Courage: Tales of History, Mystery and Hope by Helen Hollick & Friends

Fifteen historical short stories, covering eras from Roman to present-day by Judith Arnopp, Anna Belfrage, Derek Birks, Cathie Dunn, Patricia Furstenberg, Jean Gill, Kathy Hollick-Bater, Helen Hollick, Carolyn Hughes, Amy Maroney, Alison Morton, Elizabeth St.John, Marian L Thorpe, Antoine Vanner, Annie Whitehead. With an introduction by Lorna Fergusson.

The lion has long been a symbol of courage, loyalty, and hope. A creature of power and, in some traditions, of the divine. We imagine it unflinching, unafraid. Yet the truest bravery is not found in the open, but within, where the lion lies hidden, waiting to be called upon. In moments of uncertainty or grief. Courage is not the absence of fear, but the decision to face it. It is the moment when we would rather flee, but instead, find a strength we did not know we possessed.

These powerful and often emotional stories follow men, women, and children as they face profound adversity, the resilience to endure, cling to hope for the future, and the courage to change their lives forever.

Join these ordinary people as they uncover extraordinary strength and emerge, in their own way, lion-hearted.

Triggers: adult content: some violence, rape, difficult personal circumstances.

The Stories – in appearance order: (collated by Helen Hollick)

THE SENTRY by Alison Morton

Roman province of Noricum, AD 395

When danger strikes and you are on your own with only fear as a companion

THE SAXON by Derek Birks

Southern Britain, the frontier between the Belgae and the Atrebates. AD 471

When escape means more than just running for your life

THE PHOENIX by Marian L Thorpe

Ésparias, a fictional country bordering the western sea circa AD 900

A mother’s dilemma? To keep them safe – or let them go?

SIFLEDE by Judith Arnopp

London, October 1066

When the Normans come, Southwark’s residents need to fight, flee, hide or die

DAISY CHAIN by Annie Whitehead

England, 1141

A mother’s love. A mother’s grief

STEPPING BETWEEN by Anna Belfrage

Ludlow Castle, England, 1308

When all you can do is to endure

CONFRONTING PLAGUE by Carolyn Hughes

England, 1361

When courage must survive in the face of history’s cruellest plague

KATE’S LETTER by Patricia Furstenberg

Transylvania, Kingdom of Hungary, 1478

One letter, sealed in dragon’s wax

THE PORTRAIT’S SECRET by Amy Maroney

Paris, 1536

When  a woman holds a secret, does she keep it, or share it?

LEGACY by Jean Gill

Tudor England, 1558

When a man loses everything, what is his legacy?

A TALETELLER’S TALE by Helen Hollick

Somewhere in the Caribbean, 1709

When the only sound is the song of the sea, do you listen? Or do you drown in the embrace of a mermaid?

THE GATE by Elizabeth St.John

London, 1900

When courage costs everything

DARKNESS RISING by Cathie Dunn

Venezia, June 1923

Can the mystery of a secluded island, and a murder, be solved before

time runs out?

A SACK OF POTATOES by Antoine Vanner

Groenhorst, outskirts of Amersvoort, The Netherlands

November 11th, 1954

Courage meant survival for many – but others relied on greed

GRUMPY OLD GRANDFATHER by Kathy Hollick-Bater

Anywhere, Present-day

It takes courage to fight the memory of fear

YouTube Trailer link:

Universal Buy Link: https://mybook.to/COURAGE-Anthology

This title is available to read on #KindleUnlimited.

Author Bios:

Helen Hollick:
About Helen – (anthology compiler)

Originally first published in 1993, and now known for her captivating storytelling and attention to historical detail, Helen’s historical fiction, nautical adventures, cosy mysteries and short stories, invite readers to step into worlds where the boundaries between fiction and history blend together. Her historical novels span a variety of periods, with a particular focus on the Early Medieval. Her Pendragon’s Banner series offers a vivid portrayal of the King Arthur story set against a plausible reality setting, while the events that led to the 1066 Battle of Hastings shows her ability to bring historical figures and settings to life. Her novel about Queen Emma (The Forever Queen – USA title) became a USA Today best-seller.

In the Sea Witch Voyages, she subtly weaves in elements of supernatural fantasy against the Golden Age of Piracy, creating an immersive and addictive nautical adventure experience.

Her Jan Christopher cosy mystery series is set during the 1970s, based around her, sometimes hilarious, years of working as a North London library assistant. Her 2025 release of Ghost Encounters, co-produced with her adult daughter, Kathy, reveals some benign ghosts of North Devon where the family moved to in 2013. Helen has written several short stories, further exploring the echoes of the past, all with her compelling and convincing signature style.

