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Thursday, August 28, 2025

Read about the inspiration behind Daughter of Mercia by Julia Ibbotson #DaughterOfMercia #JuliaIbbotson #anglosaxon #dualtime #timetravel #mystery #TheCoffeePotBookClub @JuliaIbbotson @cathiedunn


Daughter of Mercia
By Julia Ibbotson


Echoes of the past resonate across the centuries as Dr Anna Petersen, a medievalist and runologist, is struggling with past trauma and allowing herself to trust again. When archaeologist (and Anna's old adversary) Professor Matt Beacham unearths a 6th century seax with a mysterious runic inscription, and reluctantly approaches Anna for help, a chain of events brings the past firmly back into her present. And why does the burial site also contain two sets of bones, one 6th century and the other modern? 

As the past and present intermingle alarmingly, Anna and Matt need to work together to solve the mystery of the seax runes and the seemingly impossible burial, and to discover the truth about the past. Tensions rise and sparks fly between Anna and Matt. But how is 6th century Lady Mildryth of Mercia connected to Anna? Can they both be the Daughter of Mercia?

For fans of Barbara Erskine, Elena Collins, Pamela Hartshorne, Susanna Kearsley and Christina Courtenay.

Publication Date: June 6th, 2025
Publisher: Archbury Books
Pages: 301
Genre: medieval dual-time mystery romance

Grab a copy HERE!
This novel is free to read with #KindleUnlimited subscription.

Author's Inspiration

Daughter of Mercia is a timeslip/dual time novel in which the main character in the present-day timeline, Dr Anna Petersen, is a university academic, which is inspired by my own profession. The historical timeline, that of the 6th century Lady Mildryth, has been the greatest inspiration for my last four novels, including Daughter of Mercia (and its subsequent WIP series), namely the Anglo-Saxon world. I studied it for my first degree many years ago when Professor Barbara Raw was the lead academic at my university. Sadly, she is now no longer with us but I owe her a great debt of gratitude. She taught us Anglo-Saxon (Old English) as if it were a current language, in the modern languages lab! Those of us in the OE group used to go around campus talking to each other in Anglo-Saxon; I’m sure the other students must have wondered what country we were from. Little did they know it was from the 5th/6th/7th centuries, and beyond, to the Norman Conquest!  She also taught us Anglo-Saxon history and, perhaps most importantly to me, domestic history and literature, far from the old view of a dangerous, dark and barbaric world of battle and bloodshed. 


I have been intrigued ever since, to learn about domestic history of those times, how people used to live, and archaeology, my next inspiration, has revealed so much more to me, especially in more recent times. There have been some extremely enlightening finds from excavations in the past few years. We have little in the way of written evidence from the Anglo-Saxons, certainly as far as the early years of the era are concerned. But we have the evidence of found artefacts and we now know that it was a much richer and more cultured period than previously thought. I wanted to show this in Daughter of Mercia.


After all, the period we used to call ‘the Dark Ages’ was only ‘dark’ because we didn’t know very much about it. The lack of written or archaeological evidence previously hampered our understanding. Now archaeologists, with their more sophisticated tools, can find traces and images on artefacts which provide us with a clearer picture of the life and times of the folk who lived a millennium and a half ago in our land. 


We discovered that life was much more ‘advanced’ than had previously been supposed. There is now a growing body of archaeological, geophysical and isotopic evidence to indicate how the people of the 5th and 6th centuries lived: feasting halls, jewellery, imported luxury goods. Silver coin, bronze and silver rings, amethyst beads, gold rings, jewel-encrusted brooches, bracteates (neck pendants), gold torcs (neck rings) and so much more, have been excavated. Recent digs have uncovered evidence of large feasting halls (mead halls) as a focal point of the settlements, and the place where the Witan (decision-making council) was held. Osteo-archaeological analyses of human bones found in the cemeteries attached to these villages have confirmed the diet as more varied than previously thought, with some foods even imported from distant lands for the wealthy. 


