I recently found some parodies I wrote for my sisters after  our parents had split up in my late teens, and everyone was being even more bonkers than usual, and they made us all laugh hysterically all over again  – even though it was all quite appallingly  dysfunctional at the time.

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You capture the essence and conflicts within strong female friendship groups well. Have you been strongly influenced by female friends/peers in your own life?

Friends are everything. Both the male and female variety. But I have some wonderful women friends who have been amazingly supportive to me. Both in the publishing world – lovely pals in the RNA for example – and in my personal life.

Over the course of your novels have you noticed the social trends affecting women changing dramatically such as: the boomerang effect, empty nesters, and the sandwich effect between younger and older generations?

Absolutely! I was very aware of this when writing both Mum in the Middle and The Big Five OWomen in their forties and fifties can no longer be pigeonholed. I wrote recently that my earliest memory of my grandmother was of  a tiny, silver-haired old lady who wore a pinny, was keen on gardening and polished the teapot a lot. I calculate now that at the time, she was younger than I am! Her parents were long gone and all of her four children had their own homes. Today women of this age will still have ambitions for their careers, might have teenagers at home, or kids even younger, or be supporting adult offspring who can’t afford a place of their own. They’ll still expect to scrub up well for a hot night out, will probably go to the gym, or dance classes or be training for a marathon, and may well be online dating.  Just at the time when their elderly parents start kicking off! We are the stretched generation – in more ways than one!

I’ve also had reason  to revisit my third novel that was published in 2005 – One Glass is Never Enough. Re-reading the opening pages – which is a party scene –  for the first time in a decade, I was struck by how some of the sexual banter I had included would be considered  unacceptable in the current climate. The world has moved on a pace since I started writing – which rather dates me, doesn’t it? 🙂

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What has being a member of the Romantic Novelists’ Association meant to you over the years?

A great deal. Prominent members like Katie Fforde, Jill Mansell and Judy Astley have been exceptionally kind and supportive to me and when I first pitched up to a conference knowing nobody, Catherine Jones made me laugh till  I cried.  So many, many lovely RNA members have become good friends  and are a constant source of inspiration and joy. I have especially loved acting as compere at the RNA awards for the last eight years. It is one of the  annual highspots.

What was the most important piece of advice that you were given that you would like to pass on to as yet unpublished writers?

 “Get the story down.”

But my own best piece of advice is: Marry someone rich!

Each author has their own favoured way of working. Do you have a strong work ethic: rise early, write late, or with such a hectic and varied schedule work as you move from event to event?

Oh it’s utter chaos. If I’m on a deadline, I get myself out of bed early and glue myself to the chair – out of sheer panic. But generally, on a day at home, I potter about, and tidy the airing cupboard, think I’ll make some bread, send emails and then suddenly – EEK – it’s 4pm and I’ve not even opened the manuscript. But I do do a lot of different things – so it is quite hard to stick to a rigid routine. I usually get there in the end.

How and when did you venture into interviewing and public speaking?

The speaking came about from being asked to talk to a local  “Ladies’ Dining Club” when my first novel was published.  I think they were a bit shocked – usually they had someone talking about flower-arranging or the history of the rubber stamp. But I had a really fun evening and then I got other bookings from word-of-mouth. The Rotary and Rotarians and such-like .

The interviewing started when I’d been on a panel at the Guildford Book Festival and the then director, the late Glenis Pycraft, invited me to chair a similar panel the following year. It grew from there and now I work at several different festivals each year and am a founder member of BroadstairsLit here where I live, which is huge fun.  I really love interviewing on stage. And I’ve been lucky enough to chat to a lot of top authors.

Do you embrace technology and social media with enthusiasm?

I would like to! But I’m not the best at it. I enjoy twitter (@JaneWenhamJones) but I’m a bit sporadic about it – so I’ve never really built that  up. And I’m hit and miss with facebook also – it’s all feast or famine.  I don’t fully understand how to best utilise my author page either (yes I know I should find out but it’s too easy to lose your life in this stuff.)  I’m envious of people who seem to just slide it in to their lives and have zillions hanging on their every word.  For example, I love Instagram –  which I came late to – but still haven’t properly grasped this “my story” business. I need a friendly seven-year old to instruct me…

What has been the highlight of your writing career to date?

I always think that the wonderful thing about this game is that every day there is the potential for something uplifting to happen. A foreign rights sale or a lovely review or a little surge in the amazon ratings. The are all highlights at the time.  It was exciting when Prime Time was shortlisted for the RNA awards some years ago and when Perfect Alibis was optioned by the BBC. Tho unfortunately that came to nothing in the end. Playing the chat show host for Peter James at Brighton’s Theatre Royal to an audience of over 700 was pretty fab…

What are your inspirations or ambitions now?