Author Links

Website: https://blog.helenhollick.net/

Twitter / X: @HelenHollick   https://x.com/HelenHollick

Facebook: https://www.facebook.com/helen.hollick

Bluesky: https://bsky.app/profile/helenhollick.bsky.social

Amazon Author Page: https://viewauthor.at/HelenHollick

Cathie Dunn:
About Cathie – Cathie is an award-winning, Amazon-bestselling author of historical fiction, mystery, dual-timeline, and romance set in Scotland, England, and France. Her latest release, Ascent – the story of Poppa of Bayeux, handfasted wife of Rollo the Viking – is her sixth novel, and she is currently working on the sequel, Treachery. In her House of Normandy series, Cathie seeks to showcase the forgotten women behind the famous warriors who forged early medieval Normandy.
Cathie lives in the south of France with her husband and two rescue pets, enjoying the Mediterranean sunshine and visiting the many historic sites whenever she can.
Find her across social media and on
http://www.cathiedunn.com
Amazon author page: https://author.to/CathieDunn

Judith Arnopp:  
About Judith –
Multi award-winning author, Judith Arnopp’s novels are set in the late medieval and Tudor period. Her main focus is on the women of the era, her meticulous research offering deep psychological analysis of well-known figures such as Margaret Beaufort, Marguerite of Anjou, Anne Boleyn and Henry VIII himself. She has also written non-fiction How to Dress like a Tudor.

Webpage: http://www.judithmarnopp.com

Amazon Author Page: author.to/juditharnoppbooks

Anna Belfrage:
About Anna –
Had Anna been allowed to choose, she’d have become a time-traveller. As this was impossible, she became a financial professional with three absorbing interests: history, romance and writing. Anna has authored the acclaimed time travelling series The Graham Saga, set in 17th century Scotland and Maryland, as well as the equally acclaimed medieval series The King’s Greatest Enemy which is set in 14th century England, and The Castilian Saga, which is set against the medieval conquest of Wales. She has also published a time travel romance, The Whirlpools of Time, and its sequel Times of Turmoil,  and is now considering how to wiggle out of setting the next book in that series in Peter the Great’s Russia, as her characters are demanding.

website, www.annabelfrage.com

Amazon Author Page: http://Author.to/ABG

Derek Birks:
About Derek –
Derek writes character-driven, action-packed fiction. His debut historical novel, Feud, is the first of a series of eight books and one novella, entitled The Wars of the Roses. which follows the fortunes of the fictional Elder family. He has also written the Amazon bestselling series, The Last of The Romans, which focuses on the real fifth century Romano-British character of Ambrosius Aurelianus. His first non-fiction book is: A Guide to the Wars of the Roses. Under the pen name Tom Hadley, he has also written the Liv Fisher modern thriller series, which begins with Eyes Like Blades.

Derek has written and produced over 40 podcasts on the Wars of the Roses, and now co-hosts the podcast series, A Slice of Medieval, with historian, Sharon Bennett Connolly.

Website: https://derekbirks.com/

Amazon author page:

https://www.amazon.co.uk/stores/Derek-Birks/author/B0090EKZDY

Cathie Dunn:
About Cathie –
Cathie is an award-winning, Amazon-bestselling author of historical fiction, mystery, dual-timeline, and romance set in Scotland, England, and France. Her latest release, Ascent – the story of Poppa of Bayeux, handfasted wife of Rollo the Viking – is her sixth novel, and she is currently working on the sequel, Treachery. In her House of Normandy series, Cathie seeks to showcase the forgotten women behind the famous warriors who forged early medieval Normandy.

Cathie lives in the south of France with her husband and two rescue pets, enjoying the Mediterranean sunshine and visiting the many historic sites whenever she can.

Find her across social media and on

www.cathiedunn.com

Amazon author page: https://author.to/CathieDunn

Patricia Furstenberg:
About Patricia –
Patricia is a Romanian-born, South Africa-based author of character-driven historical fiction set in medieval Eastern Europe. Her latest novel, When Secrets Bloom, part of the Blood of Kings, Heart of Shadows saga, explores the turbulent world of Vlad the Impaler, weaving meticulous research with moral complexity, faith, and the quiet resilience of women navigating power and peril. Her short stories, poetry, and travel features have appeared in anthologies and online publications. Patricia blogs about overlooked corners of history and cultural heritage on her

website: https://alluringcreations.co.za/wp/

Amazon author page: https://author.to/PatFurstenberg

Jean Gill:
About Jean –
Award-winning Welsh author and photographer Jean Gill lives in Provence with the best scent-hound in the world, a Nikon D750 and a man. Best known for writing epic medieval adventures in The Troubadours and The Midwinter Dragon series, Jean has published twenty-seven multi-genre books since 1988, including the dog bestseller Someone To Look Up To.

