Hi, Maggi here,
I'm excited to announce that The Baxendale Sisters Series is now available for pre-order in a 5 Book Box Set! books2read.com/u/4jwoBX On Amazon. Coming soon to Barnes & Noble, Kobo and iBooks.
T
HE BAXENDALE SISTERS 5 BOOK BOX SET
A Regency Romance Family Series
Five sisters find love during
their London season. Five short novels and novellas. A guaranteed
happily ever after. Nominated for several awards.
Lady Honor's Debt.
Lady Faith Takes a Leap.
Lady Hope and the Duke of Darkness.
The Seduction of Lady Charity.
The Scandalous Lady Mercy.
Thursday, October 5, 2017
The Baxendale Sisters Anthology is available for pre-order!
I write sensual historical romance where heroes meet their match in feisty heroines. Add a dash of adventure, a murder or two, a mystery or intrigue. What better time to set them than the Georgian, Regency and the late Victorian period on the brink of the 20th Century.
The Regency was a time of both opulence and abject poverty. Of economic and social change: the Napoleonic wars, the power struggle for the Americas, and the Industrial revolution when people began to desert the country for the cities.
Celebrity Lord Byron wrote dark romantic poetry, and Beau Brummell defined and shaped fashion into a period of simplistic elegance. Men abandoned brocades and lace for linen trousers, overcoats with breeches and boots, and women abandoned corsets for high wasted, thin gauzy dresses.
A spend-thrift aesthete known for his scandalous affairs, George IV, the Prince of Wales was made Regent in 1811 after his father was declared too mad to rein. Prinny presided over the elegant society of the ton, the Upper Ten Thousand, who defined themselves by an incredibly formal etiquette code which set them apart from the rising middle class.
Friday, September 29, 2017
Southern Sons - WWI historical fiction
So, for those of you who have read and enjoyed Kitty McKenzie, and the sequel Kitty McKenzie's Land, you'll be pleased to know that I've written a third book to do with the family. Southern Sons is about Kitty's grandchildren. (If you've not read the first two Kitty books, don't worry, Southern Sons is a stand alone book as well.)
I absolutely loved writing this book. it was one of those books that just flew out onto the page without much hardship. The research I did was enjoyable because the era of WWI is fascinating to me. I have many books about the Great War, and spent hours watching documentaries. Also online are some wonderful forums and websites about WWI, the battles, the conditions and the soldiers' stories.
I felt the need to write about the young Australian men who went to war so naïve and fresh-faced, and who, by the end of 4 years of fighting, were renowned as a magnificent army of brave and gutsy men full of the new-born Australian spirit that still lives on today.
I used Kitty's grandsons for that honour, and her tenacious spirit flows in their veins.
To add to the drama of the grandsons going to war, I needed a granddaughter to be at home on Blue Water Station to 'keep the home fires burning' so to speak. Matilda (Tilly) is definitely Kitty McKenzie's granddaughter, with the same braveness and can-do attitude.
I love this family like my own, I hope you do too.
Can the grandchildren of Kitty McKenzie survive the horrors of war?
I absolutely loved writing this book. it was one of those books that just flew out onto the page without much hardship. The research I did was enjoyable because the era of WWI is fascinating to me. I have many books about the Great War, and spent hours watching documentaries. Also online are some wonderful forums and websites about WWI, the battles, the conditions and the soldiers' stories.
I felt the need to write about the young Australian men who went to war so naïve and fresh-faced, and who, by the end of 4 years of fighting, were renowned as a magnificent army of brave and gutsy men full of the new-born Australian spirit that still lives on today.
I used Kitty's grandsons for that honour, and her tenacious spirit flows in their veins.
To add to the drama of the grandsons going to war, I needed a granddaughter to be at home on Blue Water Station to 'keep the home fires burning' so to speak. Matilda (Tilly) is definitely Kitty McKenzie's granddaughter, with the same braveness and can-do attitude.
I love this family like my own, I hope you do too.
Blurb: 1914, Australia. As war is declared, the idyllic world of Blue Water Station is torn apart when Oliver, the eldest grandson and heir, shares his desire to enlist in the army. His enthusiasm ignites his brother, cousins and friends to do the same, but upsets his sister, Tilly.