Oh the screen rights, my own TV show – you know the usual modest stuff… 🙂

 What project are you currently working on?

                             A 10th book and the 2020 programme for BroadstairsLit

 

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I love your hairstyle and wondered if there was a point when you decided that you were going to redefine your image, or if it was something that has just developed over time?

It started with my very first novel Raising the Roof.  I thought it would be a laugh to dye my hair the colour of the book jacket – which was turquoise and purple, as they all were then! You couldn’t get the fun colours you can now, so I had hair extensions put in, in the right shades and thus begun my love affair with multi-coloured locks. Everyone’s at it these days but I was a pioneer! People used to stop me in the street to comment on it.

What do you do to keep yourself fit away from the computer and to relax?

Yoga, walking, reading – of course. In the summer I play bad tennis if I can find anyone equally bad to join me. Two years ago I took custody of a tiny, flea-ridden, runt-of-the-litter black kitten and I have turned into a mad cat lady with bells on. Much time is spent admiring the now-huge-and-glossy creature that is Nugget (named by my son after a hop they make real ale with – spelled with two Ts – and not a deep-fried chicken snack) and attending to his every whim.  He totally rules the roost and has brought me huge pleasure. I definitely feel calmer and happier since he’s been around. Even when he wakes me at 3.am with a mouse in his jaws…

What is next for Jane Wenham-Jones?

A nice glass of Macon blanc villages I think…. possibly with some crisps….

Many thanks for taking the time to answer all of my questions and sharing some insight into your amazingly varied world.

I wish you every success in 2020 – Merry Christmas, Jane!

And to you – thanks for having me xxxx

Meet best-selling author, Lorna Cook

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Congratulations Lorna on winning the Joan Hessayon Award with your lovely novel The Forgotten Village. You must still be thrilled! When did you first decide to write fiction or have you always been a natural story-teller?

Thank you for the kind congratulations! I wrote my first (unpublished and never will be) novel in 2016. It was a pure historical romance and was very very bad. But I managed to learn so much from writing it and also from having it critiqued privately so I knew the silly mistakes I was making such as head-hopping, and knew not to transfer the same mistakes over to anything else I wrote. While I was writing the very bad novel, I had the idea for The Forgotten Village. I finished the very bad novel, just to prove to myself I could finish something, filed it away and prayed no one would ever find it and then after a bit of breathing space, in 2017 I began The Forgotten Village. I had just joined the RNA via the New Writers’ Scheme that January and so I was determined that I would have something to submit by the August deadline. I managed to finish it in time.

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Were you fortunate to gain publication of your first novel or has it taken a while to achieve your goal?

I have been very lucky. The Forgotten Village went out on submission to a handful of agents in February 2018 and I met with a couple of lovely agents before meeting Becky Ritchie at A.M. Heath. We worked together on the manuscript with a few key changes. Three months later Becky and her team had found me homes with publishers in the UK, Germany and Netherlands.

How long ago did you decide to write about the village of Tyneham and what inspired you about its history?

The village is utterly intriguing. I don’t know a single person who hasn’t been entranced by the real story of Tyneham, the village requisitioned in entirety in WW2 and never given back. I stumbled across an article in a national newspaper about how the village looked now (decimated) compared to how it looked before it was requisitioned (thriving) and I fell down an internet research rabbit hole. Once I’d researched I just knew the story I had in mind – about a woman trying to leave her husband in the middle of the war and a modern-day heroine on a mission to discover what happened to the woman in the past – had to be set in Tyneham during the frenzy of requisition.

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Will you be writing more books in this genre?

Yes, my second novel The Forbidden Promise is out in March 2020 and is set in the Scottish Highlands. (It’s available to pre-order now, she says shamelessly.) It moves between WW2 and present day as the modern day heroine, Kate arrives at Invermoray House to find that a woman who lived there eighty years ago has been all-but removed from the family history.

Did you find it difficult to keep the story predominantly as a romance as there is a very strong mystery element?

Yes and No. I found lots of things difficult when writing The Forgotten Village! The key challenges in writing a book like this are that I adore it when a romance springs as a by-product of something else, especially a mystery. It’s a challenge to develop characters a reader will root for, develop a romance a reader will enjoy, create enough intrigue to keep them reading two timelines and then to give them a conclusion to all of it they’ll feel satisfied with. I have to do that for two timelines! And so essentially, with each section, the reader gets half the book so it’s quite condensed. I learnt to write succinctly because at 100,000 per book, it’s only really 50,000 words in the past and 50,000 words in the present. It’s a bit exhausting my end! A big glass of wine gets drunk in this house at the end of a writing day.