Literary evidence from the 7th or 8th century heroic poem Beowulf (the dating isn’t clear) indicates the riches of the hall and its decoration: ‘tapestries worked in gold glittered on the walls’, ‘eofor-līc scionon ofer hlēor-bergan: gehroden golde’ (‘boar-crests glittered above the helmets adorned with gold’), ‘māđm-æht’ (‘precious treasures’), ‘bēag-gyfa’ (the treasure-giver, or lord/leader/chieftain/king). The feasting and drinking are emphasised in the poem and many Anglo-Saxon words emphasise the importance of mead: ‘medo-ful’ (the mead cup), ‘medo-benc’ (the mead benc), ‘medu-drēam’ (revelry in mead-drinking and feasting).


There would be entertainment during the meal: a scōp would be employed, the poet/musician who entertained with ‘harp and voice’ (not a harp as we know it), and the poetry and story-telling would celebrate both traditional Christian and pagan heroic deeds and values. These narrative poems would honour and glorify the community and unify the society. All this inspired my descriptions in Daughter of Mercia.


I’m also inspired by the notion of ‘what if’. What if there was much more mingling of Romano-British society than previously thought, through inter-marriage with Romans who remained after the Roman troop withdrawals, and a similar intermingling between Britons and the immigrant Angles and Saxons. What if there was a much more gradual change and evolution in post-Roman Britain and throughout the Anglo-Saxon era, with immigration and settlement, rather than sudden brutal change from invasion and suppression by Anglo-Saxon marauders. What if domestic life was much more ordered and settled. It’s the view of more recent historians and archaeologists in view of new findings, and one advocated by (among others) Professor Susan Oosthuizen (The Emergence of the English 2019). 


I guess the final (and the basic spring-board) ‘What if’ inspiration for my novel is the intriguing concept of time. I find it fascinating. My own career as a university academic inspired the setting of Daughter of Mercia and the work of Dr Anna Petersen, but I wanted her to be able to somehow get closer to life in the times she researched as an academic, and to her counterpart in the 6th century, Lady Mildryth. My research into timeslip and dual time links was so exciting for me. I looked again at the scientific theories of quantum mechanics, which, I admit, sounds a bit weird: the Einstein-Rosen Bridge theory, and that of ‘worm-holes’. These are all basically ideas about space-time portals through which you could slip from one layer of the universe into another, or from one historic period into another. I started thinking more deeply about this idea when I experienced some odd events of déja vu: that weird feeling that I’d already experienced something that I thought was actually happening for the first time. It inspired me to start to write stories about this, and especially in Daughter of Mercia, the possibility that someone could even get trapped in a different time.


If you want to read more about this period of history, I have a series (Living with the Anglo Saxons) on my blog at https://juliaibbotsonauthor.com.



Julia Ibbotson is fascinated by the medieval world and the concept of time. She is the author of historical mysteries with a frisson of romance. Her books are evocative of time and place, well-researched and uplifting page-turners. Her current series focuses on early medieval time-slip/dual-time mysteries.


Julia read English at Keele University, England, specialising in medieval language / literature / history, and has a PhD in socio-linguistics. After a turbulent time in Ghana, West Africa, she became a school teacher, then a university academic and researcher. Her break as an author came soon after she joined the RNA’s New Writers’ Scheme in 2015, with a three-book deal from Lume Books for a trilogy (Drumbeats) set in Ghana in the 1960s.


She has published five other books, including A Shape on the Air, an Anglo-Saxon timeslip mystery, and its two sequels The Dragon Tree and The Rune Stone. Her latest novel is the first of a new series of Anglo-Saxon dual-time mysteries, Daughter of Mercia, where echoes of the past resonate across the centuries.


Her books will appeal to fans of Barbara Erskine, Pamela Hartshorne, Susanna Kearsley, and Christina Courtenay. Her readers say: ‘Julia’s books captured my imagination’, ‘beautiful story-telling’, ‘evocative and well-paced storylines’, ‘brilliant and fascinating’ and ‘I just couldn’t put it down’.