After a tragic family incident, Tilly is left to run the cattle station and take care of the older folk. A chance meeting with a sophisticated Lieutenant opens up a friendship through letters, but it’s a rogue stockman who attracts her attention with dire consequences. With the men at war, and her heart pulled in two directions, Tilly must grow up quickly and face the consequences of her rash decisions. Will She find her own happiness?Surviving a baptism of battle fire in Gallipoli, Turkey, Oliver and the men are sent to France and feel the brutal force of the Western Front. The only glimmer of light for Oliver is his relationship with Jessica, an army nurse. But as the terrors of war impact him, he feels the heavy guilt of encouraging the others to follow him into combat. Will he, and they, ever make it home to Blue Water. Can the grandchildren of Kitty McKenzie survive the horrors of war?
For those who have read the Kitty McKenzie books, the third book, Southern Sons, about Kitty's grandchildren, is available in ebook and paperback.
If you've read and enjoyed it, I'd love it if you left a review on Amazon please. Thank you.
Southern Sons
Will they survive the war?
#WWI
Amazon myBook.to/SouthernSons
Saturday, September 23, 2017
Is Accuracy important in a Historical Novel?
Historical novels are so deeply researched they sometimes seem like non-fiction in disguise. And some readers consider that romance can kill the story dead. Even so, we must do our research and set the scene as accurately as we can. We can take some liberties, for the sake of the story, but if we veer too far from the facts as we know them the reader may feel cheated and lose faith in the work. If a mistake crops up, an anachronism, this will jar the reader and jerk them out of the story back to the present.
It’s also best to avoid controversy or anything doubtful, which has a hint of being anachronistic. It has to feel correct. E.g: Soldiers did play baseball in the American Civil War. I believe they also played in a Jane Austen novel too. But the reader may found that hard to accept.
Societies traditions, moral mores and customs help to build the picture, but this is where even the most fanatical historian can come unstuck. Many time periods, such as Regency, have become so stylised that you may actually be considered to have written an historically inaccurate book if you do not follow the “popular perceptions” of the period. Presenting a realistic and complex view of society during a specific era can be the thing that makes the difference between a passable yarn and a gripping story.
It’s surely about striking the right balance. The story is the most important thing, but it must be firmly rooted in the appropriate period. It must not simply be a costume drama. The past must be made as relevant as the present. The problems can be the same: human emotion, conflict and behaviour. Falling in love and losing that love are just as painful, whatever year it is in.
It’s a combination of accuracy and imagination that will make the story plausable. The writer needs to incorporate the odd, quirky detail. Perhaps the price of cheese, a housemaid’s monthly wage, a description of underwear, length of time for a journey, breed of horse, how someone would get their boots mended, what book or newspaper they might read. How would they conduct a funeral, spin wool, pluck a hen, fire a rifle, fight a duel or take part in a bare knuckle fight. Whatever is needed for your story. When you can’t draw on personal experience or memories use interviews, explore diaries, memoirs, biographies, newspapers, etc. Select with care. Don’t put material in just because you wish to show off how much you learnt at the Imperial War Museum. Too much info can be boring unless it is entirely relevant to the story.
It is the correct little details which builds the atmosphere, gives a strong sense of time and place that creates a feeling of reality vital for the reader, so that they’ll sit back and enjoy the ride.
Brenda Stuart returns to her late husband’s home devastated by his loss only to find herself accused of bestowing favours upon the Germans. Life has been difficult for her over the war, having been held in an internment camp in France simply because of her nationality. Thankful that her son at least is safe in the care of his grandmother, she now finds that she has lost him too, and her life is in turmoil.
Prue, her beloved sister-in-law, is also a war widow but has fallen in love with an Italian PoW who works on the family estate. Once the war ends they hope to marry but she has reckoned without the disapproval of her family, or the nation. The two friends support each other in an attempt to resolve their problems and rebuild their lives. They even try starting a business, but it does not prove easy.
Amazon UK
Amazon US
Kobo
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The war in France |
It’s also best to avoid controversy or anything doubtful, which has a hint of being anachronistic. It has to feel correct. E.g: Soldiers did play baseball in the American Civil War. I believe they also played in a Jane Austen novel too. But the reader may found that hard to accept.