For many years, she taught English, and was the first woman to be a secondary headteacher in the Welsh county of Dyfed. She is mother or stepmother to five children so life is hectic. With Scottish parents, Welsh and French residence and an English birthplace, she can usually shout for the winning team in sporting events.

She loves to hear from readers.

Website: http://www.jeangill.com

Amazon author pages:

US: https://www.amazon.com/author/jeangill

UK:https://www.amazon.co.uk/stores/Jean-Gill/author/B001KDUN1C?ref=sr_ntt_srch_lnk_3&qid=1772723126&sr=1-3&shoppingPortalEnabled=true

Kathy Hollick-Bater:
About Kathy –
Kathy is severely dyslexic and struggles with her reading and writing. Her passion is horses and mental well-being. She started riding at the age of three, had her own pony at thirteen, and discovered showjumping soon after. Kathy is now a Devon farmer’s wife, runs Taw River Equine Events, and coaches riders of any age or experience, specialising in positive mindset and overcoming confidence issues via her Centre10 accreditation and Emotional Freedom Technique training. EFT, or ‘tapping’, uses the body’s pressure points to aid calm relaxation and to promote gentle healing around emotional, mental or physical issues. She hopes to extend her training in order to help ex-servicemen overcome PTSD.

Kathy regularly competes at British Showjumping, and rides side-saddle (‘aside’) when she has the opportunity. She produces her own horses, several from home-bred foals. She also has the ability to see, hear and talk to friendly ghosts, several of whom share our 1769 farmhouse.

Website: https://www.white-owl.co.uk/

co-author of Ghost Encounters: The Lingering Spirits of North Devon

Amazon: https://mybook.to/GhostEncounters

Carolyn Hughes:
About Carolyn –
Carolyn is the author of The Meonbridge Chronicles series, historical fiction set in fourteenth century England. The first Chronicle, Fortune’s Wheel, is set in the immediate aftermath of what we call The Black Death. Times of social change are always fascinating, and trying to depict the great upheaval in society brought about by the plague was the inspiration for the book. In the subsequent novels, Carolyn has sought to reveal the lives of mostly ordinary medieval folk through stories that tell of experiences especially pertinent to the time but which also resonate today. The stories focus particularly on the lives of women, if only because women in history often have not had much opportunity to “speak”.

There are now eight books in the series. More will follow.

Website: www.carolynhughesauthor.com

Amazon series: https://mybook.to/MhkUql

Amy Maroney:
About Amy – Amy
lives in Oregon, U.S.A., and spent many years as a writer and editor of nonfiction before turning her hand to historical fiction. Amy is the author of the Miramonde Series, a trilogy about a Renaissance-era female artist and the modern-day scholar on her trail; and the Sea and Stone Chronicles, which features strong, talented women seeking their fortunes in the medieval Mediterranean. To receive a free prequel novella to the Miramonde Series, join Amy Maroney’s community of readers on her website:  https://www.amymaroney.com/

Amazon Author Page:

https://www.amazon.com/stores/Amy-Maroney/author/B01LYHPXEO

Alison Morton:
About Alison –
Alison writes the thrillers she always wanted to read – ones featuring tough but compassionate heroines. Her eleven-book Roma Nova thriller series is set in an imaginary European country where a remnant of the ancient Roman Empire has survived into the 21st century and is ruled by women who face conspiracy, revolution and heartache but with a sharp line in dialogue.

All six full-length Roma Nova novels have won the BRAG Medallion, the prestigious award for indie fiction. SUCCESSIO, AURELIA, INSURRECTIO and JULIA PRIMA have been selected as Historical Novel Society’s Editor’s Choices. AURELIA was a finalist in the 2016 HNS Indie Award. The Bookseller selected SUCCESSIO as Editor’s Choice in its inaugural indie review.

Six years’ military service, a fascination with ancient Rome and a life of reading crime, historical and thriller fiction have inspired her writing. She lives in Poitou in France, the home of Mélisende, the heroine of her contemporary thrillers, Double Identity, Double Pursuit and Double Stakes.

