Ravenscar – The dream resort that was an investor’s nightmare.

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Between the famous resort of Scarborough and the ancient port of Whitby lies the little known village of Ravenscar, formerly named Peak. Today this slightly remote headland location is home to a cluster of houses, the National Trust Coastal Centre and the impressive Raven Hall, built C1774, which has fine views over the sea and across the bay to Robin Hood’s Bay.

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The Hall became the Raven Hall Hotel in 1895 and now also has a frequently windswept golf course. The impressive castellated hanging gardens even have a sheltered cubby hole in the rock, which could be used to shelter from the storms and north easterlies, or even possibly to have been used to signal out to sea.

The existence of Ravenscar is owed to The Peak Estate Company who wanted to create a holiday resort to rival its successful near neighbours. Their ambition was great. The railway line brought prospectors to this healthy resort between moor and sea. Streets named after previous invaders were planned: Roman, Angle, Saxon and Dane.

The main drawback, other than its exposed position, was that the fine sandy beaches, which can be found at Scarborough or north of Whitby, did not exist here. It is situated on a headland with a cliff face over 600 feet high. The way down to the sea level is precarious and the shore rocky. Although you can sometimes see seals, it was hardly going to attract the traveller who wanted to enjoy seaside walks or dips. Drains and water supply were installed, but of the 1200+ plots there were insufficient buyers to make the town viable and so the company ceased in 1913.

Now, the area is a real draw for walkers, ornithologists, painters, and nature lovers. You can explore the deserted workings of the alum works. It is this history that brought me to this beautiful yet wild spot. When researching for ‘To Love, Honour and Obey’ and the region for Abigail Moor I looked into the history of the Yorkshire alum industry and discovered the Peak site. Admittedly my fictional workings were north of Whitby, but the importance of the industry and the links to London was based on facts.


Today if you visit the National Trust Visitor Centre you can follow a looped path (2.2 km/1.35 miles) that takes you to a viewpoint across the bay, across the golf course past the fresh water pond, skirting the bluebell wood down to the alum works. Once you’ve circled the remains, double back up the other side of the bluebell woods to the brick works and back along by the railway cutting to the coastal centre.

dsc09461You can join the Cleveland Way from here, and in spring the bluebells are beautiful.

The inclines make the walk slightly more challenging, along with the strong winds that were cutting inland from the sea on the day I visited. It is a wild setting, but well worth a visit for the views alone.

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Welcome Roger Sanderson

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It is my pleasure to introduce Roger Sanderson as my guest author this month. Roger is a prolific romance author and assistant organiser of the fantastic RNA Conferences along with Jan Jones.

Welcome, Roger, and thank you for giving up your time to do this interview.

When and why did you break into the world of romantic fiction?

For many years I lectured in English at a Further Education College, and as everyone knows, all English teachers really want to write novels – so when I retired, I decided to give it a go. I was already writing Commando comic scripts. While waiting at the publishers one day, I picked up their matching romance line STAR, so started with that. I went on to write for Hale, then M&B and am now with Accent (as Gill Sanderson) and Desert Breeze (as Roger Sanderson).

The RNA is a very supportive organisation. When did you first discover and join it?

I was a member of a local writing circle run by the late Sheila Walsh. She was on the committee of the RNA at the time and suggested I join. I am very glad she did!

Did your previous experience of writing scripts for Commando Comics influence the way you plot and write your novels?

They both demand a tight plot and extra care dealing with characterisation because there isn’t the room to over-develop the storyline. You have to focus. Possibly the experience of writing Commando scrpits has left me with a liking for a ‘big finish’. Of course, in a Commando, the hero shoots the enemy. In a romance novel the hero kisses the heroine. An important difference.

You are a prolific writer. How many titles have you had printed by Mills & Boon?

I think I wrote 44 or 45, all of which have now been re-edited and republished by Accent Press. It’s great to know these new digital editions are reaching a second audience.

You must have researched so many medical books and procedures over the years for your medical romances that I wondered if part of you had a leaning towards actually being a doctor or physician. Or do you prefer to stay away from the actual blood?

The latter, definitely! However three of my children are in the medical profession (Mark is a consultant oncologist, Adam is a dispensing nurse and Helen was a midwife for many years) so I have a wealth of research at the end of the phone.

I know many people ask you about writing as ‘Gill Sanderson’, but as many women writers create male protagonists I find this natural and refreshing. Did you choose to adopt a female pseudonym or was it advised?