Societies traditions, moral mores and customs help to build the picture, but this is where even the most fanatical historian can come unstuck. Many time periods, such as Regency, have become so stylised that you may actually be considered to have written an historically inaccurate book if you do not follow the “popular perceptions” of the period. Presenting a realistic and complex view of society during a specific era can be the thing that makes the difference between a passable yarn and a gripping story.
It’s surely about striking the right balance. The story is the most important thing, but it must be firmly rooted in the appropriate period. It must not simply be a costume drama. The past must be made as relevant as the present. The problems can be the same: human emotion, conflict and behaviour. Falling in love and losing that love are just as painful, whatever year it is in.
It’s a combination of accuracy and imagination that will make the story plausable. The writer needs to incorporate the odd, quirky detail. Perhaps the price of cheese, a housemaid’s monthly wage, a description of underwear, length of time for a journey, breed of horse, how someone would get their boots mended, what book or newspaper they might read. How would they conduct a funeral, spin wool, pluck a hen, fire a rifle, fight a duel or take part in a bare knuckle fight. Whatever is needed for your story. When you can’t draw on personal experience or memories use interviews, explore diaries, memoirs, biographies, newspapers, etc. Select with care. Don’t put material in just because you wish to show off how much you learnt at the Imperial War Museum. Too much info can be boring unless it is entirely relevant to the story.
It is the correct little details which builds the atmosphere, gives a strong sense of time and place that creates a feeling of reality vital for the reader, so that they’ll sit back and enjoy the ride.
Brenda Stuart returns to her late husband’s home devastated by his loss only to find herself accused of bestowing favours upon the Germans. Life has been difficult for her over the war, having been held in an internment camp in France simply because of her nationality. Thankful that her son at least is safe in the care of his grandmother, she now finds that she has lost him too, and her life is in turmoil.
Prue, her beloved sister-in-law, is also a war widow but has fallen in love with an Italian PoW who works on the family estate. Once the war ends they hope to marry but she has reckoned without the disapproval of her family, or the nation. The two friends support each other in an attempt to resolve their problems and rebuild their lives. They even try starting a business, but it does not prove easy.
Available in most good books shops and online.
Amazon US
Kobo
Sunday, September 10, 2017
Edwardian Fashion
I really enjoy looking at historical fashion, especially from the Victorian and Edwardian eras which are the periods I set a lot of my novels.
Below are some pictures of Edwardian gowns that I can easily imagine my characters wearing. I like the simple, clean lines of the Edwardian fashion and the soft subtle colours and textiles. They capture the essence of style and femininity.
Below are some pictures of Edwardian gowns that I can easily imagine my characters wearing. I like the simple, clean lines of the Edwardian fashion and the soft subtle colours and textiles. They capture the essence of style and femininity.
Saturday, September 9, 2017
Main Characters of Forgotten Women
Charlotte McBain, daughter of a Scottish laird, spent a lonely, neglected childhood growing up in a fine castle in Kirkcudbrightshire and has no wish to be forced into marriage by her bully of a stepfather. She is passionate about art, stubborn, courageous and determined to find freedom and do something useful with her life. It is 1936 and Spain is on the brink of civil war. Across Europe, young men are enlisting in the International Brigade to free their Spanish brethren from the grip of Fascism, leaving sisters and lovers at home. But not all women are content to be left behind. Charlotte, who likes to be called Charlie, also has a desire to help people less fortunate than herself, not only the tenants on her father’s estate but also the people of Spain caught up in the Civil War. She and her dear friend, Libby Forbes, have a somewhat complex relationship, being from opposite sides of the class divide, but wish to do what they can to help.
Libby Forbes is a somewhat unsociable and self-opinionated girl who very much likes to be the centre of attention. She rarely reveals her true feelings about anything, particularly the fact she is passionate about Ray Dunmore, and fond of Laurence too. But her worry is they may both be more fascinated by her friend Charlotte, who is a beautiful and rich woman. She strives to remain friends with her, despite the jealousy she feels. When Libby’s brother goes missing in Spain in 1936, she is desperate to find him, no matter what the risk.