Website: https://alison-morton.com

Amazon author page: https://Author.to/AlisonMortonAmazon

Elizabeth St.John:
About Elizabeth –
Elizabeth’s critically acclaimed historical fiction brings to life the stories of her ancestors—extraordinary women whose close connections to England’s kings and queens offer an intimate perspective on Medieval, Tudor, and Stuart times. Inspired by family archives and historic residences from Lydiard Park to the Tower of London, she explores ancestral portraits, diaries, and lost gardens—and occasionally encounters a ghost. Discovering a whole different family history in The Gate, Elizabeth expands her storytelling into the early 20th century, adding a new era to her repertoire.

Living between California, England, and the past, Elizabeth is International Ambassador for The Friends of Lydiard Park and curator of The Lydiard Archives, where she is always searching for inspiration for her next novel. Her works include The Lydiard Chronicles, set during the English Civil War, and The Godmother’s Secret, exploring the mystery of the princes in the Tower. In The King’s Intelligencer, set in the court of Charles II, a young woman must decide what she is willing to risk to reveal the whereabouts of the missing princes.

Website: www.elizabethjstjohn.com

Amazon Author Page: https://geni.us/AmazonElizabethStJohn

Marian L Thorpe:
About Marian –
Marian’s novels are historical fiction of an imagined world, one that is close to Britain, Northern Europe, and Rome, but isn’t any of them. Her short stories, either in multiple-author anthologies or her own collections range from urban fantasy to historical fiction, slice-of-life to climate fiction.

After two careers as a research scientist and an educator, she decided it was time to do what she’d always wanted, and be a writer. Her first book was published when she was in her mid-50s. Her life-long interest in Roman and post-Roman European history provided the inspiration for her first series, while her other interests in landscape archaeology and birding provide background.

Website: www.marianlthorpe.com

Amazon Author Page: https://relinks.me/MarianLThorpe

Antoine Vanner:
About Antoine –
Antoine spent four decades in international business, latterly at senior executive level, and lectured in academia afterwards. He lived through military coups, a guerrilla war, negotiations with governments, storms at sea and life in mangrove swamps, tropical forest, offshore oil-platforms, and the boardroom. He has lived and worked long-term in eight countries, has travelled widely in all continents except Antarctica and is fluent in three languages.

He has a passion for nineteenth-century political and military history and has a deep understanding of what was the cutting-edge technology of the time. His knowledge of human nature and his first-hand experience of the locales – often surprising – of the most important conflicts of the period provide the impetus for his chronicling of the lives of Royal Navy officer Nicholas Dawlish and his magnificent wife, Florence. There are thirteen volumes so far in the Dawlish Chronicles series, the actions set in the period 1858 to 1915.

Vanner now lives in Britain with his wife, Eva Lagassé (a journalist by background), their dog and five horses.

Website: www.dawlishchronicles.com

Amazon Author Page: https://amzn.to/4sB0MUR

Annie Whitehead:
About Annie –
is a prize-winning writer, historian, and Fellow of the Royal Historical Society, and has written four award-winning novels set in ‘Anglo-Saxon’ Mercia. She has contributed to fiction and nonfiction anthologies and written for various magazines. She has twice been a prize winner in the Mail on Sunday Novel Writing Competition, and won First Prize in the 2012 New Writer Magazine’s Prose and Poetry Competition, a finalist in the Tom Howard Prize for nonfiction and shortlisted for the Exeter Story Prize and Trisha Ashley Award 2021. She was the winner of the inaugural Historical Writers’ Association HWA/Dorothy Dunnett Prize 2017 and subsequently a judge for that same competition. She has also been a judge for the HNS (Historical Novel Society) Short Story Competition, and was a 2024 judge for the HWA Crown Nonfiction Award and chaired the same panel in 2025.

Her nonfiction books are Mercia: The Rise and Fall of a Kingdom (a #1 Amazon Best-seller, published by Amberley books) and Women of Power in Anglo-Saxon England (Pen & Sword Books). In 2023 she contributed to a new history of English monarchs, published by Hodder & Stoughton, and in 2025 Murder in Anglo-Saxon England was published by Amberley Books.

In February 2026 she signed a contract for a new nonfiction book about the Anglo-Saxons, to be published by The History Press in 2027.