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Wednesday, August 27, 2025

Read an excerpt from Scents of Lavender: Queer Love Through the Ages –In Verse by D. C. Wilkinson #HistoricalFiction #LGBTRomance #IllustratedPoetry #TheCoffeePotBookClub @dcwilkinson2024 @cathiedunn


Scents of Lavender: Queer Love Through the Ages –In Verse 
By D. C. Wilkinson


Timeless and unwavering, love flows through a universal melody that echoes in every corner of the globe. Transcending borders and cultures, it sows the seeds of memories that sprout and blossom in Scents of Lavender, a collection of 25 illustrated poems that breathe life into evocative scenes where queer love proudly re-emerges from the depths of history, uncovering deep and everlasting bonds.

Each poem invites the reader to explore the narrator’s deeply personal and intimate perspective through pantheistic eyes. Written in the first person, every verse unfolds as both a reflection and a manifestation of a single universal mind and soul, drawing the reader into a shared understanding that love –in all its forms– is boundless, eternal, and permeates the cosmos.


Publication Date: June 1, 2025
Publisher: DCW Press
Pages: 108
Genre: Poetry / Historical Fiction / LGBTQ+ Romance

Grab a copy HERE!

EXCERPT


In gentle chains,

I find no plea.

Release me not,

for I am thine,

and thine alone

forevermore.


From Buckingham



D. C. Wilkinson is an award-winning novelist, poet, and lifelong voyager of inner and outer realms. His literary work centers on his passion for historical tales, portal fantasies, and dreams and visions often weaved into narratives that highlight LGBTQ+ experiences. 

He began his career in the Midwest as a student of Language Arts before relocating to the East Coast in his early twenties. A graduate of Columbia University and former New York City public school teacher, he now calls Connecticut his home, where he resides with his spouse and their beloved beagle.

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Monday, August 25, 2025

Read an interview with Sandro Martini, author of Ciao, Amore, Ciao #CiaoAmoreCiao #HistoricalFiction #WWII #BlogTour #TheCoffeePotBookClub @MartiniAlex @cathiedunn


Ciao, Amore, Ciao
By Sandro Martini


An enthralling dual-timeline WWII family mystery, based on the heartbreaking true story of the massacre in a small town in Italy in July of 1945, from award-winning, bestselling novelist Sandro Martini.

“A gripping saga that roots excruciating betrayals in a nation’s tragic history.” –Kirkus Reviews

In the winter of 1942, an Italian army of young men vanishes in the icefields of the Eastern Front. In the summer of 1945, a massacre in Schio, northeastern Italy, where families grieve the dead, makes international headlines.

In present-day Veneto, an ordinary man is about to stumble onto a horrifying secret.

Alex Lago is a jaded journalist whose career is fading as fast as his marriage. When he discovers an aged World War II photo in his dying father’s home, and innocently posts it to a Facebook group, he gets an urgent message: Take it down. NOW.

Alex finds himself digging into a past that needs to stay hidden. What he's about to uncover is a secret that can topple a political dynasty buried under seventy years of rubble. Suddenly entangled in a deadly legacy, he encounters the one person who can offer him redemption, for an unimaginable price.

Told from three alternating points of view, Martini’s World War II tale of intrigue, war, and heartbreak pulls the Iron Curtain back to reveal a country nursing its wounds after horrific defeat, an army of boys forever frozen at the gates of Stalingrad, British spies scheming to reshape Italy’s future, and the stinging unsolved murder of a partisan hero.

Ciao, Amore, Ciao is a gripping story of the most heroic, untold battle of the Second World War, and a brilliantly woven novel that brings the deceits of the past and the reckoning of the present together.

“Balances action, suspense, and emotional depth to deliver a truly immersive, thought-provoking read with an unflinching look at the sins of the past and the lengths to which the powerful will go to keep them buried.” ~ Sublime Book Review


Publication Date: March 26, 2025
Publisher: Black Rose Writing
Pages: 426 (kindle); 385 (paperback)
Genre: Historical Fiction

Grab a copy HERE!
This novel is free to read with #KindleUnlimited subscription.