Are you very disciplined in the way you organise your project from research through to finished manuscript?

Yes. I plan the past section out intricately because it’s the past section that informs the mystery element of the present sections. I tend to plan the past sections and ‘pants’ my way through the present sections while knowing exactly what twists and turns there will be. See above comment about wine 😉

You obviously love historical fiction and research your chosen topic thoroughly. What advice would you give to anyone who was considering writing an historical or dual time novel?

I would echo some great advice I read by historical fiction authors, which is don’t get too wrapped up in the research in the early stages. Just write the story and if there’s a fact you don’t know just shove ‘XXXX’ into the manuscript. Then when you’ve finished your first draft and need to give yourself some breathing space, that’s when you can go off and start looking up all the facts you don’t know the answer to such as, ‘when did petrol go on the ration?’ or ‘what was the tape that criss-crossed the windows for air raids called?’ Also, researching all the nitty gritty afterwards means you won’t be tempted to put huge swathes of (probably rather boring) research into your manuscript that just slow it down. I can now tell you everything you want to know about requisition orders in WW2 but purposefully put very little of it into The Forgotten Village because…yawn.

What does being a member of the RNA mean to you?

It means so much. First and foremost, it’s friendship. After I finish writing this I’m off to see my buddies at the RNA Chelmsford Chapter for our monthly lunch. I’ve not been since January because I’ve been knee deep in writing The Forbidden Promise and on a very intense deadline and I’ve really really missed catching up with everyone.

Secondly, it’s the events and talks which have really educated and informed me these past couple of years. The conferences are so well thought out. The RNA gave me such a boost to my career via the NWS critique and then winning the Joan Hessayon Award has been phenomenal. The association is so well thought of in the industry and I’m incredibly proud to be a member.

What do you do to switch off from writing/researching/deadlines?

Reality TV! Isn’t that embarrassing. Made in Chelsea and The Only Way is Essex. Often back to back. For hours! I’ve also just discovered Real Housewives of Cheshire and I am HOOKED! Glamour and drama and some fantastic dialogue. I do find myself listening to some great lines and wondering if I can pinch them for future novels, especially when the blokes apologise for cheating or when they try and hit on a girl. Marvelous stuff.
On a more healthier note, I walk the dog and listen to podcasts or audio books and I love swimming because I can really switch off. Also there’s nothing like curling up in bed and reading a good book.

Do you embrace social media or control the time spent on it carefully?

I’m pretty good at switching off from social media. I post on Facebook, Instagram and Twitter a couple of times a week. I’m more of a social media voyeur though. I cruise in, look around at people’s posts, cruise back out and it was like I was never there.

What is next for Lorna?

Book 3! Oh the fear. This one is going to be a bit meatier, I think, than The Forgotten Village and the upcoming The Forbidden Promise. It’s set in a location quite close to a lot of people’s hearts and so I need to research to within an inch of my life beforehand, which is the very thing I recommended above that people don’t do! However, on this occasion, the timeline of events is something that I need to get absolutely right from the start and so I have covered the walls of my office with sheets of paper and am planning very intricately what happened on which dates as I prepare to weave a plot around it. I’m exhausted already but am determined that every book I write will be better than the last and so onwards we go!

Thank you for taking the time out of your busy schedule to complete the interview and best wishes for future success in your writing career, Lorna!

TFV-TW-copiessold

An Interview with Alison May

Director Alison MayI am delighted to welcome the new chair of the Romantic Novelists’ Association, Alison May. Welcome and congratulations, Alison!

Before we talk about the RNA I would like to ask you about your own writing life and you’re your lovely books written independently or as one half of Juliet Bell.

What were your first breakthrough moments as a published writer?

I sold my first book, Sweet Nothing, in 2013 and it was actually the very first novel that I wrote. I’d been writing seriously for 11 years at that point though but it had taken me about six of those to work out that I wanted to write a novel. So my biggest and first major ‘breakthrough’ moment as an author was probably realising that I wasn’t built to a be a Very Serious Playwright, but am much happier writing novels.

My second big breakthrough was discovering the RNA’s New Writer’s Scheme, which I joined in 2011. The New Writers’ Scheme gives unpublished authors membership of the Romantic Novelists’ Association and a critique on a full manuscript each year from a working author in your sub-genre. Joining the RNA also gave me access to a whole world that I never understood before – a world of writers, but also editors and agents. I think it takes a village to shepherd a novel from idea to publication and the RNA is my village.

You co-write novels with writer and TV journalist Janet Gover, as Juliet Bell. Does this present very different challenges to writing your own novels?

