I write historical fiction about the six wives of Henry the Eighth. I have always been drawn to their stories, not just as queens but as real women who lived with hope, fear, love and impossible expectations. My Six Tudor Queens series grew from years of reading, research and a lifelong fascination with the period. I try to bring these women to the page with honesty and warmth, paying attention to the small moments that reveal who they truly were. Writing about them feels like giving them back their voices, and it is a privilege I never take lightly.
Scammers are getting smarter, but indie authors can stay one step ahead by spotting the red flags early. Let’s talk about how to keep your inbox—and your creative energy—safe from people who want to rip you off.
Indie authors like us are often juggling writing, marketing, social media and publishing all on our own. That makes us prime targets for scammers who know we’re hungry for visibility, reviews, and opportunities. They swoop in with offers that sound too good to take up, and it’s easy to be fooled if you are overworked and busy.
Here are Common Scams to Watch Out For:
• Over-the-top flattery: “Your book is perfect for our award!” or “We hand-selected your novel for our club.” If you never applied or submitted, it’s a scam.
• Fake famous author outreach: A “big name” author emails you saying they love your book. Spoiler: they don’t. Real authors don’t cold-email strangers.
• Pay-to-play podcasts or interviews: Invitations to appear, but only if you pay a hefty fee.
• Bogus review packages: Offers to flood your book with glowing reviews. Amazon and Goodreads don’t allow this, and you’ll risk your account.
• High-priced event invites: “Exclusive industry conference” tickets that cost hundreds. Often, these events don’t exist.
• Metadata audits and visibility reports: Scammers send confusing “diagnostics” claiming your book is at risk unless you pay for fixes.
Being indie means wearing many hats, but it doesn’t mean you have to face scammers alone. Stay sharp, trust your instincts, and keep your focus on what really matters—your writing. The best defence is a mix of scepticism, community support and blocking.
Community Support:
https://writerbeware.blogThis is a website that lists the latest author scams and shows screenshots of the messages and approaches that scammers are using and how to avoid them. I have found this site extremely useful.
STOP PRESS! One of the latest scams is where someone contacts you to request a PDF of your book, which they then post on a pirate book site. Thanks to historical fiction author Elizabeth Kelly for this warning.
I’m pleased to host Deborah Swift on the Historical Ink Pot today for a discussion about her new novel, The Enemy’s Wife.
‘A fast-paced, beautifully written, and moving story. Refreshing to read a book set in a different theatre of war. Wartime Shanghai jumped off the page’ CLARE FLYNN
A poignant story of the impossible choices we make in the shadow of war, for fans of Daisy Wood and Marius Gabriel.
1941. When Zofia’s beloved husband Haru is conscripted into the Imperial Japanese Army, she is left to navigate Japanese-occupied Shanghai alone.
Far from home and surrounded by a country at war, Zofia finds unexpected comfort in a bond with Hilly, a spirited young refugee escaping Nazi-occupied Austria.
As violence tightens its grip on the city, they seek shelter with Theo, Zofia’s American employer. But with every passing day, the horrors of war and Haru’s absence begin to reshape Zofia’s world – and her heart.
Can she still love someone who has become the enemy?
Readers love The Enemy’s Wife:
‘A gorgeous novel that will truly pull at your heartstrings‘ CARLY SCHABOWSKI
‘I loved The Enemy’s Wife – a gripping, fast-paced and evocative story about the Japanese occupation of Shanghai during WW2 – and really rooted for the brave and selfless central character, Zofia. Highly recommended’ ANN BENNETT
‘Such an emotional and moving read, grounded in immaculate research that never overshadows the heart of the story’ SUZANNE FORTIN
Welcome Deborah, tell me what first drew you to this particular historical moment and the real events that underpin the story?
In my previous book, Jewish refugees who arrived from Eastern Europe, ended up in Japan. But what happened to them then? The research told me that they were moved again after the events of Pearl Harbor, to Shanghai. The more I read about wartime Shanghai, the more interesting it got – it was such a melting pot of cultures and loyalties.
I remembered wartime Shanghai from the film, Empire of the Sun, and decided to set the book in the International Settlement which featured in the film. This was the Western city within a city, an island dominated by the British and American businessmen and ruled by an Anglo-American council. Shanghai was known as the ‘Pearl of the Orient’ for its wealth, its bustling port, its Hollywood-esque film industry, and luxurious lifestyle. South of the settlement was the French Concession, where many wealthy ‘Shanghailanders’ lived in palatial houses waited on hand and foot by the much poorer Chinese population. In the book, one of my characters, Theo, lives here.
Surrounding the settlement was the Chinese nation controlled by the Chinese central government in Nanking, but there were many anti-government rebels too, and a lot of corruption. I wanted to tell the story of what happened when China and the settlement was invaded by the Japanese. Zofia married her Japanese husband before the war, and suddenly finds she has become the wife of the enemy.
Your books involve complex cultural and political settings. How do you approach research to ensure authenticity without overwhelming the narrative?