INTERVIEW

Writing Interview Questions.

Why did you choose to write your book in this era?

Family history. My uncle vanished in Stalingrad in 1942/3. I spent a decade trying to find out what happened to him. Italy in WW2 and in the months after the end of the war is a subject and a time that I find fascinating. But really, it was a book about my family—a family of no ones—and a book I needed to write after I lost my dad. Italy, from December 1942 until the end of 1945, is not what many believe that era to be about. The cliché of Italy’s war—surrender and cowardice—couldn’t be further from the truth. From the Battle of Nikolayevka—which was the last human wave attack in history—to the silence of the bereaved, and the cold vengeance that came with the Allied victory, those three years are key to unlocking modern Italy.

Did you find researching this era particularly difficult? What was the hardest thing to find out, and did you come across anything particularly surprising?


I did research for this novel for over a decade, but looking back at it, I could never have written Ciao, Amore, Ciao while my dad was alive, given that it’s about his brother. The research was complicated. Complicated because I wanted to find out what happened to my uncle. I scoured the records that were available after the fall of the USSR for any trace of his name in the POW camps post-Stalingrad, and searched databases and read hundreds of books. It was good research for the novel, but ultimately, I never found him. My grandmother was convinced she’d recognised him in a photo published by Time magazine of Italian POWs still in Russia a decade after the war, and I went down that rabbit hole for many months, but that too was a dead lead. The surprising thing I discovered is how involved Italy was in the Battle of Stalingrad, and that Italian soldiers were embroiled in the last human wave attack in history. And that the truth of what happened over those 12 days when Italian soldiers had to battle their way through the ice fields of Russia (many of the same towns that are in the news now with the Ukraine War) was kept from the Italian public for over a decade, with survivors’ stories purposefully buried by the Italian state after WW2. That really was quite a shocker for me. 

Can you share something about the book that isn’t covered in the blurb?


The front cover is my family: the tall guy in the soldier’s uniform is my uncle Alessandro, and the young blonde boy is my dad. If you look to the bottom right, you’ll see a suitcase. This image was taken on the day my uncle shipped out to Russia—he’s on his way to the train station—and no one would see him again. This was in the summer of 1942. The hairdresser salon in the background was owned by my grandad and then my aunt, and it’s still there, in Schio, all these years later. It was a couple of blocks away from where Hemingway used to hang out, this before he was injured in WW1 and went to Milan to recover and fell in love with the nurse that was the muse for his first novel.

If you had to describe your protagonist(s), in three words, what would those three words be and why?


Strength in frailty. A central theme in the book is that a man’s strength isn’t his ability to mask his feelings. A man’s true strength is to be able to feel the full weight of loss and still somehow find a way to go forward. 

What was the most challenging part about writing your book?


Writing about my family. I lost my mom and dad within ten weeks of each other and began writing this novel less than a week after I buried my dad. He’s the glue that binds the central conceit of the novel—the journey of the antihero, Alex. Writing those words, having him speak, that was about the hardest thing I’ve ever written. I couldn’t find it in myself to hide or lie in this novel: for Ciao, Amore, Ciao to work, I needed to find the courage to be honest. And I found a lot of things in that honesty that weren’t comfortable. About me, and my family, and what it ultimately means to lose your mom and dad. 

Was there anything that you edited out of this book that would have drastically affected the story, should it be left in?


There was, in an early chapter, a long section about losing my mom and what it means to a man. It was powerful, but it slowed the book, and it felt more like a letter to myself. It was better edited out. 

What are you currently working on?


I have just signed a contract for my next novel which is part two of the Alex Lago series (the antihero in Ciao, Amore, Ciao). It’s about a South African golfer, his family, and Johannesburg in the 1990s. And I have the seed of my next novel bubbling. 

What would you tell an aspiring author who had some doubts about their writing abilities?


There are writers and there are storytellers. If you have a story, write it. The bestselling authors of all time aren’t “great” writers. Harold Robbins, Robert Ludlum, even John Grisham, they write simply and effectively. So don’t let style get in the way of writing your stories. Just write them. Eventually you’ll find your style and your voice. Like anything, it’s a craft you learn with experience and time. The best advice? Writers write. It’s literally in the word (wait, was that a pun?!).