Completely different. Neither of us are big planners when we’re writing on our own – Janet is probably more of a planner than me but that’s not saying much. Writing collaboratively we have to plan. We hardly ever actually write together in the same room so we have to plan the story to stop either one of us getting over excited and killing off a character the other desperately needs in the next chapter. That makes it a really different writing experience.

Writing collaboratively is also a great way to stop you from being precious about your own work. Having a writing partner who can, and will, just put a red line through your masterpiece is a sobering experience but ultimately a very healthy one I think for any writer.

How would you describe an Alison May novel?

That’s tricky! I started my career writing romantic comedies, and I still love to write comedy. I’m planning a return to that genre after I finish my current novel-in-progress. But, my most recent Alison May book, All That Was Lost, is neither romantic nor comedic. It’s an emotion-driven story about a woman who’s built her whole life on one single lie – the lie that she can talk to the dead.

How would you describe a Juliet Bell novel?

Juliet Bell writes modern retellings of misunderstood classics. She’s a sucker for a Bronte novel with a hero who is really anything but heroic!

What key advice would you share with aspiring writers?

Read lots and write lots. There is no substitute for actually getting words down on the page.

It’s definitely worth investing whatever time and money you can spare in developing your craft. I’m a big fan of writing courses and retreats – I run them myself and you should definitely all come on one – but they’re something to do if you are able on top of actually writing not instead of it.

Each author has their own favoured way of working – would you share yours with us?

I’m currently working on book 9, so you’d think that by now I’d have a definite process, wouldn’t you? Realistically it’s different for every book. There are a few constants though. I write horribly shoddy first drafts, and do most of the work on shaping the idea into an actual novel when I edit and revise. I always hate the book at around twenty thousand words, and regularly chuck out the opening 20k of a first draft and start again. I do very little plot planning and what I do I generally never look at while I’m actually writing. So what process I have is messy and disordered but if I try to organise and plan more and create order then I don’t write at all. It turns out messiness suits my writer brain.

 What project(s) are you working on next?

I’m currently working on a dual timeline contemporary and historical novel about witchhunts, both literal and metaphorical. It’s my first novel with a substantial historical storyline – the earliest I’ve gone in time before in 1967, and this goes back to 1695 so it’s a big departure for me from writing contemporary fiction, but I’m really excited about it.

You have just taken over from the lovely Nicola Cornick as chair and next year is very important as the RNA is 60!

What is your vision for the future of the RNA?

I see the next couple of years for the RNA as being about two things. Firstly I want to protect and nurture the things that are already so brilliant about the organisation – the sense of community, the mutual support, and the generosity towards new writers. I’m really keen to ensure that that sense of community continues and to ensure that it’s an inclusive community that welcomes writers of all forms of romantic fiction and from all backgrounds.

Secondly, I think every Chair wants to develop the association and make sure we keep moving forward. We have our diamond anniversary year coming up in 2020 with lots of events planned and lots of online activity to help our members engage directly with readers. We’re also working to develop some new education activities, alongside our existing New Writers’ Scheme, to provide professional development opportunities for both published and unpublished authors.

What has being a member of the organisation meant to you over the years?

So much. It’s almost impossible to overstate the career benefits of joining the RNA for me. I found my first publisher after a recommendation from my New Writers’ Scheme reader. I heard about my agent through a contact I made in the RNA. It’s a genuine privilege to be involved in leading the organisation.

I also can’t overstate the personal benefits. I’ve already said that the RNA is my village in writing terms, but that’s true in life terms as well. My RNA friends are some of the first people I message in a crisis or turn to celebrate good news.

How has the romance genre changed since you joined?

There are always trends and fashions in romantic fiction. I joined the RNA around the time Fifty Shades of Grey came out and kickstarted a boom in erotic romance. At the moment we’re seeing a big peak in sales of lighter, more escapist fiction. Sagas are also selling in huge numbers at the moment, often set in the mid twentieth century, and following a heroine, or group of heroines, through a range of trials in their lives, not just finding love.

Romantic authors are also at the forefront of tackling issues raised by movements like ‘Me too’. It’s absolutely right that we’re thinking about consent as a central part of how we write about sex and relationships.

LGBTQIA+ romance is also finding new readers at the moment which is brilliant to see. We want readers to be able to access as wide a range of romantic stories as possible – every reader deserves to see their own version of Happy Ever After on the page. And if you’re a reader who can’t find that in a book yet, why not join the New Writers’ Scheme and write your own?

Looking forward, how excited or optimistic are you about the future of the romance genre within publishing?

Incredibly excited. If you look at Netflix and other streaming services you can see that there’s a huge appetite for romantic stories. As romantic novelists we’re competing with all of those other forms of entertainment, but ultimately I believe that story is king. If you can tell a satisfying romantic story then there are readers out there desperate to hear that story.