Rosita García Díaz, a young Spanish girl, is fiercely loyal to her family and country and having suffered badly from the war, she cannot stand by and do nothing. When Charlotte and Libby arrive, they become good friends. Three brave women, inspired by patriotism, idealism, love and even revenge, who dare to do battle against tradition and oppression.
Scotland 1986: Libby’s granddaughter Jo, is accused of displaying a forged picture in an exhibition. And finding a letter tucked into the back of it, realises she knows little about her grandmother’s life. Why has she kept silent? Feeling the need to find answers and recover from her own personal traumas, she goes to Spain to find the effect the Civil War had upon these three women’s lives, and why they are forgotten women. What she learns will change all of their lives forever.
Click here to download a sample: http://www.fredalightfoot.co.uk/
It is 1936 and Spain is on the brink of civil war. Across Europe, young men are enlisting in the International Brigade to free their Spanish brethren from the grip of Fascism, leaving sisters and lovers at home. But not all women are content to be left behind. In Britain, Charlotte McBain and Libby Forbes, friends from opposite sides of the class divide, are determined to do what they can; in Spain, Rosita García Díaz, fiercely loyal to her family and country, cannot stand by and watch. Three brave women, inspired by patriotism, idealism, love and even revenge, dare to go into battle against tradition and oppression.
Tying them all together is Jo, Libby’s granddaughter. Five decades later she travels to Spain hoping to make sense of a troubling letter hidden among her grandmother’s possessions. What she learns will change all of their lives forever. Deceit, heartbreak, and a longstanding fear of reprisals must all be overcome if the deeds of the forgotten women are to be properly honoured.
Amazon UK
Amazon US
Libby Forbes is a somewhat unsociable and self-opinionated girl who very much likes to be the centre of attention. She rarely reveals her true feelings about anything, particularly the fact she is passionate about Ray Dunmore, and fond of Laurence too. But her worry is they may both be more fascinated by her friend Charlotte, who is a beautiful and rich woman. She strives to remain friends with her, despite the jealousy she feels. When Libby’s brother goes missing in Spain in 1936, she is desperate to find him, no matter what the risk.
Scotland 1986: Libby’s granddaughter Jo, is accused of displaying a forged picture in an exhibition. And finding a letter tucked into the back of it, realises she knows little about her grandmother’s life. Why has she kept silent? Feeling the need to find answers and recover from her own personal traumas, she goes to Spain to find the effect the Civil War had upon these three women’s lives, and why they are forgotten women. What she learns will change all of their lives forever.
Click here to download a sample: http://www.fredalightfoot.co.uk/
It is 1936 and Spain is on the brink of civil war. Across Europe, young men are enlisting in the International Brigade to free their Spanish brethren from the grip of Fascism, leaving sisters and lovers at home. But not all women are content to be left behind. In Britain, Charlotte McBain and Libby Forbes, friends from opposite sides of the class divide, are determined to do what they can; in Spain, Rosita García Díaz, fiercely loyal to her family and country, cannot stand by and watch. Three brave women, inspired by patriotism, idealism, love and even revenge, dare to go into battle against tradition and oppression.
Tying them all together is Jo, Libby’s granddaughter. Five decades later she travels to Spain hoping to make sense of a troubling letter hidden among her grandmother’s possessions. What she learns will change all of their lives forever. Deceit, heartbreak, and a longstanding fear of reprisals must all be overcome if the deeds of the forgotten women are to be properly honoured.
Amazon UK
Amazon US
Monday, September 4, 2017
Catrina's Return - Victorian saga
I'm highlighting another one of my books, which I really enjoyed writing.
Catrina's Return is a story of a young woman who is brave and strong and a survivor.
In this story I deal with issues resulting from selfishness.
Phillip, Catrina's half brother is the cause of a lot of Catrina's problems, like many of the men of those times, he had wealthy and power and ultimately abused both.
Travis, the man Catrina loves, was wonderful to write. Although a flawed hero, (and we all love those, don't we?) Travis is torn between the love of Catrina and the loyalty to his family.
Set in the beautiful countryside of Yorkshire, Catrina's Return is a story I hope you enjoy reading.
Blurb:
1899. A life altering event led Catrina Davies to hide from her family and society. Alone in The Highlands she exists in a lonely world cared for only by her saviour, a kind old gentleman. When she receives a surprise visitor, Travis Millard, the man she used to love, her head and heart are thrown into turmoil.