Personal Interview Questions.

What do you like to do when you are not writing?


I’m the head of marketing and creative for a videogame studio. I lose a lot at tennis and read way too many books. And marvel at my daughter.

What did you want to be when you grew up?


A writer. Surprise! (Also a tennis player and a lawyer: I failed at both for pretty much the same reasons.)

What’s for dinner tonight? What would you rather be eating?


Tortelli with cacio e pepe is on the menu. Grilled fish in a restaurant in St Maarten is the dream.

What would be a perfect day?


Buying a book by an author I love, finding a park on an autumn day, reading in the cool sunshine, knowing my family is well and I am well and being able to float away into the words and the sunshine without any worries.

What is the best part of your day?


Waking up and ignoring emails and phones and writing until the world wakes up and assigns me the usual daily chaos!


Either or!

Tea or coffee: Espresso (a double shot every 2 hours!)

Hot or cold: The opposite of what the weather’s doing

Movie or book: Book, always

Morning person or Night owl: Morning (I wake up at 4am every day)

City or country: City until you’re 40, then country

Social Media or book: Book, always

Paperback or ebook: Paperback! (Corgi paperbacks especially!)



Sandro Martini has worked as a word monkey on three continents. He's the author of Tracks: Racing the Sun, an award-winning historical novel.

Sandro grew up in Africa to immigrant parents, studied law in Italy, chased literary dreams in London, hustled American dollars in New York City, and is now hiding out in Switzerland, where he moonlights as a Comms guy and tries hard not to speak German.

You can find him either uber-driving his daughter, chasing faster cars on the autobahn, or swimming in Lake Zurich with a cockapoo named Tintin.

His latest historical suspense novel, Ciao, Amore, Ciao, is now available.


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Tuesday, August 19, 2025

Read about the historical background behind The Herb Knot by Jane Loftus #HistoricalFiction #medieval #Winchester #BlogTour #TheCoffeePotBookClub @cathiedunn


The Herb Knot

By Jane Loftus



The Hundred Years' War comes to life in this spellbinding tale of love, betrayal and conspiracy … 

A quest born on the battlefield will change a young boy’s destiny… 

Rafi Dubois is five years old when his mother is murdered after the Battle of Crecy in 1346. Alone and lost, Rafi is given a token by the dying Englishman who tried to save his mother’s life: a half-broken family seal which he urges Rafi to return one day to Winchester. 

Years later, when Rafi saves a wealthy merchant’s wife from a brutal robbery, he is rewarded with the chance to travel to England, taking the seal with him. 

But when he reaches Winchester, Rafi finds himself in a turbulent world full of long-held allegiances, secrets and treachery. His path is fraught with danger and with powerful enemies working against him, Rafi falls in love with Edith, a market apothecary. But in doing so, Rafi unleashes a deadly chain of events which threatens to overwhelm them both… 

The Herb Knot is a sweeping and passionate novel set in one of the most tumultuous times in English history, from a powerful new voice.


Publication Date: May 8th, 2025 
Publisher: HQ Digital 
Pages: 336 
Genre: Medieval Historical Fiction 

Grab a copy HERE!

GUEST POST: Historical Background

The book is set in 1361 which is only five years after the Battle of Poitiers and one year after the French King, John, had been released from captivity in London (where he had lived pretty much the high life) and returned to France. The Black Death had been and gone, leaving Europe devastated, (there was a second, smaller outbreak in 1360-61) and the 100 years war was in its 24th year.

Winchester itself, once a major commercial city and home to St Bartholomew’s Fair, one of the most famous annual fairs in the country, was in decline, a fact Rafi mentions when he first sees the city.  