Do you think organisations can stay genre specific, or is there a need for a more open working relationship within the industry, which reaches out to other genre specific organisations? 

I don’t think it’s an either/or question. There are no plans at the moment for the RNA to stop being a genre-specific organisation. I think there are genre-specific challenges that it’s good to be able to view as a single group. In romantic fiction, for example, we’re still fighting the perception that books predominantly written and read by women are somehow ‘less than’ and I think it’s valuable to have a strong genre-specific voice to address those sorts of issues.

But I’m also really keen to work across genres with other organisations. We’re really pleased to have a strong relationship with the CWA for example. Some of our local groups have already organised joint events, and I hope more will do so in the future. We also share ideas with one another at a Chairperson level and I think both organisations are stronger for having that relationship.

BIOGRAPHY
Alison May is a novelist, short story writer, blogger and creative writing tutor who grew up in North Yorkshire, and now lives in Worcester. She worked as a waitress, a shop assistant, a learning adviser, an advice centre manager, a freelance trainer, and now a maker-upper of stories.

She won the RNA’s Elizabeth Goudge trophy in 2012, and her short stories have been published by Harlequin, Choc Lit and Black Pear Press. Alison has also been shortlisted in the Love Stories and RoNA Awards. Alison writes romantic comedies and emotion driven fiction. Her latest novel, All That Was Lost, was published by Legend Press in September 2018.

She also writes modern retellings of misunderstood classics, in collaboration with Janet Gover, under the penname Juliet Bell (www.julietbell.co.uk & Twitter @JulietBellBooks).

Alison is currently Chair of the Romantic Novelists’ Association.

Website: http://www.alison-may.co.uk

Twitter: twitter.com/MsAlisonMay

Facebook: http://www.facebook.com/AlisonMayAuthor

Instagram: instrgram.com/MsAlisonMay

BUY LINKS:

Juliet Bell – The Heights

Juliet Bell – The Other Wife

 

Alison May – All That Was Lost

Meet romantic novelist Jane Cable

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Your first writing successes with The Cheesemaker’s House were very impressive. How did this help you find your way as a successful author?

The Cheesemaker’s House doing so well in a national competition gave me the confidence that I could tell a story, but also that I had a significant amount to learn. One of the judges, Sophie Hannah, took me to one side and told me that although she loved my authorial voice there was a great deal of polishing to do. I didn’t have the knowledge to polish it – I was self-taught so barely knew what she meant – so I took myself off to Winchester Writers’ Festival and began my real writing journey.

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What was the best advice you have been given by an experienced writer?

One of the tutors at Winchester that year was Margaret Graham and she has proved hugely influential. I knew nothing when I first attended her workshops – I’d never even heard of ‘show not tell’. She showed me (not told me!) what it meant and how to use it; she taught me about using all the senses, and so much more. She’s an incredible writer and a great tutor and I would urge anyone starting out to get hold of her wonderful little book, The Writer’s Springboard.

Please tell us about your exciting new release Another You.

Yes, the release of Another You has been exciting for me. With our wonderful mutual publisher, Sapere Books, it’s been given a great start in life so is selling well and getting some great reviews on Amazon and Goodreads.

Another You final cover.jpgIt’s set in Studland Bay in Dorset around the sixtieth anniversary of D-Day, and tells the story of Marie, who while struggling to escape her poisonous marriage meets a charming American soldier walking on the cliffs. But nothing is what it seems, and so begins a chain of events that will change her life forever.

How would you describe a Jane Cable novel?

Romance with a twist. My strapline is ‘the past is never dead’ and that’s a theme which runs through all my books.

How do you balance your research/writing/social media time?

Not always as well as I could! Whether I’m writing or researching depends on the stage I’m at with the manuscript, and I maybe spend too much time on social media, Twitter especially. I say maybe, because I do encourage interaction while I’m there and it’s now leading to some valuable contacts and activity, which is broadening the reach of my books.

Are you an owl or a lark?

Lark. Definitely. I get up early and start to write straight away. I’m good for nothing by late afternoon.

Do you plot your stories out first before writing the first draft?

The answer used to be ‘no’, but recently that has changed. I had an idea in my head for something slightly different, and when I approached Sapere they wanted a detailed outline and sample chapters. So I had to plan. Now I’m about to start writing the bulk of the manuscript and it’s useful to have the journey mapped out, but even when I was writing the sample chapters the characters began to do their own thing. And to be honest, I’m going to let them. If there’s one thing I’ve learnt it’s that they know best!

How influential have strong women been in your life and have they inspired your heroines?