Website: https://anniewhiteheadauthor.co.uk/

Amazon author page: http://viewauthor.at/Annie-Whitehead

With an introduction by Lorna Fergusson:
About Lorna –
Lorna Fergusson is an award-winning short story writer and novelist. Founder of Fictionfire Literary Consultancy, she is an experienced editor, writing coach and speaker. She has taught on various Oxford University writing programmes since 2002. Her stories have won an Ian St James Award, the Historical Novel Society’s Short Story Award, and been shortlisted for the Bridport Prize, Pan Macmillan’s Write Now prize and the Historical Novel Society’s First Chapters prize. She was twice runner-up for the Mogford Prize. Author of The Chase and An Oxford Vengeance, her latest book is a collection of stories set in France, One Morning in Provence. She is currently developing one of the Mogford stories as a novel, as well as working on poetry and a book on mindset for writers. Born in Scotland, she is married with two sons and lives in Oxford, England.

Website: https://www.lornafergusson.com

Amazon author page:

https://www.amazon.co.uk/stores/Lorna-Fergusson/author/B0034PRAP6

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Avoiding Indie Author Scams – What to watch out for:

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.

Photo by Mikhail Nilov on Pexels.com

 Why Indie Authors Are Targeted:

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.

Photo by Ku00fcbra Arslaner on Pexels.com

 Emotional Tricks They Use:

Scammers know authors are emotionally invested in their work. They exploit that by:

Hope: Promising awards, recognition, or significant exposure.

Urgency: “Act now or lose readers!”

•  Fear: “Your account is at risk.”

Confusion: Overloading you with jargon-filled reports.

If you feel your emotions spiking while reading an email, pause. That’s often the scammer’s hook.

Photo by http://www.kaboompics.com on Pexels.com

 How to Protect Yourself

•  Check credentials: Google the company or person. If they don’t exist online, that’s your answer.

•  Be sceptical of unsolicited offers: Real opportunities usually come through channels you’ve applied to and are trusted.

•  Don’t pay upfront: Legitimate services are transparent about costs and contracts.

•  Lean on trusted communities: Groups like the Society of Authors or the Authors Guild regularly post scam alerts.

Remember the golden rule: If it feels too good to be true, it probably is.

Photo by Pixabay on Pexels.com

 Final Thoughts:

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.blog This 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. 

Sources:

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Why It’s So Hard to Edit Your Own Work? And the Tricks That Actually Help.

Photo by Connor Scott McManus on Pexels.com

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:

Change the Colour of the Text:

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.

Photo by Florenz Mendoza on Pexels.com

Change the Font (Dramatically).

Not a polite shift from Times New Roman to Garamond.

A dramatic shift.

Try a heavy serif, a thin sans‑serif, a typewriter font or something slightly ugly.

The uglier the font, the more your brain pays attention.

Your mind can’t rely on its internal map when the text looks unfamiliar.

It has to read what’s actually there.

Print It Out

Paper breaks the spell.

On a screen, your brain knows the terrain too well.

On paper, the text becomes an object, something external, something you can mark, fold and scribble on.

Writers consistently catch more errors on paper than on a screen.

Photo by Natalia S on Pexels.com

Read It Out Loud.

When you read aloud, your brain is forced to process every word in sequence.

You’ll hear any awkward rhythms, missing words and any repetitions you didn’t notice

If you stumble, the sentence is wrong.

If you run out of breath, the sentence is too long.

Your voice will reveal what your eyes ignore.

Change the Layout, shift the margins, increase the spacing, turn paragraphs into single lines and put the whole thing into a narrow column.

Anything that changes the shape of the text forces your brain to stop predicting and start noticing.

Photo by Jessica Lewis ud83eudd8b thepaintedsquare on Pexels.com

Leave It Alone Long Enough to Forget It.

Distance is the closest thing you’ll ever get to objectivity.

A day helps, a week is better, and a month is ideal.

The longer the gap, the more the internal version fades and the more you can see the actual words.

Read It on a Different Device

Your brain associates each device with a different reading mode.

·         Laptop = drafting

·         Phone = scanning

·         Tablet = reading

·         Paper = editing

Use that to your advantage.

A piece you’ve stared at for days on a laptop will look and feel completely different on your phone.

Ask a Different Question.

Instead of asking, “Is this good?”

 Ask:

·         “Where does this drag?”

·         “Where am I feeling bored?”

·         “Where would my reader get lost?”

·         “What sentence is doing nothing?”

·         “What am I assuming the reader knows?”

The Truth about editing:

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.

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Free Resources Every Writer Should Know About 

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.


OneLook Reverse Dictionary:

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 Free Courses:

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.

British Library Digitised Manuscripts:

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.

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A new book launch: Master Secretary: Robert Cecil, A Life in Fiction, by Richard Woulfe.

Buy link: https://chiselbury.co.uk/shop/

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.

oOo

When to Stop Researching and Start Drafting Your Novel.

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My process:

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 youve 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.