When taking into consideration the catastrophic events of plague and war of this period, it seemed reasonable to have a character who suffered from an excess of superstition.  Hence, Adam, who believes in ghosts, protects himself with scratched symbols on his windowframe and bed, who won’t go into graveyards at night. The VV symbol carved next to his bed was a common ward against devils, demons and other supernatural beings. And yet Rafi, despite living for so long in a monastery, and in spite of being an obedient and unassuming character, is almost dismissive of religion entirely. I didn’t explore this thread too closely, but it seems reasonable to suppose that someone who had witnessed death from such a young age, then lived through the plague, would wonder if God had completely deserted mankind, or question their religion at the very least. The works of Wycliffe were not yet widespread, but would become so within ten years of the end of the book. 

In terms of the 100 years war, the fact that Roger keeps his longbow in tip top condition is also unsurprising, despite the fact that the Treaty of Bretigny, which was signed one year before the book begins, brought some respite from the fighting. The Archery Law , which declared that all able bodied men should practice with the bow every Sunday, did not come into law until 1363, but it followed along similar lines to the 1252 Assize of Arms which required that able bodied men should know how to use a bow.  

English was already spoken by many nobles during this period, although Edward III could certainly speak French. However, a merchant as wealthy as Hugh Le Cran, particularly since he traded with merchants on the continent, would have had a distinct advantage if he spoke French as well as English. There was even a medieval French equivalent of “Teaching English as a Foreign Language” called Manieres de Langage (Manners of Speaking). So despite being almost permanently at war with the French throughout the century, it was a given that a large number of the merchant and noble population would be able to converse, even on a basic level, in French. 

Never mind plague and war, which are the topics which hover menacingly in the background to this novel, at least the English were more likely to be competent in more than one language – not something they are usually credited with today.

Bring back the Manieres de Langage, I say!



Jane Loftus gained a degree in 16th Century European and British history from Surrey before taking a postgraduate degree in modern political history. As a lone parent, she worked in Winchester Waterstones before returning to IT once her son was older.

Hugely passionate about the Middle Ages, she drew inspiration for this novel from the medieval layout of Winchester which has been painstakingly documented.

Jane is originally from London but has lived in Winchester for over twenty years. When not writing, she is usually out walking or watching costume dramas on Netflix - the more medieval the better. She also plays far too many rpgs.


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Monday, August 18, 2025

Read a guest post by G. M. Baker, author of The Wanderer and the Way (Cuthbert’s People) #HistoricalFiction #MedievalFiction #SantiagoDeCompostela #BlogTour #TheCoffeePotBookClub @mbakeranalecta @cathiedunn


The Wanderer and the Way
Cuthbert’s People
By G. M. Baker


The Camino de Santiago de Compostela, now the most famous pilgrimage route in the world, was founded in the early ninth century, largely due to the efforts of Bishop Theodemir of Iria Flavia. As with most people of this period, nothing seems to be known of his early years. What follows, therefore, is pure invention.

Theodemir returns footsore and disillusioned to his uncle’s villa in Iria Flavia, where he meets Agnes, his uncle’s gatekeeper, a woman of extraordinary beauty. He falls immediately in love. But Agnes has a fierce, though absent, husband; a secret past; another name, Elswyth; and a broken heart.

Witteric, Theodemir’s cruel and lascivious uncle, has his own plans for Agnes. When the king of Asturias asks Theodemir to undertake an embassy on his behalf to Charles, King of the Franks, the future Charlemagne, Theodemir plans to take Agnes with him to keep her out of Witteric’s clutches.

But though Agnes understands her danger as well as anyone, she refuses to go. And Theodemir dares not leave without her.

Publication Date: March 10th, 2025
Publisher: Stories All The Way Down
Pages: 249
Genre: Medieval Historical Fiction

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GUEST POST!

The main character of The Wanderer and the Way is Theodemir of Iria Flavia, an historical character of some significance, since he is credited with the founding of the Camino de Santiago, the most famous pilgrimage route in the world, which runs from a village in southern France through the Pyrenees and across the plains of Northern Spain to Santiago de Compostella. So, you might ask, what does the historical record tell us about Theodemir? 