The story is king, and all the research I do is to support the story. It is never just ‘background.’ For example, I needed a hub where poor people and rebels against the government in Shanghai might meet and exchange news, so I initially thought of a doctor’s waiting room. However, doctors had been culled by the communist regime, so it had to be a pharmacy. This led me to research and write scenes set in a Chinese traditional pharmacy – something I would never have thought of doing without the research. But the scenes were driven by the plot needing some place people could meet to exchange views on politics and the changing regime. I researched what that might be, and ended up with a pharmacy, which was in fact much more interesting as a setting.
For broader political background, I read widely around the subject, and hope that the reading gives me ‘authority’ in the voice, even if all the facts I’ve discovered don’t end up on the page.
War and displacement put enormous pressure on relationships. What interests you most about writing characters whose loyalties are tested by circumstance?
I suppose it is that they could be us. I am of a culture and a generation that has not had to deal with war, and yet by writing the books I am constantly asking ‘in that situation, what would I do?’ Perhaps I am practising for the event – I hope not.
People who have different ideologies can think they have nothing in common until those ideologies are tested – and the reverse. You can think someone is not like you at all, until you stand in their shoes. Or you can think you are ‘on the same page’ until they do something you would never conceive of doing. Stress affects everyone in different ways, and if war is one thing, it is stress. These situations bring about enormous amounts of tension and that’s exactly what you need to keep a novel rolling along, and to keep the reader interested.
What was the best money you ever spent as a writer?
There are several things I can’t do without. First up – my bookstand! This allows me to prop open my research books on my desk as I’m typing. It really is one of the most useful things for a historical novelist, and costs peanuts. Second, the index tab stickers that you use to mark pages in books. Again, cost is negligeable, but I use them all the time to mark bits of research I need to keep. Third – a week away with writer friends. This is definitely the most expensive – but invaluable for keeping up with what’s happening in other parts of the publishing world, sharing experiences good and bad, and getting moral support from other writers who understand. Before going back to your lonely desk!
Looking ahead, what do you feel your next project might be?
I’m working on a sequel in which my two main characters, Theo and Zofia, think they are safe and happy in America. But even within a safe society, tensions can arise – particularly if you have come through Russia and China, during the Red Scare.
Deborah Swift
Author Bio:
Deborah used to be a costume designer for the BBC, before becoming a writer. Now she lives in an old English school house in a village full of 17th Century houses, near the glorious Lake District. Deborah has an award-winning historical fiction blog at her website www.deborahswift.com.
Deborah loves to write about how extraordinary events in history have transformed the lives of ordinary people, and how the events of the past can live on in her books and still resonate today.
Her WW2 novel Past Encounters was a BookViral Award winner, and The Poison Keeper was a winner of the Wishing Shelf Book of the Decade.
Imagine you’d discovered something. Something that could save hundreds of thousands of lives. But they wouldn’t let you tell anyone. Wouldn’t it drive you mad?
Young Hungarian doctor Ignaz Semmelweis uncovers the real reason thousands of young women are dying after childbirth. Yet, in mid-19th-century Europe, his simple methods are ridiculed. Semmelweis faces the battle of his life to convince others that the cause is simple…
Based on the true story of a forgotten hero, A Theory in Vienna brings the remarkable story of this man to life.
‘I bring to light a truth, which was unknown for many centuries with direful results for the human race.’ – Ignaz Philipp Semmelweis.
Tell us about your novel:
The novel tells the story of Ignaz Semmelweis, a 19th-century doctor whose simple, lifesaving discovery was ignored in his own lifetime. My interest was piqued when I came across him during my research for a previous historical novel.
So, set against the emergence of modern medicine, A Theory in Vienna follows a man who proves something undeniable, yet who lacks the language, authority and cultural awareness needed to be believed. At its heart, the book isn’t just about medical history; it’s about what happens when the truth arrives too early. It explores obsession, resistance, and the quiet loneliness of being right in a world that isn’t ready to listen. Semmelweis’s story is tragic, but it’s also urgently human – a reminder that progress often depends as much on humility and courage as it does on evidence.
Was there a part of Semmelweis’s struggle that resonated with you on a personal level? Did that connection change the way you wrote about him?
Yes – what resonated most with me was the experience of not being heard, even when the evidence is clear. It’s probably happened to each one of us, at some time of our lives. Semmelweis’s struggle isn’t only about science; it’s about communication, timing, and the pain of watching something urgent fail to land. That connection shaped the way I wrote about him. I became less interested in presenting him as a flawless hero and more focused on his inner world – his frustration, his rigidity, and the ways his certainty both sustained and damaged him.
Semmelweis is often portrayed as a tragic figure. How did you approach writing a man whose brilliance and frustration shaped both his legacy and his downfall?
I tried to resist the temptation to turn Semmelweis into either a martyr or a warning. His tragedy lies in the fact that his brilliance and his frustration were inseparable; the same intensity that allowed him to see what others missed also made it difficult for him to persuade them. He isn’t undone by ignorance alone, but by the way repeated resistance hardens him and isolates him. His discovery endures, but the human price he paid gives the story its emotional weight.
