1905 London is a heady mix of unimaginable wealth and simmering political tensions, and with war looming Flora Maguire wants to keep her family safe.

So when her beloved charge Viscount Edward Trent is accused of murder, she’s determined not to leave the investigation to the police. Flora has trodden the path of amateur sleuth before, but with so much at stake, this time it’s personal.

Slowly the body of the victim found stabbed on a train bound for Paddington starts giving up its secrets, and Flora and her husband Bunny become mired in a murky world of spies, communists and fraudsters. And with the police more sure than ever that Edward is their murderer, Flora must work fast to keep him safe.

Anita Davison’s compulsive story-telling, combined with the irresistible mix of historical drama and gripping mystery, make this unputdownable.

And now Anita Davison with:

The Positives and Negatives of Writing a Historical Series

When I began writing about Flora Maguire, my amateur sleuth, I intended it to be a standalone story. However once published, I received e-mails from readers asking me questions like: What happened to Flora’s mother? Will she ever see Bunny again? What is Edward like as a grown up? etc.

When I was contracted to write Books 2 to 5, I began to wonder if my characters’ pasts were interesting enough to impact on their futures? Apart from the unique mystery at the core of each book, how could I develop the characters so they were worth reading about in themselves?

I implied in the first book that Flora’s mother, Lily Maguire disappeared mysteriously when Flora was a child. An incident in her early childhood related to her mother haunted Flora, giving her unexplained dreams.  I carried this theme into the next story, and although some aspects were covered, what happened to Lily wasn’t fully explained.  I didn’t want to drag out the mystery too long, so the full story was revealed in Book 4, giving closure for both the reader and Flora herself.

A disadvantage of an accidental series, is that I gave one major character an upper-middle class nickname, which seemed a good idea at the time, but after four books, I began to regret it, although it was too late to change. Some of my readers love the name, while others find it puerile and annoying – but I’m stuck with it.

One of the challenges which face me in each successive novel, is to make sure the information I included in a later book doesn’t contradict an earlier one. Eye colour and appearance is straightforward, but things like personal idiosyncrasies need to be dealt with. Flora had a nervous habit of chewing the base of her thumb which she acquired as a child; a reaction to her nightmares about what happened to her mother. Later on, when her questions are answered and her nightmares stop, she doesn’t do it anymore. It occurred to me recently that I have rationalised this to myself, but maybe I should have explained it to the reader as well?

Also, if a character’s childhood was portrayed as happy and secure in Book 1, introducing some new trauma as a reason for not entering a lift, or a graveyard jars with the reader as they were unaware of this. Bunny is a self-contained, loving man with a progressive attitude to women. I discovered there were many more like him too, but to suddenly make him into a wife controlling misogynist would anger some of my readers who adore him; especially the ones who point out if he is missed from more than one chapter!

Technology did not change as quickly in the early 20^thCentury as it does now. For instance, telephones were few and far between right up until after WW1, so I cannot have everyone calling each other all the time.  Fingerprints were in the very early stages of being used in criminal cases, first used to convict someone in 1902, so weren’t universally searched for or used.  Identification of blood groups, X-Rays and the use of motor cars were all in their infancy Most people still used horse-drawn vehicles and women who ate in public on their own were rare enough to be remarked open, even criticised. All this, while suffragists were marching on Parliament, but weren’t yet smashing windows in Downing Street. Getting the historical timeline right is imperative – as inaccuracies can spoil a good story.

In a murder mystery series, the focus is on the mystery itself, so the history of the characters takes second place. However, I’m aware readers like to read about those characters. How their careers progress, their relationships with parents, husband, how many children they have etc. I enjoy aging my characters, some by popular demand, for instance the thirteen-year-old boy who made an appearance in Book 1 reappears in a later book as a young man. Flora also had a child of her own, one who might even get to talk back if the series continues.

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