Travis is determined to save her from this poor life and return her to her family where she belongs. No one is more surprised than he when she agrees to marry him.
When Catrina arrives back at her family estate, Davmoor Court in Yorkshire, she is stunned to see the changes. While her father clings to life, Davmoor is nearly ruined by her brother's gambling obsession, and there is something strange about his new wife.
As Catrina adjusts to her regained position in society and being with Travis, her marriage comes under attack from Travis's grandmother, who has her own secrets and reason for loathing the Davies family.
When one of her brother's adversaries comes to stake his claim on the estate, the resulting chaos threatens not only Catrina's home, but the very lives of those she loves the most.
Can she find the strength to fight once more for the right to be happy?
Catrina's Return is available now.
Purchase from Amazon
iBook https://goo.gl/RSyj6j
Thursday, August 24, 2017
"A Knight's Vow," Medieval Romance Novel. 99p/99cents
Here's the blurb and a new excerpt from my re-issued full length medieval historical romance novel, "A Knight's Vow." Just 99p or 99 cents.
Blurb.
A crusader, haunted by grief and guilt. A bride-to-be, struggling with old yearnings and desires. Can Sir Guillelm de la Rochelle and Lady Alyson of Olverton rediscover the innocent love they once had for each other? When Guillelm makes a fearful vow on their wedding night, is all lost forever between him and Alyson? And will the secret enemy who hates their marriage destroy them both?
“A Knight’s Vow” is a tale of romance and chivalry. In a time of knights and ladies, of tournaments and battles, of crusades, castles and magic.
(First published by Kensington Publishing, New York, in 2008.)
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Excerpt. (Taken from a skirmish where the hero Guillelm is fighting and the heroine Alyson is desperate to save him.)
Lindsay Townsend
Blurb.
A crusader, haunted by grief and guilt. A bride-to-be, struggling with old yearnings and desires. Can Sir Guillelm de la Rochelle and Lady Alyson of Olverton rediscover the innocent love they once had for each other? When Guillelm makes a fearful vow on their wedding night, is all lost forever between him and Alyson? And will the secret enemy who hates their marriage destroy them both?
“A Knight’s Vow” is a tale of romance and chivalry. In a time of knights and ladies, of tournaments and battles, of crusades, castles and magic.
(First published by Kensington Publishing, New York, in 2008.)
Amazon Com
Amazon Canada
Amazon Australia
Excerpt. (Taken from a skirmish where the hero Guillelm is fighting and the heroine Alyson is desperate to save him.)
Alyson began to run
again, to Guillelm, aware she only had seconds, instants before the enemy
raised his helm and wound up his deadly crossbow.
He would shoot at
Guillelm—
‘Down! Get down!
Get away!’ Yelling warnings, she ran straight at Guillelm, her one thought to
save him, her only wild plan that if she could not make him hear her warnings,
she might spoil the aim of the enemy archer.
Ignoring the
growing pain of her heat-seared lungs and her fading, tiring limbs, she
screamed again, ’Get down!’ and now Guillelm heard and saw her, shock and
horror warring in his face, his mouth forming the question, ’How?’
‘Down!’ Alyson
cried, but she was too late. She felt a punch slam into her shoulder, spinning
her round so that she fell backwards, the breath knocked out of her. She tried
to move, to reach Guillelm, shield him, but as she raised her head a jolt of
agony drove through her body and she blacked out.
Guillelm reacted
without conscious thought. He lowered the shocked, sobbing Prioress gently onto
the ground and seized the quivering arrow shaft buried so sickeningly in
Alyson’s shoulder, determined to draw it out before she came round from her
faint.
Even as he worked,
images flashed constantly before his eyes. Alyson running towards him, arms
outstretched, making herself a target. Over and over, he saw the bolt thud into
her slender body, saw her feet actually leave the ground as she was flung around
by the force of the impact. She had been shot in the back and he had done
nothing to save her; worse he had not even known she had joined the war-band.
He had been so keen to lay sword against sword with Étienne the Bold, who, cur
that he was, had turned tail the instant he saw him, riding through the smoke
and soot of the burning convent.