Semmelweis fought for a truth no one wanted to hear. Have you ever had a moment in life where you’ve had to hold your ground in the face of doubt or resistance?
Yes – though on a far smaller scale. What I recognised in Semmelweis was the quiet determination it takes to stay with an idea when external validation doesn’t arrive. There were moments while writing this book when I had to trust the story despite uncertainty and resist the urge to soften it to make it more palatable.
Three centuries passed from the first epidemic of childbed fever until the early 1900s. More lives were lost across the world from this fever than lives were lost in all of the wars during that time.
If you could sit with Semmelweis for five minutes, as a woman and a writer, what would you want to ask him or tell him?
I would want to tell him that the women he fought for are no longer invisible – that their tragic lives are now understood as the true measure of his work. As a writer, I’d ask whether he ever sensed the cost of being right, and whether he would still have chosen that path knowing where it led.
What do you hope modern readers will take away from A Theory in Vienna, especially in a world that still debates science, evidence and public health?
I hope readers come away with a renewed sense of attentiveness – to small actions, to overlooked voices, and to the quiet ways care can save lives. Semmelweis’s insistence on something as simple as handwashing reminds us that progress often arrives through everyday acts of responsibility and compassion. More than anything, I hope the book leaves readers feeling that change is possible – and that listening, humility, and care still matter.
Heidi Gallacher
Author Bio:
Heidi was born in London in the Sixties. She grew up in South Wales, UK and moved to Paris as a young adult where she taught English for two years. She currently lives in Switzerland and recently completed an MA in Creative Writing.
Her first short story was published in Prima magazine (UK) in 2018. Heidi now writes historical fiction. Her first novel, Rebecca’s Choice is set in Tredelerch– an old house in Wales that belonged to her family generations ago. This novel won an award from The Coffee Pot Book Club in 2020, Debut Novel Bronze Medal.
Her second novel, A Theory in Vienna, is set in 19th century Vienna and Budapest. It tells the incredible story of unsung hero Ignaz Semmelweis, whose life-saving discovery was ridiculed at the time.
Heidi enjoys travelling (the further North the better!), singing and writing songs, and spending time reading and writing at her Swiss chalet where the views are amazing.
When I hired an actress to record the audiobook of my first novel, For Now I Die, she spotted a couple of typos. I can’t tell you how many times I’d edited that book. That’s the point: I can be intimately so familiar with a text and still so completely blind to what’s actually on the page.
Writers like me don’t struggle to edit their own work because they’re careless.
They struggle because their brain is doing exactly what it’s designed to do to predict, fill in gaps, and conserve effort. And let’s face it, writing a novel is a huge undertaking.
By the time you reach the editing stage, your brain has already built a complete internal version of the piece: the meaning, the intention and the emotional logic. When you read your own writing, you’re not reading the words on the page. You’re reading the version in your head.
That’s why we can easily miss typos, clumsy phrasing, repeated words, and missing steps in our argument.
Your brain is “helping” you, but just not in the way you need.
So the real challenge isn’t editing. It’s breaking your own familiarity.
Here are the techniques that actually do work, the ones that force your brain to see the text as if it’s new:
This sounds trivial, but it’s one of the most effective tricks you can use.
When you change the colour, black to blue, blue to green, anything, your brain stops recognising the text as the same piece you drafted. It disrupts the visual pattern your mind has memorised.
Suddenly, the sentences look different, the spacing looks different, the rhythm feels different, and hopefully, the errors stand out.
It’s the closest you’ll get to reading your own work with fresh eyes.
Writers who do this swear by it, and for good reason.
It works because it forces your brain out of autopilot.
It’s difficult when you are managing such a huge body of work to sometimes see the woods for the trees, but there are programmes such as Scrivener that can help authors move chapters around. I am not affiliated with Scrivener in any way, but my point is that there are tools for authors that can help you jump between chapters and easily move them around without the fear of accidentally deleting some of your hard work.
Editing your own work is hard because your brain is doing its job of protecting meaning, filling gaps, and smoothing over imperfections. It is the part of my writing life that I personally dislike the most. I tend to write a chapter, then edit it as much as I can, but something always slips through.
Every writer has a trick for seeing their work with fresh eyes. What’s yours? Mine is all of the above, and a teacher friend.
‘The Traitor’s Son’ is my debut novel, and the first in a proposed trilogy reimagining the life of Richard III. This first instalment covers Richard’s ten formative years between 1461 and 1471 and tells of how a grieving, fatherless boy grows into a courageous warrior of eighteen. It is a story of inner conflict, of love, loyalty, sacrifice, and treachery within the House of York. It culminates in a heart-wrenching dilemma, when Richard finds himself forced to choose between Edward, his blood brother and king, and Richard Neville, earl of Warwick, the man he has come to look upon as a second father.
What is your preferred writing routine?