My heroines do not always start out strong – Marie in Another You is battered and cowed by her marriage – and it’s her journey to find her strength that fascinated me. I guess I just like writing about wounded people. Life throws so many curve balls and people react to them in different ways, which is fascinating. But healing is possible – probable, even – and I like to show that in my books. It’s quite a recurring theme for me, now I come to think of it.

There are strong women in my family, and they have inspired me the most. Both my mother and my grandmother fought to make sure their children had better lives and although they were very loving women, they had rods of steel in their backs too. My mother taught me that above all I should be independent and it has proved a valuable gift.

How important has being a member of the Romantic Novelists’ Association been to you?

It’s been hugely important. It’s a fantastic network and when you embrace it, it embraces you back. The support is well and truly mutual. I’ve also made some great friends by being a member, most importantly when I moved to Cornwall. We don’t have a chapter here but meet informally and it’s great fun.

Other than reading what do you do to relax away from the world of books?

I’m an outdoors person so I love to walk and of course live in a great part of the world to do it. I also love the sea, although this year I’ve had some shoulder problems so I haven’t been in it as much as I would like. I love to travel too and adore spending time planning our next trip. Or the one after. Or the one after that…

You are passionate about ‘Words for the Wounded? How did you become involved with this inspirational charity?

Margaret Graham is the moving force behind this charity and at first I wanted to pay her back for all the help and support she’d given me. When I lived in Chichester our local independent authors’ group, Chindi, organised a mini litfest over a weekend and raised almost £1,000 for them. We were so proud.

Words for the Wounded exists to raise funds to help injured service personnel, and because the founders underwrite the running costs themselves every penny raised goes for the intended purpose. I’ll be making a donation for every Amazon review of Another You.

What is next for Jane Cable?

I’ve just delivered my next manuscript to Sapere and the book should be out towards the end of the year. It’s called Winter Skies and, like Another You, it’s a contemporary romance looking back to World War Two. It’s set in the Lincolnshire heartland of Bomber Command, and is about Rachel, who is trapped in a cycle of destructive relationships. But the past has a habit of repeating itself, so maybe it can provide the impetus she needs to set her free.

Social media links:
www.janecable.com
Twitter @JaneCable
Facebook Jane Cable, Author
Goodreads 

 

Meet author and self help guru, Peter Jones

Me


Welcome, to my website, Peter, and thank you for taking the time to answer my questions.

When and where did your passion for writing begin?

Pretty much as soon as I could string two words together I was ‘making books’. I would kneel on my grandmother’s living room carpet, fold several sheets of A4 paper in half, staple down the folded edge, then start writing a story and drawing the pictures to go with the story – and once finished my books would be passed around my family on a kind of a ‘read and return’ basis.

Which came first fiction or non-fiction?

Well, technically I guess it was fiction (back when I would visit my grandmother). By my twenties I was writing science fiction short stories (although none of them were ever submitted for publication). In my thirties my wife encouraged me to start writing a rom-com novel… but it was HOW TO DO EVERYTHING AND BE HAPPY – a self-help book – that first made it into print.

How did you become a ‘self-help’ guru?

Well therein lies a tale: I met my wife Kate in my mid-thirties. At the time I was a frumpy grumpy banking consultant. She was a NLP practitioner (a kind of hypno-therapist). She taught me so much about how our brains work, how we motivate ourselves, how to get more out of life… and then she died. Of a brain haemorrhage. Thirty nine years of age. And I was devastated. More than that I was crushed with guilt, because back then I wasn’t a particularly happy person. I had been a misery to live with! What’s more, Kate and I had managed to waste most of our three years together working. Oh, we had big plans about how we’d make enough money to move somewhere sunny… but it never happened. We ran out of time.

So I decided to do something about it. I set about fixing my life. I made lists, drew up plans, devised new habits… and it worked. Some of those ideas actually made me happier. One day a colleague said “you ought to write this stuff down – turn it into a book.” So I did. That ended up being HOW TO DO EVERYTHING AND BE HAPPY. Published by Harper Collins and Audible.

Still not sure about the term guru though! Michelle Ward (of Phoenix FM) gave me that label. But really I’m just a fix it man at heart.

You seem to love public speaking – has this always been the case?

I’m afraid so. I’m just a big show off! No, actually there’s more to it than that. My childhood love of storytelling morphed into a desire to become an actor. To me, writing and acting are the same thing. In fact, one of the joys of writing is that you get to play ALL the parts, even the women. But there’s something utterly amazing about being in front of an audience. I used to be part of a travelling theatre company, but now public speaking fills that need. My talks are quite ‘theatrical’.

You seem to be a very organised person is this essential to the way you approach each project?