‘Ah!’ Although he tried to be steady and careful
and the crossbow bolt came out cleanly, the sharp decisive tug hurt her—Alyson
came out of her swoon with a shriek of agony.
‘Sssh, sweetheart,
it is done.’ Guillelm wanted to cradle her but dare not: he could not bear to
hurt her again. Kneeling by her, he packed his cloak around her body, terrified
at how cold she was. Her shoulder was bleeding freely and that must be good,
for the ill-humours would be washed out.
What if the
crossbow bolt was poisoned?
What if she died?
‘Live, Alyson,’ he
whispered, too afraid to be angry at her. He should have known she would
attempt something like this: she was never one to sit still when those she
loved were under threat. Where was that sister of hers? The Flemings had herded
the nuns into the courtyard while they torched the buildings. None had been
harmed so where was she?
Blinking away
tears, he raised his head and met the pasty faces of the squires. The lads had
dismounted and gathered round, forming a shield with their horses. Too late,
Guillelm thought bleakly.
‘My lord, we did
not know…’
‘Truly we never
suspected…’
‘She moved so
swiftly, ran right amongst the horses…’
‘We could not stop
her!’
Their excuses died
away and they hung their heads.
‘What can we do?’
asked one.
Guillelm raked them
with furious eyes. His knights were still searching for survivors in the
wrecked convent—friends or foe—but these useless, lumpen youths should be good
for something.
‘Get me that
archer,’ he spat.
‘I will do so, my
lord.’ Fulk stepped into the circle, glanced at Alyson’s still body, and then
turned, shouting for his horse.
‘Sir —’
At first Guillelm
thought it one of the squires, or the half-blind old militia-man he had led
away to safety from the burning church.
‘Do not scold them,
sir. I rode in disguise.’ The small, breathy voice was Alyson’s. She was
looking at him, her eyes dark with pain and fear.
‘Peace!’ Guillelm
took her icy hand in his, trying to will his own heat into her. ‘We shall have
you home safe, soon enough.’
‘I am sorry to be
so much trouble.’ Alyson tried to raise herself on her elbow, gasped and fell
back.
‘Alyson!’ For a
dreadful moment, he thought she had died, but then saw the quick rise of her
chest and realized she had passed out again. He should lift her from this
burnt, wrecked ground as soon as possible, but what way would be best? In his
arms, on horseback? On a litter?
‘Give me your
cloaks!’ he snapped at the hapless squires. ‘Cover her with them. You! Bring me
the infirmarer! You! Make a fire here! You! Find Sir Thomas.’ He almost said
Sir Fulk, his natural second-in-command, but Fulk was off on another necessary
task and one he longed to accomplish himself, though revenge on the archer
would not save Alyson.
Live, please live,
he thought. It was a prayer and wish in one.
‘Where is that
infirmarer?’ he bellowed, above the steady weeping of the Prioress. He was
growing incensed with the lack of speed of everyone about him and exasperated
with the cowering, wailing nuns who had trailed after him like ducklings
following their mother as he carried the helpless, vacant-eyed head of their
order away from her devastated convent. If
Alyson’s sister was in that drab company, why had she not come forward
to be with her? Was she so withdrawn from the world that even the sight of her
own flesh, broken and bleeding on the ground, stirred no passionate care? ’Is
there no one?’
‘I am here, Guido.’
Calm as a rock in a sea of troubles, Sir Tom leaned down from his horse. ’What
say I find something to use as a stretcher?’
‘Do it,’ Guillelm
answered curtly, ’And tell your men to search the infirmary for potions and
such.’ A late thought struck him, but he could not feel ashamed at it, not with
Alyson injured beside him. ’See if any of our own men are hurt, and tend them.’
‘They will not be hurt. Men never are.’ A
small, slim nun emerged from the smoke, her arms full of books and manuscripts.
‘I am Sister
Ursula, who was once Matilda of Olverton Minor,’ she said, calm as glass. ‘I
have been in our scriptorium, where our true treasures are stored. The
mercenaries did not recognize them as such.’ Slow, careful, she laid the books
on the ground and only then looked at Alyson.
‘Your infirmarer?’
Guillelm asked, as Sister Ursula’s lips moved in prayer. His hands itched to
shake her out of her complacency: was this woman human? ’Your sister is still
bleeding.’