I try to write every day, on average for around two hours. My habit is to continually edit my work as I go, so that only when I’m happy with what I’ve written do I carry on with the next scene. This can make for slow progress, but in my experience, it makes the final edit much easier, because most of the hard work has already been done. I enjoy listening to music as I write: sometimes I’ll find authentic medieval music on YouTube, as this helps to set the scene, but mostly I listen to the Wolf Hall soundtrack by composer Debbie Wiseman. Of course, Wolf Hall is set at a later date, but the music is very stirring, and I find it helps galvanise my writing. I’ve recently discovered the soundtrack for The Lord of the Rings, too, and find that really emotive.
What advice do you have for new writers?
Two things in particular really helped me improve as a writer. The first was advancing my knowledge of how to write — the Writers and Artists Guide to How to Write by Harry Bingham was invaluable. It helped me hone the craft, teaching me such a lot and opening my eyes as to what was required of an aspiring author. The second thing was to constantly read the novels of award winning authors and try to learn from them. Both of these things helped me no end, and if new writers are serious about their work, I would recommend trying something similar. I think the third piece of advice I would give would be to never give up — it’s a hard road, but if you really want to write and are determined to succeed, then you will. Have faith in your work and just keep going!
Tell us something unexpected you discovered during your research.
As someone who has been fascinated by the Wars of the Roses for most of my life, I was already very familiar with the history, so I wouldn’t say I was too surprised by anything thrown up by my research. However, while I was writing this first volume, concentrating on the childhood and youth of Richard III, something did occur to me which I decided to incorporate as the major theme of the novel. Richard’s father, the Duke of York, was slain in battle when Richard was only eight years old.
We know from the contemporary record, and from the evidence of his later life, that Richard greatly venerated his father’s memory, and it’s clear he’d felt very close to him. It has often been suggested that this void in young Richard’s life was filled by his elder brother, Edward (later Edward IV), but this has never rung true to me.
At the time of their father’s demise Edward himself was only eighteen years of age, and although Richard must have admired his brothe r’s military prowess and may even have considered him in heroic terms, I believe the ideal candidate for the role of father figure would have been his thirty – seven – year old cousin, Richard Neville, earl of Warwick. Edward assigned to Warwick the tutelage of his young brother, and Richard underwent his knightly training in the earl’s household. Warwick must undoubtedly have been an influence on the youth, and between the ages of twelve and sixteen, Richard must have surely sought the paternal guidance of his cousin, as well as the affection of a father figure.
The more I thought about this, the more I felt I had to introduce the theme to the novel as I had begun to wonder how Richard must have felt when Warwick rebelled against the king. Should he pledge his allegiance to Edward, his blood brother as well as his king, or did he support Warwick, a man who had become a second father to him? Of course, we know from history that he supported his king, but was that an easy choice to make?
In ‘The Traitor’s Son’, Ric hard sees both options as a betrayal, and this heart-wrenching dilemma forms the main thrust of the novel.
What was the hardest scene you remember writing?
By far, the hardest scene to write was that which described the battle of Barnet. For most of the other scenes in the book, I felt I had at least some point of reference, but a battle was something I found extremely difficult to imagine. The historical events were easy to research, but the emotions involved are something the vast majority of people will never have to face. At times, it almost felt as though I couldn’t bring myself to write it, but I knew I had to, as this forms the climax of the novel. I got there in the end, and I’m pleased with the scene, but I didn’t relish having to picture it in my mind’s eye.
What are you planning to write next?
‘The Traitor’s Son’ is the first in a proposed trilogy, and I’m currently working on the sequel. The second volume will take Richard up to the age of thirty and will cover the events of 1471 through to the early weeks of 1483. The story will be a rollercoaster ride for my protagonist and will once again focus on the trials and tribulations of the three York brothers – what I like to call the ‘fraternal triangle.’
As with ‘The Traitor’s Son’, I want historical fact to be the backbone of the novel, and so, as well as having to place myself as far as is conceivably possible in Richard’s shoes, I also need to ensure the storyline is as accurate as it can be and that the characters ring true to their real-life counterparts. The trilogy will end with a final book covering Richard’s all too brief reign, and there is a possibility that sometime in the future, I may choose to write about his brother, George, Duke of Clarence, a man equally maligned and caricatured by history, but that will be some time in the future.
Wendy Johnson
Author Bio:
Wendy Johnson has a lifelong passion for medieval history, its people, and for bringing their
incredible stories to life. Her specific areas of interest are the fifteenth century, the Wars of the Roses, and Richard III in particular. She enjoys narratives which immerse the reader in the past and tries faithfully to recreate the later Middle Ages within her own writing. She has contributed to a number of historical anthologies and was a runner-up in the Woman and Home Short Story Competition 2008.
Praise for The Traitor’s Son:
“I loved this novel, it was beautifully written, extremely atmospheric, the characters’
personalities came through perfectly, can’t wait for the next instalment.” ~ Linda Hayward, 5* AmazonReview.
“Exquisitely written. An evocative and thoughtful retelling of the early life of Richard III.” ~ Philippa Langley, MBE.