It was very strongly suggested to me that I write under a female name. At the time the perceived wisdom was that when reading romance, women preferred a female name on the cover.

You have a love of the outdoors and hiking. Do you use this time to switch off from writing or to ponder and plot?

Originally I mountineered at the weekends to counteract the pressures of the staff room. The habit of outdoor exercise never leaves you, even if these days it’s more of a long daily walk by the sea. I rarely switch off from writing. I use walking time to think about the current book and also mull over ideas for future ones.

What is the best piece of advice you could offer to an as yet unpublished writer?

One: read as much as you can. Two: aim to write at least 500 words a week. Some weeks, this might be all you manage, some weeks it might be 5000 words. The important thing is to write something.

What do you like to read to relax?

Anything! I have very wide reading tastes.

What are you working on now?

I’m currently writing a sequel to my light-hearted romance LIVERPOOL TO LAS VEGAS (Desert Breeze Publishing), which features an ex-PE teacher and a documentary film maker and is one of my US-published novels under my own name.

What is next for Roger?

I had a major heart operation last year which is taking me a lot longer than I hoped to recover from. My goal at the moment is to get back to full health and keep on writing!

Crime and Punishment – Part 2

In my exploration around Ripon’s three amazingly well preserved law and order museums I was touched at the ease at which a person’s life, regardless of their age or sex, or the seriousness of the crime, could be devastated by incarceration, transportation or death.

The Police and Prison museum was mentioned in an earlier post.

The Courtroom, however, is based upon a Victorian courtroom and has been well preserved. It presents some shocking facts about how crime was dealt with from before this period too. The ‘Quarter Sessions’ were held at: Epiphany, Easter, Midsummer and Michaelmas and trial was by jury. Sentences passed here could send people to be punished in the market square or for more serious crimes to the County Assizes to hang.

From the seventeenth century the court could also sentence a ‘criminal’ to transportation to the colonies for up to 14 years. This could be instead of a death penalty. It was thought that criminal behaviour could spread so by removing it the problem it would literally go away by sending them to…

“His Majesties Colonies over the seas… preventing the communication of the cantagion.”

This was an extremely cruel system as many failed to return. Forgery was a capital offence, but this could be reduced to transportation. We usually link this to sending prisoners to New South Wales, Australia (1788-1868) as dramatised in the TV series Banished, but before this convicts were sent to the Americas from as early as 1610 to 1770’s.

Special gaols (jails) were built to house debtors. These were self-funding as inmates had to pay, if able, which made it difficult for them to clear the actual debts they were imprisoned for.

Suicide was judged as a crime and the bodies of such poor souls would be buried at crossroads rather than in consecrated ground.

Lesser sentences included whipping (for both sexes) pilloried or placed in stocks, was done publicly to humiliate and shame. Fines could be levied, but if the person was poor there was little point to this. When the standard of living improved then fines became more popular and they raised money to build more prisons, which were expensive to build and run.

A person could be bound over to keep the peace. It seemed normal for the harsher sentences to be levied against offenders who had already been before the court.

The last case of a man to be held in the stocks was in 1857. It was interesting to learn hat it was the Methodist and Evangelical Christians, who had previously been behind the banishment of slavery, who helped change public opinion and the law against such public cruelty as a punishment.

Vagrants and the poor had a different fate. If they stayed within the law and did not steal in order to feed their family they could end up in the harsh regime that was the workhouse. Ripon’s Workhouse certainly provides plenty of information about the long days and the harsh life of the individuals and families that were made to work there. Families were split, even mother’s from their children.

From being stripped and bathed at the entrance, to the early rise and long hours picking oakham (the threads were literally unpicked by hand (the phrase ‘money for old rope’ was born) to harder labour of breaking rocks. They did nothing to encourage people to stay willingly, but to make them work in the absence of any social welfare, they were places to avoid if possible.

Sophie's Dream Sophie’s Dream is to find an exciting life away from her strict education in a workhouse. She applies, with references, through an agency for a position as Governess in New South Wales. Along with other young women, she is chaperoned to their new life, beyond the social barriers in England. Abandoned on the quayside of Sydney, Sophie discovers the agency is a sham. Her instincts lead her to Mr Matthias Wells and a very different world opens up to her.

Sophie’s Dream is also available to buy on Smashwords!