‘The infirmarer is
dead.’ Sister Ursula opened her eyes, fixing Guillelm with a stare of utter
dislike, mingled with distaste. ’Our sister in Christ passed away eight days
ago.’
‘Mother of God,
have you no one who can help my wife?’
‘Do not blaspheme
against the name of our blessed Lady of Heaven.’
Sister Ursula stared
at a kneeling squire striking sparks off his knife to light a small,
swiftly-gathered bundle of kindling until the youth shuffled out of her path.
She knelt beside Alyson, facing Guillelm across her sister’s body. ‘I will
pray.’
‘Please —’ Guillelm
felt to be out of his depth dealing with this smooth, polished creature, he
felt to be drowning in her piety. If it had been a man he would have appealed
to honour, or come to blows. How did women deal with each other? He thought of
his sister Juliana, but their relationship had been oddly formal, she being so
much the elder and out of reach of sibling contests.
Rivalry. The answer
came to him as he recalled the scrapes and scraps that he had seen and
sometimes intervened in between brothers. It was a risk to employ it against
women, but what other tactic could he use? Luck and recklessness were all he
had left.
‘If she could
speak, Alyson could tell us how to treat her,’ he remarked, adopting Sister
Ursula’s calm tones while around him his squires and gathering knights held
their breaths against the approaching storm. Gently: he had to do this right.
‘She is an excellent healer.’
Sister Ursula said
nothing.
‘She told me you
had no diligence in such matters,’ Guillelm went on, lying shamelessly and
worse, feeling no guilt as he did so. ’That you love books more than people.’
‘She is wrong,’
said Sister Ursula.
‘You put your skill above hers, then? I have
seen no other to match her, even in Outremer.’
With a small shake
of her head remarkably like Alyson’s, Sister Ursula unclasped her palms.
‘I thought her judgment a little harsh, but I
see that she was right. She said you lacked the healing touch.’
‘What nonsense.’
Sister Ursula rose to her feet. ’Build up that fire,’ she commanded. ’I must
have more light.’
Friday, August 11, 2017
Primary Sources
Primary sources, I feel, are a writer's best friend, especially for a historical writer.
I collected Victorian diaries and journals, written mainly by women who have arrived in Australia after leaving England, but also by women born in colonial Australia. These diaries give me an insight to how they lived and what was happening in the world around them at that time. From their personal entries, we can learn what was important to them, their daily routine, their views and opinions. They can also lift some of those myths we in the modern world tend to think as true.
Diaries aren't the only primary source available to us. We have so many museums and art galleries. I love studying paintings of the different eras and visiting museums that have wonderful displays of every era.
We should be visiting our local or state libraries for books, letters, newspapers and articles written in the eras we write. Naturally this is difficult for those writing in the ancient periods, but those of us who write about the last few hundred years have sources available and we need to use them.
If you are writing about the area where you live, join your local historical society, where as a member, you can study maps, paintings and photos are that district. Also the local councils will have documents and maps going back years.
It is not always possible to visit your chosen setting, but if you can visit, make sure you don't simply go to the main attractions, like a castle, etc, but find the time to visit the graveyard of the local church, sit in a pew and study the stain glass windows, lay by the river and absorb the surroundings, listen to the birds sing, the insect buzz and imagine what it would be like in your era, the smells, the sounds. Glance up at buildings, many have the dates of construction engraved at the top to give you an idea of how the street would looked. Walk the back streets of the village or town, find the oldest parts and touch the walls of the buildings and think of nothing but how your characters would have lived. Would their footsteps have walked where yours have?
The photo is taken from a sketch done of Lower George St, Sydney, Australia 1828. I used this as a guide for where my character, Nicola, goes in my book, Nicola’s Virtue, which is set in Sydney, Australia in the 1860s.
Sketches and paintings like these give us the artist's view of those times and from studying it we can see a little of what life was like then.
I found this photo in a book, but the internet has many websites with great antique photos and paintings, some even for sale.