“Sometimes the perfect use of the written word takes my breath away. Not very often, but this book is it. A wonderful story written so beautifully that I shall not forget it for a long time. Everything to my mind is perfect. The language, the story, the pacing. Just wonderful.”~ Kindle Customer, 5* Amazon Review.
“Wonderfully woven story of a young Richard III. Woven with a sure knowledge of the
history and a realistic telling of a story about a young boy finding his way through tragedy
and triumph, uncertainty and a legacy he cannot escape.Brilliant debut which promises more and
more.” ~ Cris, 5* Amazon Review
“I loved this novel, it was beautifully written, extremely atmospheric, the characters’
personalities came through perfectly, can’t wait for the next instalment.” ~ Linda Hayward, 5* Amazon Review.
“Really enjoyed this book. Holds the reader enthralled from the first paragraph to the last.
The next volume can’t be released soon enough.” ~ J.M. Henderson, 5* Amazon Review
Perfect for fans of Hilary Mantel, Annie Garth Waite and Sharon K. Penman.
Most writers are overwhelmed by ‘free’ advice and tools online. There is far too much advertising that claims to offer ‘free’ services that are, at best, just trials in disguise.
I have found a few reliable, reputable resources that are safe, respected, and genuinely free. They are suitable for writers anywhere in the world and do not impose any regional conventions on spelling or punctuation.
Every writer has moments when the right word refuses to appear. You know the meaning, you can feel the shape of the word, but your brain will not deliver it. OneLook Reverse Dictionary solves that problem.
You type a concept, a description, or even a vague idea, and it produces a list of words that match what you are trying to express. It is fast, accurate, and used by editors, journalists, and academics. It is one of the few writing tools that is both simple and genuinely helpful.
Reedsy offers a library of short, focused courses on writing, editing, publishing, and marketing. They are written by professionals, and they are genuinely free. No trial, no credit card, and no hidden upgrade.
The courses cover topics such as character development, plotting, worldbuilding, revision, and the realities of publishing. Each lesson is concise and practical. For new writers who want structure without being overwhelmed, this is one of the best free resources available. Anyone with an email address can sign up and receive the full course material. They work the same whether you are in the UK, Europe, Australia, or anywhere else. Reedsy’s courses are designed for a global audience.
They are one of the few writing‑education resources that are genuinely international and genuinely free.
For writers who work with history, this is a treasure chest. The British Library has digitised a vast collection of manuscripts, letters, maps, and early printed books. All of it is free to view.
This resource allows writers to see primary sources directly rather than relying on secondhand summaries or low-quality images. Whether you write historical fiction, nonfiction, or simply want to understand how people wrote and thought in earlier centuries, this collection is invaluable.
The British Library’s Digitised Manuscripts site is full of amazing material, but it is not laid out like a modern browsing platform. It works best if you know how to approach it.
The search bar needs specific terms. It will not respond well to broad searches, so it helps to look up the name of a manuscript, a historical figure, or a date before you begin. Once you find an item, the catalogue page gives you a short description and a link to the images.
The real value is in the image viewer. You can zoom in very closely, move through the pages, and use thumbnails to jump around quickly. The quality is excellent and lets you see details you would never get from a printed reproduction.
It takes a little getting used to, but once you understand how the search and viewer work, the site becomes easy to handle and incredibly useful for anyone writing about the past.
Final Thoughts
You do not need a complicated toolkit to become a better writer. You need clarity, practice, structure, and access to trustworthy information. These resources provide exactly that. They are safe, reputable, and genuinely free.
Anne’s sister Mary is also at the French court, and Anne soon learns that not everyone is pleased about the union between the French king and his young queen.
The king’s cousin-in-law, Louise of Savoy, is desperate for Queen Mary not to fall pregnant, so that her son Francis will ascend the throne.
And with Louise and the English queen pulling Anne in two different directions, it will not be possible to appease everyone.
Can Anne successfully navigate the familial politics at the French royal court? Will she make her mark as one of the queen’s maids?
Or could her divided loyalties prove to be her undoing…?
THE QUEEN’S MAID is a thoroughly researched, fascinating historical novel set during the 16th century in Europe. It is the second book in the Anne Boleyn Chronicles series.
‘Wonderfully detailed and entirely enjoyable. This is a young Anne in whom I absolutely believe, and who does much to explain the woman she’d become.’ – Sarah Gristwood, author of Game of Queens
THE ANNE BOLEYN CHRONICLES SERIES: Book One: Maid of Honour Book Two: The Queen’s Maid Book Three: Queen of Diamonds
Rozsa Gaston is a historical fiction author who writes books on women who reach for what they want out of life.