More about crime and justice within the era:

Abigail Moor – The Cruck Inn

Abigail Moor KEC_1Abigail has to flee her home to escape from a forced marriage. This love story wrapped around an adventure takes the heroine away from the comfortable country manor house which has always been her home, onto the wilds of the North Yorkshire moors, to the beauty of the ancient city of York. From here she must seek refuge in the busy seaport of Whitby to discover who she really is.

She embraces her destiny and, accompanied by her maid, makes for The Cruck Inn, a coaching inn, on the moor road where her quest begins. Here, Abigail has her first experience of what the real world is like beyond her sheltered life Beckton Manor. The Cruck Inn was named after the design of the North Yorkshire cruck-built buildings. Spout House is an excellent example of an early inn which still exists in Bilsdale. I visited it when researching the area and was amazed at how well it was preserved. It is literally like taking a step back in time. Abigail Moor: The Darkest Dawn is available at Amazon and Smashwords.

Here are some photos I took of the amazing time capsule that is Spout House.

 

For the love of baking!

The Baker’s Apprentice is now available to download in eBook format for all eBook readers at a special price of $1.50 from Smashwords!

I love baking because it sparks memories of time spent in a warm kitchen with my mother and aunty, chatting and laughing as we enjoyed eating some of the results of our labour. From a young age I would bake the basics for the house: cakes, scones, puddings and pies. The smell of freshly made bread or scones return me to part of my childhood that will forever bring a burst of nostalgic warmth on a cold winter’s day.

A friend commented that among my titles, which focus on my North Yorkshire villages in the early nineteenth century, I had not based one around a bakery. Not everyone had their own oven, so the village bakery traditionally played an important part of village life. One comment sparked an idea and Molly Mason sprang to mind; an impetuous heroine who does not lack the courage to leave the home she dislikes, but has not the foresight to realise the hard work behind the ‘cosy’ surroundings she imagines sharing when helping her friend who runs the village bakery.

Often in life we see our own problems and look at the greener grass growing elsewhere without considering the effort that is needed to sustain the lawn.

TBA KECThe Baker’s Apprentice is set in a fictitious North Yorkshire market town that pops up in many of my titles called Gorebeck. In this story it is in a state of transition as newer Georgian terrace houses line a road replacing the older timber and cottage buildings. Some people will always welcome change seeing it as an opportunity, or others as a threat – they crave the familiar and as the old saying goes ‘If it ain’t broke don’t fix it’. It is at a crossroads for routes north to Newcastle, south to York, east to Whitby and west to Harrogate.

I will talk more about Gorebeck in future as I look at asylums, churches, market towns, inns, new and old money, mills and coaching routes in future posts.

In this story, Molly Mason carries hatred in her heart, convinced her father was murdered or driven to an early grave and seeks to escape from his wife and discover the truth. Sometimes though the truth is not what we want to hear.

An Interview with Ian Skillicorn

Ian SkillicornWhat better way to usher in the New Year than to share an inspiring interview with Ian Skillicorn who is a very talented and successful writer, publisher, speaker, director, voiceover artist, translator and producer.

Welcome to my blog, Ian! I hope I have not omitted any of the many hats that you wear within your fascinating career.

Thanks for having me! Well, those are all of the various hats I’ve worn over a twenty-five year career to date, but fortunately I haven’t had to wear all of them at the same time!

You obviously have a natural love of language: written and audio, both in English and translation. When and where did this love of words and story-telling begin?

From a very early age. My parents are (and grandparents were) great readers, and so there were always lots of books around the place. The weekly visit to the library was really important in introducing me to a variety of authors, and firing my imagination. At weekends my parents took us to museums, art galleries and historic sites around the country, which gave me a lasting appreciation of art and history, and all sorts of stories about people through the ages. I also had a couple of very supportive English teachers at secondary school who encouraged my own writing efforts. I recently discovered that one of them is a friend of one of my authors, and we have since been in touch, which was lovely.

Did your early career, working for a national magazine in Milan, give you the exposure to the industry that you needed to realise your own literary ambitions and projects?