I guess I am. I never used to be. In my teens, twenties, even thirties I lived in a perpetual state of barely-organised chaos. Kate was the organised one. Becoming organised was part of my get-happy strategy. A way of taking control of my chaotic, unhappy life.

But you’re right. It bled into everything I do. Becoming organised was how I finally managed to finish that novel that Kate started me writing; THE GOOD GUY’S GUIDE TO GETTING THE GIRL. There have been two more since then and I’m finishing up my fourth.

You are a member of the Romantic Novelists’ Association – what does the organisation mean to you?

I love the RNA! I was a real sceptic at first. Couldn’t see how belonging to an organisation like that would be particularly useful. Surely it would be a lot of flouncey women writing about chiselled jawed heroes? But then my pal Bernadine Kennedy said “it’s quite good fun,” and If anyone knows about having a good time, it’s definitely Berni. And it turned out she was right! It is fun! But more than that it’s been enormously useful rubbing shoulders with all sorts of creative people, all of us trying to carve a living out of what we love.

What key advice would you share on writing or on life.

Write what you love. Do what makes you happy.

Each author has their own favoured way of working – would you share yours with us?

I try to write at least three days a week. I start at 7am and count the number of words I’ve written at the end of each hour. If it’s less than 200 I give myself a good talking to! By midday I’m usually done. In the afternoons I talk about writing or do post, answer emails, tackle the admin…

What has been the highlight of your writing career to date?

The day my agent told me that a producer in Hollywood had enquired about the film rights for THE TRUTH ABOUT THIS CHARMING MAN was pretty special! But actually there have been far more less dramatic, more humbling moments along the way. Recently a teacher’s assistant in Dubai emailed me to tell me that she’d enjoyed my ‘happy book’ and had been asked to do a presentation to the staff about it. Turns out my book is on a recommended reading list, in India. And her school adopts some of my happiness ideas for the children!

That is amazing, Peter. What project are you working on now?

My fourth novel is currently out with my first readers, so in the meantime I’m working on another self-help book. My fifth. I’m particularly excited about this one… though I can’t say much more at this point.

What is next for Peter? 

Who knows!? Hopefully more novels.

Although after some encouraging advice I might take a break to work on a film proposal for MY GIRLFRIEND’S PERFECT EX-BOYFRIEND. So long as I can continue to make a living putting a smile on the faces of my readers (or audience) I really don’t mind.

I wish you every continued success!

Find out more about Peter:-

 

Meet romantic novelist, Virginia Heath

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I am delighted to welcome prolific romance writer Virginia Heath as my guest today.

  • When and where did your passion for writing begin?

Hard to say, as I think it’s always been there. As a child I loved to read and devoured books like they were going out of fashion. At school I had a talent for writing and secretly fancied myself as an author one day but never dared say that out loud because I came from a very working class, blue-collar background. Girls like me dreamed of working in an office, they most certainly didn’t write books! But I made up stories in my head instead so I suppose it spiralled from there.

  • When did inspiration strike for your successful Wild Warriners Quartet?

The old Hollywood musical Seven Brides for Seven Brothers! I love it, especially the premise – seven down on their luck farmers living in the middle of nowhere, all in desperate want of a wife. The Wild Warriners is my homage to that glorious film – but I thought having seven brothers was a bit much so I settled on four. Like the original brothers, the series starts with them working their land themselves because they cannot afford to hire anyone to help them. Unlike the originals, the Warriners descend from the aristocracy, with the eldest brother Jack being an earl and they tend part of his sprawling but dilapidated country estate in deepest, darkest, dankest Nottinghamshire.

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  • Is Regency your favourite period of history or are there others you want to set your future work in?

I’m a proper history nerd – I used to be a history teacher – so I love most periods of history. However, thanks to Mr Darcy, I do have a particular soft spot for the Regency. I think it’s the tight breeches and boots.

  •  Your historical research is impeccable. However, you keep the hero and heroine attractive and the dialogue accessible, whilst giving a flavour that is true to the period. How do you achieve this?

It’s a delicate balance writing a historical. Purists want you to keep everything strictly within the period. Modern readers want characters they can relate to. I figure, no matter what the historical backdrop, people are people so my characters think a lot like we do now. My heroes aren’t misogynists and my heroines aren’t subservient doormats. That said, if you are going to write history you have to get it right. The world my characters live in is completely accurate and although I don’t write hither and thither, I make sure my characters don’t say modern phrases which will pull readers out of the story.

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  • You are a member of the Romantic Novelists’ Association – what does the organisation mean to you?

When I first started writing, the only writer I knew was me. I had nobody to talk shop with. Nobody to guide me through the confusing world of publishing and all it entails. Joining the Romantic Novelists Association was a godsend! I’ve made so many friends and learned so many things. It truly is one of the most supportive and nurturing institutions which champions romantic fiction in all its forms and I cannot say enough good things about it.