She is the author of Maid of Honour: Anne Boleyn at Margaret of Austria‘s Court, 𝗚𝗿𝗮𝗻𝗱 𝗣𝗿𝗶𝘇𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 of the 𝟮𝟬𝟮𝟰 𝗖𝗛𝗔𝗨𝗖𝗘𝗥 𝗕𝗼𝗼𝗸 𝗔𝘄𝗮𝗿𝗱 for Early Historical Fiction, The Queen’s Maid: Anne Boleyn in France, Queen of Diamonds: The French Royal Court, Margaret of Austria, 𝗙𝗶𝗿𝘀𝘁 𝗣𝗹𝗮𝗰𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 of the 𝟮𝟬𝟮𝟯 𝗖𝗛𝗔𝗨𝗖𝗘𝗥 𝗕𝗼𝗼𝗸 𝗔𝘄𝗮𝗿𝗱 for Early Historical Fiction, the four-book Anne of Brittany Series: Anne and Charles; Anne and Louis, 𝗚𝗲𝗻𝗲𝗿𝗮𝗹 𝗙𝗶𝗰𝘁𝗶𝗼𝗻 𝗪𝗶𝗻𝗻𝗲𝗿 of the 𝟮𝟬𝟭𝟴 𝗣𝗨𝗕𝗟𝗜𝗦𝗛𝗘𝗥𝗦 𝗪𝗘𝗘𝗞𝗟𝗬 𝗕𝗼𝗼𝗸𝗟𝗶𝗳𝗲 𝗣𝗿𝗶𝘇𝗲; Anne and Louis: Rulers and Lovers; and Anne and Louis Forever Bound, 𝗙𝗶𝗿𝘀𝘁 𝗣𝗹𝗮𝗰𝗲 𝗪𝗶𝗻𝗻𝗲𝗿 of the 𝟮𝟬𝟮𝟮 𝗖𝗛𝗔𝗨𝗖𝗘𝗥 𝗕𝗼𝗼𝗸 𝗔𝘄𝗮𝗿𝗱 for Early Historical Fiction.
Other works include Sense of Touch, Marguerite and Gaston, The Least Foolish Woman in France, Paris Adieu, and Budapest Romance.
Gaston studied European history at Yale and received her master’s degree in international affairs from Columbia. She worked at Institutional Investor, WR Capital, and as a columnist for The Westchester Guardian before becoming a novelist.
She is currently working on Book Four of The Anne Boleyn Chronicles, covering Anne Boleyn’s time at the 1520 Field of Cloth of Gold. She lives in Bronxville, New York with her family.
Margery and Me tells the mysterious true story of a medium who mystified scientists, challenged skeptics, and sparked a sensation across America and Europe. It is written by a psychology professor-turned-novelist Maryka Biaggio. And I can’t wait to read this one.
In the 1920s, Margery Crandon captivated both Boston society and psychic researchers with her astonishing seances. At her gatherings, her deceased brother Walter regularly appeared, entertaining the circle with his witty and cheeky remarks. Margery’s abilities earned her the admiration of luminaries, including Sir Arthur Conan Doyle and William Butler Yeats. But one man stood in opposition: Harry Houdini, the legendary magician, who was determined to expose her as a fraud.
Margery and Me tells the true story of the medium who mystified scientists, challenged skeptics, and sparked a sensation across America and Europe. As Houdini and Margery clashed in a battle of wits and wills, the question remained: Could the master illusionist unmask her, or would her extraordinary powers be enough to convert even the most resolute of doubters?
Maryka Biaggio
Author Bio:
Maryka Biaggio is a psychology professor-turned-novelist who brings forgotten lives back into the light. Specializing in historical fiction inspired by real people, she crafts emotionally resonant narratives anchored in careful research.
Her debut novel, Parlor Games (Doubleday, 2013), launched a distinguished career that includes Gun Girl and the Tall Guy and Margery and Me. Her work has earned numerous accolades, including the Willamette Writers Award, Oregon Writers Colony Award, Historical Novel Society Review Editors’ Choice, La Belle Lettre Award, and a Publishers Weekly pick.
Biaggio is celebrated for illuminating overlooked historical figures with psychological depth and narrative grace.
Richard Woulfe has just published Master Secretary: Robert Cecil, A Life in Fiction, a new collection of stories centred on one of England’s most intriguing historical figures. It’s an exciting release, and I’m delighted to share the news with you.
“Statesman, strategist, survivor: Robert Cecil stood at the very heart of England’s transition from Tudor to Stuart rule. Hunched-backed and underestimated in an age hostile to disability, he rose to become Master Secretary to Elizabeth I and James I, suppressing the Essex Rebellion, foiling the Gunpowder Plot, and negotiating peace with Spain.
In this richly imagined sequence of eighteen interlinked stories, Cecil’s voice is joined by those of his family, allies, and adversaries—Elizabeth I, Anthony and Francis Bacon, Walter Raleigh, Ben Jonson, Arbella Stuart, and nameless spies and commoners whose lives brushed against his. From court intrigue to tavern gossip, from the grandeur of the Somerset House Peace Conference to a humble Limerick shop, these tales weave fact and fiction into a vivid portrait of one of history’s most remarkable political survivors.