Not directly, to be honest. I came back from Italy with six years’ solid work experience but at that time, in the 1990s, I think people were expected to follow a much more rigid career path than they are nowadays. I had never worked in the UK, and although I wanted to get into publishing, I found I was over-qualified for some jobs, but didn’t have the relevant experience in this country for others. I ended up taking what was for me the obvious easy route – becoming a freelance translator. It was something I had enjoyed doing in Italy, but literary translation work in the UK was hard to come by, so I went into translating for businesses. It wasn’t really what I wanted to do, but I suppose I was lucky I had it to fall back on. The upside was that being freelance meant I had the flexibility to work on developing my own projects as well. It took many years of working seven days a week, doing lots of projects for free, financing some myself, and numerous false starts before I was finally able to give up the day job. Now I do work in publishing again, with my own imprint, and in the end I was the one who gave me a job!

That has to be one of the main benefits of being self-employed.

Hardacre by CL SkeltonIn 2006 you founded www.shortstoryradio.com. How passionate are you about broadening the market for short story writers?

Very. Short Story Radio was one of those projects I developed in my own time, and initially at my own expense. I often read comments online and in print from creative people who say they refuse ever to work for free, but I don’t completely subscribe to that view. Even if you are passionate about your craft and believe in yourself, in the early days of your career sometimes the only way to get noticed is by creating your own opportunities. Through working on Short Story Radio I learned that there was an appetite for short stories in English not only in this country, but around the world. I met many talented writers and actors, some of whom are now good friends, and realised how difficult it was for short story writers to find paying outlets for their work. After a while I applied for a grant from Arts Council England. My application was successful and that support from ACE financed work for a lot of writers, actors and technicians, and raised the profile of Short Story Radio and its content. It was also a very important morale boost for me, and the start of building up an audio production business which led to many interesting commissions over a number of years. For most of the Short Story Radio writers it was their first experience of being broadcast, and a number have gone on to have successful writing careers.

Do you see a growing trend for shorter fiction evolving both through audio (The Story Player) and eBooks?

I do. However, I think enthusiasm for the short story among readers hasn’t yet caught up with the form’s popularity among writers. It’s often said that the short story is perfect for today’s busy, time-poor lives, but hearing that always makes me cringe. Good writing should be savoured no matter what the length, not because it is “convenient”. I don’t like the idea of a short story being considered the literary equivalent of “wash and go”. That said, I’m sure that new technologies will present all sorts of opportunities for creating, selling and experiencing short stories. We’re only just at the beginning.

Do You Take This Man by Sophie King coverYour connection with short fiction was further strengthened when you founded National Short Story Week in 2010, which has best-selling author Katie Fforde as its patron. What would you say is the essence of a good short story?

That’s a tough question! I suppose it depends on the opinion of the individual reader and their tastes. Personally, I enjoy stories which manage to say something about the human condition, and which I can relate to even if my life is nothing like those of the protagonists. I think that’s why the stories of authors such as Saki and Katherine Mansfield, mostly written more than 100 years ago, are still fresh and relevant today. Their themes are timeless and universal.

If I could just say something about National Short Story Week. One of the best outcomes, which wasn’t actually an original aim, has been the enthusiasm and involvement of schools and their pupils, librarians and teachers. The National Short Story Week Young Writer competition, for year 7 and 8 pupils, is now in its fourth year and going from strength to strength. I can highly recommend the anthology of last year’s winning stories – The Mistake. It reached Number 51 on Amazon’s book charts last November, and has raised funds for Teenage Cancer Trust. The children’s creativity, imagination and use of language are very impressive. If we are serious about championing the short story form, surely the best way to do this is to get people interested in writing and reading short stories from an early age.

The Property of a Gentleman cover artworkThat is excellent and inspiring for the future.

In 2012 you created your own publishing imprint Corazon Books (I love the tag line: Great stories with heart!). It was launched with a novel by bestselling author Sophie King. However, you have just published an out of print title The Property of a Gentleman by Catherine Gaskin who died in 2009. What inspired you about Catherine’s work and do you intend to publish more of her titles?

I was very lucky to launch my business with a title by Sophie King, who is a great writer (and whose work inspired the Corazon tag line!) and a lovely person. I have been familiar with Catherine Gaskin’s work since I was young, when my mother and grandmothers were reading her novels. Although I knew and loved the books, I didn’t know much about the author before I published The Property of a Gentleman. I have since done some research on her life, and was fascinated to discover she wrote her first book, which became a bestseller, while still at school! I have received many nice comments from readers since Corazon Books started reissuing her novels, and it has been very gratifying to see The Property of a Gentleman back in the bestsellers charts both in the UK and Australia. Corazon Books has also recently published Sara Dane, which is probably Catherine Gaskin’s best known work. The Lynmara Legacy is out in February 2015, and will be followed by Promises in the spring.