Amazon: myBook.to/NicolasVirtue
ibook https://goo.gl/1oY8BH
Wednesday, August 9, 2017
Life in the Victorian Workhouse [Part One]
The Workhouse was built for the poor and
needy, and intended to be so harsh and hostile that only the
truly destitute would seek refuge there. It was hoped it would solve the problem of poverty as many rich people
believed people were poor because they avoided work, but for many, this simply wasn’t the case. For
example, a family could be surviving very well until the head of the house died
suddenly possibly in a work-related instance such as a pit accident, some other
injury or illness. The mother and children might well end up in the workhouse
as there were too many mouths to feed and they couldn’t survive off the parish.
Once there, the whole family would be kept apart from one another, sorted into
the following categories.
- Men infirm through age or
illness
- Women infirm through age or
illness
- Able-bodied men over 15
years
- Able-bodied women over 15
years
- Boys between 7 and 15
- Girls between 7 and 15
- Children under the age of 7
The idea
behind this was so that people didn’t breed, even the elderly were segregated.
Each section had its own exercise yard and there were separate boys and girls
schools.
The
buildings themselves were stark, foreboding places, undecorated and very much
like prisons. High walls encompassed the workhouse cutting inmates off from the
outside world.
Workhouses
contained dormitories, washrooms, workrooms, a 'refractory ward' which was for
solitary confinement, a mortuary, bake-house, receiving wards, dining halls and
a chapel. Any sick or old person housed on the upper floors would be become a
prisoner in the ward because he or she might not be able to manage the stairs.
Space was
to a premium. Too many people were crammed into the smallest space possible:
for example, eight beds could be put into a narrow dormitory only
sixteen feet long; thirty-two men were put into a dormitory 20 feet long; ten
children and their attendants were put into a room 10 feet by 15 feet.
The hospital ward took in all cases, so at any one time there may have been patients suffering from any variety of complaints ranging from dysentery to diphtheria, and let us not forget there were several outbreaks of cholera up and down the land during the Victorian era. But sometimes people were better off in the workhouse if they were ill than if they were outside of it as they may not be able to afford good medical care otherwise.
Furniture was basic: cheap wooden beds, flock-filled palliasses as mattresses, only two or three blankets would be provided and pillows considered a luxury, sheets were not provided. Most inmates shared beds. There were no comfy chairs just wooden benches, tables and stools. Seats were not upholstered. Walls were bare apart from lists of rules and regulations and various Bible passages were displayed.
The day began early at 5.00 am with the tolling of the bell. Prayers and breakfast were between 6.00 am and 7.00 am. The inmates were expected to work between 7.00 am and 6.00 pm but they were allowed an hour’s break for lunch between midday and 1.00 pm. Prayers were said between 6 and 7.00 pm. Supper took place between 7 and 8.00 pm and then they were expected to go to bed and sleep, when the whole rota began again with the toll of the bell at 5.00 am the following morning.
The sort of work the men were expected to undertake was: bone crushing , stone breaking, oakum picking [which was untying threads from ropes used on ships etc’,] and sometimes working in the corn mill or on vegetable plots at the workhouse.
For women, it often involved domestic duties such as working in the laundry, scrubbing floors, blacking leading fire grates, etc.
On admission, the inmates own clothing was removed and sanitised. They were searched and washed and made to wear a uniform and their hair cropped to prevent infestation of head lice. Women wore a shapeless dress which reached ankle length, long stockings and knee length drawers and a poke bonnet. Men wore striped shirts and ill-fitting trousers that were made shorter by tying pieces of string at the knee, thick vest, woollen drawers and socks and a neckerchief and, in wintertime, a coarse jacket.
Meals lacked nutrition for the inmates and often the Board of Guardians got to dine like kings and queens whilst the inmates made do with a thin watery gruel for breakfast, and at other times a thin vegetable soup and piece of bread. Sometimes they had meat but it was very sparse.
Children were sometimes educated inside the workhouse where there was a boys’ school and a girls’ school, so in that respect, workhouse children might be better educated than those who received no education at all in the community. When children got older they learned new skills and became apprenticed to learn crafts such as carpentry or midwifery. And some workhouses had industrial schools where children learned such skills.
PART TWO COMING SOON!
Lynette's
book, The Workhouse Waif is now available from Amazon
UK
Readers: https://tinyurl.com/zxy7jpl
US Readers: https://tinyurl.com/jk3wyxg
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