Spanning his birth to his final conversation with the sculptor designing his tomb, Master Secretary opens a window onto the world Shakespeare inhabited—a world of politics and diplomacy, comedy and tragedy, faith and betrayal. Grounded in historical record yet alive with imagination, this is a compelling re-telling of the life of Robert Cecil: underestimated by many, unforgotten by all.”
Tell us about your book:
This is a cradle to almost-grave collection of stories relating to Robert Cecil, Secretary of State from 1586 to 1612, a role his father William Cecil had previously occupied. It begins on the day he was born, when William Cecil is trying to get home for news of the birth but is delayed by Queen Elizabeth and others, and ends with Robert discussing the design of his tomb with its sculptor. It covers the Lopez execution, the Essex Rebellion, the transfer of power from the Tudors (Elizabeth 1st) to the Stuarts (James 1st) and the Gunpowder Plot. Also included are Francis Bacon (Cecil’s first cousin), Ben Jonson, Walter Raleigh, Arabella Stuart. Other female voices include Cecil’s wife, Anne Bacon, Elizabeth Ist on her deathbed, an intelligencer, as well as the wife of a Limerick shop owner who had only vaguely heard of Robert Cecil.
Tell us about your research for this book. Did you discover anything unexpected?
The Lopez conspiracy was always baffling to me, as it seemed so obvious the man was innocent. Why had the Earl Of Essex persued it so doggedly? Now I realise that a motive was to discredit the Cecils and their intelligence network.
Something unexpected also related to the Earl of Essex, specifically his rebellion. The play Richard II was performed by supporters of Essex as a way of bolstering support, but when the rebellion failed Shakespeare’s company had to explain to the Privy Council why they allowed the play to be staged in the first place. I had always assumed Shakespeare himself needed to be at his imaginative best with his excuses but then found out he wasn’t actually there. No, it was an actor/manager who convinced Cecil of their innocence in that matter. Shakespeare was present though when Elizabeth ordered that a production of the play be performed one day before Essex’s execution.
What made you choose Robert Cecil, 1st Earl of Salisbury, as a subject?
I come from a drama background and knew Cecil to be Master Secretary when Marlowe, Shakespeare and Ben Jonson were writing. But there is a lot more; for example, Cecil was chiefly responsible for Walter Raleigh’s incarceration in the Tower, but visited Raleigh there just before his own death. What did they say to each other? This is where historical fiction excels; nobody knows what was said but I imagine Cecil not apologising but accusing Raleigh of being responsible for his own misfortune. And what was Elizabeth I thinking on her deathbed – all those whom she was convivial with dead, the succession already being orchestrated by her Master Secretary?
Or Francis Bacon, two years his senior. Francis Bacon went to Cambridge at 12, and it is reasonable to assume they two met when Francis was home. Two highly ambitious children, what did they talk about? And who get the better of who? Francis Bacon also sought the Queen’s patronage, but did their rivalry start from a younger age?
I have an admiration for Cecil – though his father helped him to rise in government, he still had to overcome so many difficulties, not least that his back was hunched. He was Secretary of State for 16 years (Thomas Cromwell by contrast only lasted 6), managed the transfer to the Stuarts despite his own father being instrumental in the death of James I’s mother (Mary Queen of Scots).
I also feel that telling his life via linked stories allows room for his defenders and critics to make their case. Cecil divided opinion in his own time, and still does.
What advice would you give new writers? Persevere. Writing and rewriting takes a hell of a lot of time, but you’ll get there if you’re confident there’s a story worth telling. Oh, and that writing is also enjoyable (most of the time).
What are you planning to write next?
The life of King Richard II, specifically from his coronation at the age of 10 to his deposition and death 22 years later. Now, there is somebody with no shortage of detractors.
“Statesman, strategist, survivor: Robert Cecil stood at the very heart of England’s transition from Tudor to Stuart rule. Hunched-backed and underestimated in an age hostile to disability, he rose to become Master Secretary to Elizabeth I and James I, suppressing the Essex Rebellion, foiling the Gunpowder Plot, and negotiating peace with Spain.
In this richly imagined sequence of eighteen interlinked stories, Cecil’s voice is joined by those of his family, allies, and adversaries—Elizabeth I, Anthony and Francis Bacon, Walter Raleigh, Ben Jonson, Arbella Stuart, and nameless spies and commoners whose lives brushed against his. From court intrigue to tavern gossip, from the grandeur of the Somerset House Peace Conference to a humble Limerick shop, these tales weave fact and fiction into a vivid portrait of one of history’s most remarkable political survivors.
Spanning his birth to his final conversation with the sculptor designing his tomb, Master Secretary opens a window onto the world Shakespeare inhabited—a world of politics and diplomacy, comedy and tragedy, faith and betrayal. Grounded in historical record yet alive with imagination, this is a compelling re-telling of the life of Robert Cecil: underestimated by many, unforgotten by all.
Author Richard Woulfe
Richard has had two radio plays produced: one by RTE Radio based on James Joyce’s/Nora Barnacle’s time in Trieste, the other a Victorian drama by the Wireless Theatre Company. Stage plays of his have also been performed, and short stories published. Richard is from Limerick, and now lives in London.