I heard you speak at three events last year: Society of Author’s day event in Bristol, R.N.A. conference and at the H.N.S workshop. You inspire, entertain and inform people especially about eBooks. How do you view the major changes happening within this very new industry today impacting upon what for decades has been a very set publishing industry in the future?

Thank you, that’s very nice of you to say so. I really enjoy talking at conferences and giving workshops. When so much of the average working day can be spent in front of a pc screen, it’s a good opportunity to get out there and meet like-minded people, and to share ideas and experiences. Obviously we are living through a period of huge technological change, in many aspects of our lives. The publishing industry is clearly going through a major transformation and as such there will be winners and losers. I think it’s too early to say who will be the winners and who the losers. You have to be able and willing to reappraise and adapt quickly.

What is next for Ian?

I’m very excited about the books lined up for publication by Corazon Books this year, which include a number of novels by new talents and other projects I can’t talk about just yet. Plans for National Short Story Week 2015 and the Young Writer competition are already under way. I’m looking forward to doing more ebook workshops for the Society of Authors in March, and at Sheffield Hallam University in April. I also have a long list of ideas I want to pursue, which are currently at different stages of development!

Thank you for taking the time to share your work and experience with us and every best wish for your continued success with all your projects in 2015.

Thank you very much for having me on your blog Valerie, I’ve enjoyed it. Best wishes to you, and for your writing, and to all of your readers too.

More From Ian:

An Interview with Elizabeth Chadwick

Welcome to my blog, Elizabeth. From the moment you began writing manuscripts you never gave up on your goal of becoming a published writer. How long did this take?

I decided I wanted to write for a career when I was 16. This was after I had spent a year hand writing my first novel. Prior to that I’d always told myself stories verbally as imaginative fun. It wasn’t until I was 15 I wrote anything down, but having done so, I decided that writing novels was what I wanted to do for a living. It took another 16 years for me to realise that dream. Part of that time was taken up by growing up, entering the world of employment, getting married and having a family. During that period I learned to touch type and as technology advanced, transferred from manual typewriter to computer – in those days the Amstrad green screen. I always hoped to get published, but I figured it didn’t matter if I didn’t because this was my hobby and storytelling had been a part of me since I first had language, so I wasn’t just doing it for the fame and fortune (!), I was doing it for me.

Your big break came when Carole Blake became your agent after reading The Wild Hunt. How quickly did your world change as a result of this?

Not immediately because it takes time for contracts to be arranged and for money to begin flowing through so I didn’t give up the part-time day job immediately. When I was first offered a publishing contract, my children were aged six and three, and I was staying at home looking after them during the day and going out to work the twilight shift in a local supermarket at night while my husband took over the childcare. So although I was offered a publishing contract in the summer of 1989, I didn’t give up the job until late autumn of the same year. While my first contract wasn’t exactly enough to move to Millionaire’s Row, it allowed me to be a stay at home mum and write in the spaces between the children. In those early days it was still very much a part time income, but enough to get by when added to my husband’s full-time wage.

Do you look back at your early work affectionately or critically?

Both. I think any writer worth their salt is always learning and seeking to improve. I know I have moved on since my early days, but my early novels were still strong enough to be published and short-listed for awards in a very competitive market. I have since had the great opportunity to overhaul those early novels in the light of experience gained and it was interesting to go back and look at the learning curve. But I am very fond of my early works because they are the foundation stones on which my career has been built.

I totally agree with you. What advice would you give to an author who is about to make the step into the world of an agent and publishing deals?

Be professional. If you don’t know something and it’s genuinely out of your range, then ask. But do some homework first and make sure that it’s not something you can’t answer for yourself. Talk to other writers and professionals who have knowledge of the publishing industry and get a range of opinions. Go to events and network. The more you know the better you will be able to make decisions. You might even decide to go the route of self publishing, but you need to know all the ins and outs of what this entails and be realistic about expectations.

Your love of the medieval period began when you watched your TV hero on screen in the 70’s adventure series Desert Crusader. Which of your heroes/heroines would you love to see televised to inspire a new generation?

Without a doubt it would have to be the great William Marshal and his family. They win hands down! He was a man who took the helm of the country in a time of great upheaval during the early 13th century. Without his political, military and people skills, the pages of England’s history would probably have looked very different.

