The events surrounding the Norman Conquest of England and the Battle of Hastings on 14th October 1066 are generally familiar enough to many: A King of England dies without an heir to follow him. His own son in law, the most powerful man in the Kingdom, assumes the Throne with popular backing. Across the English Channel the powerful Duke of Normandy, himself a distant relative of the dead King, is incensed. Vowing revenge, he assembles a fleet and an army and invades. He brings the King of the English to battle at Hastings and, in a long and unusually bloody battle, the King is killed and the Duke becomes the new King of England by conquest. These, then, are the generally known facts of an event that took place nearly one thousand years ago. The event led to a truly significant reshaping of not only English but also European history, and it is no exaggeration to say that the significance and effects of the event are still felt today.

The essence of a successful historical novel is when ever and where ever it is possible to stick to the historical facts of the matter, or such as are known. In the case of the Norman Conquest much of the 'facts' are either circumstantial, anecdotal or highly colored by subsequent writers. It is, however, a fine tale; and it is here that the telling of it must rely heavily upon the imagination and the descriptive powers of the writer of fiction. Fact and fiction can, and must, be combined.

The Conquest is a fine and stirring tale with all the necessary and desirable elements. There are testosterone fueled heroes and villains, women strong and powerful and women needful of protection. There are schemers and plotters, and there is spycraft. There is even, in places, the whiff of the supernatural. Like a weak glue, there is, importantly, the patina of historical facts that binds them all together. These figures are the inhabitants of a scene, characters for a stage set that is nearly one thousand years old. In order to tell this story, think of yourself as a playwright as much as an author and, with all historical facts that are available to you, breathe life into the clay of your characters and let them stand, live and breathe for themselves. If you are content with the historical and scenic backdrop you have created then it is always helpful to ask yourself, 'Well, given the circumstances and the whole situation, what would I say, what would I think, what would I do?' Physical descriptions, after all, are easy enough. A person can be tall, strong, thin, bearded or beardless etc. — the list of adjectives is almost endless. But, at all times, the writer and the reader needs to be reminded of what these characters are thinking in a particular situation. An understanding of this is critical to their mood, statements and reactions; of what they will do and how this will impact upon events. the writer's observations of emotions and mood will then drive the narrative as easily and effectively as any descriptions of external objects or the scenery they inhabit. The story as it unfolds and within the framework of known historical facts, will then travel in the direction and at the pace the writer wishes it to.

About the Author

Julian de la Motte is a Londoner. He graduated from the University of Wales with a degree in Medieval History and was further awarded a Master of Arts qualification in Medieval Italian Art. After an extensive career marketing English as a Foreign Language overseas he was obliged to retire due to ill health. He now devotes his time to historical research and writing. He is the author of a series of historical fiction novels titled, Senlac: A Novel of the Norman Conquest of England.