I find that I have to totally immerse myself in my research when I write historical fiction. I like to read history books about the characters, and I study primary sources such as the letters and papers of Henry VIII. I find that I often fall asleep listening to history books on Audible as I try to see and understand the shape of my story.
I think about who the people are who changed the protagonist’s life and how they might see those people. Is this a thriller? Is this a tragedy? These are the sort of choices I like to think about in the early stages. How much do I tell my reader, and how much could I hide in plain sight? For me, this part is all about uncovering the bones of the story. I used to be a total pantster but the more I write, the easier I have found structure. I have ADHD, and so I can become pretty obsessive and hyperfocused. I have to set timers to make sure that I am eating and drinking properly and to rest my eyes.
The next stage is writing down each year and the important events that took place. I make so many messy notes, charts, and I travel to sites that inspire me to write. I take lots of photos to remind me of the atmosphere.
As much as I love to research, I know when it’s done. For me, it’s when I understand what happened, know where the best place to begin, and when I know what the characters mean to each other. Then I write about each character and what their motivation might be. At the moment, I am deep into the research of Catherine Howard, and for so long, I just could not see her motivation, let alone Lady Rochford’s. Then one day, it just came to me.
The next stage is rest. I just have a break and think about other things. It’s really important to be lazy because my unconscious mind is working hard behind the scenes. I go to my craft club and walk my dog on my mobility scooter. I will have sudden epiphanies out of nowhere. Such as the time I realised a character could have all the signs and symptoms of a clinical narcissist, and my reader might not recognise them, but they would know having such a cold husband did not make a happy marriage. I find that everyday events and conversations give me ideas, and I write them all down. Then, when I feel fired up to work off, I go to my writing/craft room.
For me, writing is for pleasure. I have no intention of wanting to be on TV or appear in my local newspaper. I am an introvert, and I really dislike social media too. I am too much of a private person for all of that nonsense. Only a select few friends even know that I write. Historical fiction is not a very profitable genre, but it’s where my heart has always been. Although I did write two cosy mysteries back in the days of NaNoWriMo. (National writing month).
How to know when to stop researching and start writing.
Writers who work use history, psychology, or write in any field that demands intellectual rigour know that research is not optional. It’s the foundation of their work. But there is a point at which researching stops serving the work and begins to smother it. It’s so easy to end up with immaculate notes and no book.
Many writers don’t recognise that moment when the drafting must begin because research can feel virtuous. It feels like diligence. It feels like “doing the job properly.” And if they are anything like me, they love to read about a particular era, visit all the sights, and if I’m not careful, it could be the moment my real work quietly dies.
The question is not how much research is enough. The real question is: when does research stop being research and start being avoidance?
Research is the opening argument, not the final word:
Wayne C. Booth’s ‘The Craft of Research’ makes a point many writers conveniently ignore: research is meant to sharpen your questions, not deliver a perfect, airtight understanding before you begin.
Umberto Eco, in ‘How to Write a Thesis’, is even more direct by saying that writing must begin before you feel ready, because writing is part of the thinking process. I have to agree with him. It took years of absorbing Spanish culture before I even thought about writing Infidel, which is set in Spain. I certainly would not feel as comfortable writing a cowboy novel despite having lived in the United States because I know I have not absorbed the culture enough to understand all the nuances.
If your research has given you a working grasp of the landscape, the tensions, the contradictions and the unanswered questions, then you have enough to begin shaping a narrative.
Writers who wait for total mastery and perfection often never start.
Repetition of research means that you’ve reached saturation:
Historians and researchers use the term saturation to describe the moment when new sources stop adding new insight.
If you’re encountering the same facts, the same anecdotes, the same interpretations, you’re not deepening your understanding, you’re circling it.
At that point, it’s time to start drafting.
When research becomes avoidance:
It can become so easy to choose a task that feels productive to avoid the one that actually matters. For writers, research is the most socially acceptable form of avoidance. It looks serious. It looks intellectual. It looks like work. But if you feel a quiet relief when you decide to “research a bit more,” that’s not diligence. That’s fear wearing a scholarly coat.
The blank page is a writer’s real work.
Research is only useful if it leads you back to it.
If you can explain it, you can write it:
If you can explain something clearly, you understand it well enough to work with it. You don’t need encyclopaedic knowledge to begin drafting. You just need functional clarity. If you can talk through your premise, your historical moment, your character’s situation, or your thematic argument without checking your notes, you have crossed the threshold.
The gaps that remain will reveal themselves naturally in the writing.
And you will research those gaps with far more precision than you can from the outside.
Drafting is part of the research process:
I have found that writing clarifies what research actually matters to my work.
If you’re still trying to “finish” your research before you begin, you’re working against the grain of how serious nonfiction and historically grounded fiction are made.
The energy is telling you to move into drafting.
Writers who ignore that signal often end up with immaculate notes and no book. I know this from experience.
Nicola Harris 