I would love to see William on TV.

You are renowned for your detailed research and historical accuracy. How has this deepened or broadened over the years since you started writing?

When I began writing it was at the more romantic end of historical fiction and the research books I was using were often fairly general in their outlook although I did even at that time possess a core number of books from university presses. By the very nature of time I gained experience, adding layer upon layer as each successive novel came out. I bought more books; as my knowledge levels increased so did the complexity of my reading. These days I mostly buy my research books from specialist publishers and university presses and my research has become more academic. I am now sometimes asked to give talks at universities and heritage sites – something I couldn’t have envisaged 20 years ago. My research has also become multi-layered. The Internet is obviously a fabulous resource and primary source documents are now available online that couldn’t be obtained when I first began writing. Even so one has to be careful because there is an awful lot of mediocre rubbish out there and all writers need an inbuilt drivel alarm! As well as research reading, I also re-enact with a living history society called Regia Anglorum. This helps me to get a feel for the period by working with replica artefacts and not just reading about how things were done, but having a go – see the next question. I also visit sites mentioned in my novels where possible, and this helps to give a feel for the lie of the land, although Google Earth is also your friend.

Regia Anglorum has obviously been an important part of understanding life within medieval England. What is your favourite artefact/garment that you have had recreated, through knowing the experts associated with the group?

I have a dress. It’s made from woollen fabric especially commissioned and woven to an 11th century pattern using the same loom width that a person of that period would have used. I’m rubbish at needlework and a bit awkward when it comes to cutting out patterns, so I had someone I know make the dress for me. This particular person has degree level knowledge of textile archaeology and mediaeval costumes and was able to design the dress to an 11th/12th century spec. It was then all handsewn using mediaeval stitch techniques. It’s the nearest I’m ever going to get to fully authentic!

In all the places you have been and the artefacts you have studied during your research, do you have a particular favourite(s) that has inspired you or left a lasting memory?

I absolutely love trawling museums, and the London ones are fabulous if one is in the capital. I would say that one of my favourite places to go is the Museum of London which has some terrific exhibits in the mediaeval gallery many of which are ordinary everyday objects and not just the stuff of high aristocracy. There are things like 14th century spades, fish traps, a wonderful little tinned mirror case, a terrific money box that looks like something out of the 1970s! They have a codpiece too!

For a single one I’d have to say the effigy of William Marshal at the Temple Church in London. I always go and see him and honour him when I visit London. He gave me my first New York Times bestseller and he has touched so many people, myself included. He has a life beyond his mortal life, and it always makes my throat tighten with pride when I go to the Temple Church.


What appealed to you most about the character of Eleanor of Aquitaine, inspiring your critically acclaimed trilogy?

I think it’s not so much a case of appealing. It’s more a case of downright curiosity. I had written about her and several novels and at first had followed the usual path of the biographers when I needed to put her in a story. But that came to be not enough. I began to ask questions; I began to see anomalies in her story that didn’t agree with the biographies or what was being accepted as historical veracity. I began to think about Eleanor in a bit more detail. What was she really like? What could she tell me that she hadn’t told anyone else? And the more I researched the more I found out and the more biographical discrepancies came to light. For example you will find her biographers describing her variously as an olive skinned black eyed beauty with a curvaceous figure that never ran to fat in old age, as a saucy blue-eyed blonde, as a humorous redhead with green eyes. And the thing is there is not one single physical description of Eleanor recorded anywhere. Even the supposed mural of her in the chapel of St Radegone in Chinon, is now thought by a leading art historian who has examined the mural in detail, to be a man. A recent academic work on Eleanor titled “inventing Eleanor” by Professor Michael R. Evans, investigates these odd ideas about her appearance, and actually quotes my research into the biographers’ notions about Eleanor’s appearance.

Non-historians also have some strange ideas about Eleanor – that she was a feminist and way ahead of her time, both of which are false assumptions. So I felt I wanted to explore my own version of Eleanor and see if I could discover the 12th century personality behind the detritus of the centuries.

What is next for Elizabeth Chadwick?

First I have to finish and hand in THE AUTUMN THRONE, but when that’s done I strongly suspect that William Marshal is going to be riding again as there are aspects of his story still to be told.

Thank you for taking the time out of your busy schedule to give us an insight into your fascinating career and love of history. Have a lovely Christmas and every good wish for further success in 2015!