  • What key advice would you share with aspiring writers?

Write the book! Forget manuals on how to write, don’t get bogged down in everything else to do with publishing; if you want to be a published writer it starts with a completed book. Join a writing group, allow other writers to critique your manuscript. Take their advice on board and be prepared to revise and revise those words until they are perfect. Oh yes – and develop a thick skin! If you are determined to be a writer, you’ll need it.

  • Each author has their own favoured way of working – would you share yours with us?

My books run between 80K and 90K words – that’s a pretty standard sized novel. If I want to publish four a year it means I have to be semi-disciplined. I don’t have the luxury of waiting for the elusive muse to show up. I’m not entirely sure I believe in the muse anyway because it’s my brain thinking stuff up, so I just need to make sure I get my brain in gear. I do that by having a routine. It starts with a cup of tea and a dog walk, I do about 30 minutes of social media or admin, then I take myself up to my office and read only the words I wrote the day before, editing as I go to get me back into the zone. Then I pick up where I left off. There is no magic to it really. I work every day, Monday to Friday from around 8am till 4ish with regular breaks and a long lunch. I stop when the alarm goes off on my computer regardless of where I am in a sentence. In fact, finishing mid-sentence really feeds the muse overnight and ensures I’m raring to go the next morning. I try not to work evenings or weekends unless I am up against a deadline. I also try not to write on holidays or breaks. It’s important to recharge the batteries.

  • What has been the highlight of your writing career to date?

My RONA (Romantic Novel of the Year) nomination in 2017. To be shortlisted was the most amazing feeling in the world. That said, seeing each book on the shelves in a bookshop never gets old either. I always go and visit a new book on publication day.

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  • What project are you working on next?

I’ve just finished my second series – The King’s Elite. It’s a quartet featuring four Regency spies, which has been huge fun to write. It’s been fascinating researching all the smuggling and shenanigans which went on and then weaving some of that into stories which are best described as romantic suspense with a dash of comedy here and there. I can’t ever seem to write a book without a dash of funny. The final book, The Determined Lord Hadleigh, comes out in June. Then, just for a change, I have a Victorian romance coming out early next year involving my first older hero and heroine. It’s called Lilian and the Irresistible Duke and it’s set mostly in one of my favourite cities – Rome. But this has Renaissance art and the Vatican as a backdrop rather than all the high jinks of smuggling. Right now, I am working on a new standalone story about a nerdy heroine who likes to dig up ruins, and a reclusive earl who is all done with life. It’s a RomCom Beauty-and-the-Beast meets Indiana Jones story. Or at least I think it is. I can’t plot, so I have no idea how it is going to turn out yet! As per usual, I really won’t know what sort of story it truly is until I write the words ‘the end’.

Thank you for taking the time out of your schedule to answer my questions.

Here are Virginia’s social media links:-

Website: https://www.virginiaheathromance.com/

Facebook: https://www.facebook.com/virginiaheathauthor/

Twitter: http://www.twitter.com/VirginiaHeath_

Instagram: https://www.instagram.com/virginiaheathwrites/

Jacobean Architecture and Kiplin Hall, Richmond, North Yorkshire.

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Leaham Hall in For Richer, For Poorer is a Jacobean style of country house that provides employment for its estate workers and the small nearby village of Leaham. In reality the image of Kiplin Hall inspired its fictitious counterpart.

Jacobean architecture gained popularity during the reign of King James I (1566-1625) with its love of symmetry and the mixture of gable or flat roofs; these brick built buildings were houses of the well-to-do landed gentry.

The era’s love of colour, Palladian columns, woodwork and carvings, along with the use of granite made them quite unique. The central staircase would be a focal point that lead the family or visitors up to the first and second  floors.

The Jacobean period was one that was tumultuous and the use of heraldry could reveal the owner’s loyalty. These houses, like many of the time, could also have been used as safe havens for those who had Jacobite sympathies.

Kiplin is a treasure to be discovered, tucked away in the beautiful countryside of North Yorkshire near the village of Scorton. It was built by George Calvert who was the Secretary of State to James 1 and founder of Maryland USA.

I borrowed some aspects of this tranquil setting for my plot in For Richer, For Poorer and placed Leaham Hall under threat.  The early nineteenth century was a time of great social, industrial, political and religious change; so I set Parthena and Jerome Fender loose on a quest to save the Hall, the estate and the village.

Here are some pictures of the moorland trods that Parthena and Jerome have to cross. You can find out more about these ancient pathways in my blog post at Sapere Books

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