The answer is, almost nothing. We know that he was bishop of Iria Flavia at that time when the bones of St. James were supposedly discovered by Pelagius the Hermit, that he supposedly wrote of the news to Alphonso the Chaste, King of Asturias, who then became the first pilgrim of the Camino, following what is now called The Camino Primitivo over the mountains from the city of Oviedo, then the capital of Asturias. And that, as far as I can tell, is about it. 

When was he born? What was his childhood like? What was his character? We don’t know. And this is quite normal for historical figures of this period. They emerge into the historical record when they perform some action of note. The year of their death may be noted, but the year and place of their birth seldom is. For this historical novelist, this presents both a problem and an opportunity. Where little or nothing is known, the novelist is free to ascribe a character and a history to an historical figure for their own purposes. 

This is not the first time that I have done this in my Cuthbert’s People Series. Eardwulf, king of Northumbria, is known from a couple of entries in the chronology of the kings of Northumbria and for little else. I borrowed him and moved up his ascension to the throne by a couple of years because in St. Agnes and the Selkie I needed and young king for romantic purposes, and the incumbent at the time was an old king. So little is known about either of these kings that I had little compunction about fudging their dates. 

I should say too, that with The Wanderer and the Way I did not set out to write a book about Theodemir. Rather, at the end of St. Agnes and the Selkie I had my main series character, Elswyth of Twyford, the “it girl” of the eighth century, kidnapped by a lovesick viking and carried off to Northern Spain. Then in an epilogue to The Needle of Avocation, which told the story of her sister, Hilda’s marriage to an ealdorman’s son, I had her turn up on Hilda’s doorstep. That left me with the problem of getting her back from Spain and a reason why she would have abandoned the other women who were kidnapped with her in St. Agnes and the Selkie. I plucked Theodemir from the utter obscurity of his past to serve as my agent for getting Elswyth back to Northumbria. 

The research problem was then to give him a past that would be consistent with his eventually becoming a bishop and developing an interest in the one project for which history remembers him. But the past I created for him had also to do the job of getting Elswyth plausibly back to Northumbria while creating a compelling moral arc for Theodemir himself, since he was to be the main character of the book. Finally, I wanted his story to fit as much as possible into what little is known of the Kingdom of Asturias in that period. 

This research led me to Alphonso the Chaste, King of Asturias, whose reign was consumed by ongoing wars against the Moors and who sent several embassies to the court of Charlemagne, asking for recognition and aid. This provided the motivation for the journey that I needed Theodemir to take, and it was then a matter of finding a reason for him to take Elswyth with him. The wars with the Moors also gave me the dangers of the road that are essential to every novel that is built around a journey. And so Theodemir and Elswyth travelled the road that would become the Camino Frances, the most famous pilgrimage route in the world. 

My method is different from that of many historical novelists who immerse themselves in research and then, only when they know their subject intimately, begin to spin a novel out of it. My approach is to begin with the story I want to tell and then go hunting through the historical record for plausible places, events, ideas, and people with which I can stage and frame my story. There seems to be a certain serendipity that attends those of us who work this way. This was particularly true in the case of The Wanderer and the Way in which I was stuck for a plausible reason for Theodemir to set off on a road that would eventually bring Elswyth back to Northumbria. This discovery of Alphonso’s embassies to Charlemagne was the perfect piece of historical serendipity that allowed me to set my story and my characters in motion. As a novelist, I believe that whatever circumstance or event you require to drive your story forward can be found somewhere in the past if you only look for it hard enough. 


Born in England to a teamster's son and a coal miner's daughter, G. M. (Mark) Baker now lives in Nova Scotia with his wife, no dogs, no horses, and no chickens. He prefers driving to flying, desert vistas to pointy trees, and quiet towns to bustling cities.

As a reader and as a writer, he does not believe in confining himself to one genre. He writes about kind abbesses and melancholy kings, about elf maidens and ship wreckers and shy falconers, about great beauties and their plain sisters, about sinners and saints and ordinary eccentrics.

In his newsletter, Stories All the Way Down, he discusses history, literature, the nature of story, and how not to market a novel.

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