Posted in Author Interview

Interview with Catherine Meyrick

I was first introduced to Catherine Meyrick’s writing after she released her second book, The Bridled Tongue. Let me tell you! This was a story filled with tension that kept me guessing how Catherine was going to pull all of the loose ends together (which she managed beautifully!) It is well researched and as a writer of 16th century fiction myself, I really appreciated her attention to detail. (To read my original review of The Bridled Tongue click here.

When planning my blog posts for the upcoming months, I knew I wanted to include Catherine in my great line up of authors’ interviews and guest blogs. Catherine was kind enough to answer some writerly questions for me and I appreciate her insight. She answered these questions for me way back in October 2021. It was not long after I had lost my mother and I was still recovering from Covid-19, so I guess life just got in the way. But she is so interesting and I wanted to be sure to get her interview posted.

Read on to find out a little more about this Australian author.

Tonya: When did you first realize you wanted to be a writer?

Catherine: Rather than thinking that I ‘wanted to be a writer’, my experience has been more of a slow progression from oral storytelling to writing stories down, later followed by the thought that ‘one day’ what I wrote might be published but that was all in some vague future.

Storytelling was a constant through my childhood whether it was listening to my parents and grandparents telling stories about incidents in their lives (or, in the case of my grandfather, just making things up and finishing with ‘and then it started to rain and I woke up’ when he got tired of it), listening to serials and plays on the radio (we didn’t get a TV until I was eleven), listening to Dad reading to us at bedtime and, occasionally, overhearing the fascinating stories, otherwise called gossip, told by Mum’s visitors. Once I could write, it seemed natural to try to write stories down. I enjoyed ‘composition’ when I was at school and loved the books we had in secondary school with pictures and sentences that could be used to inspire a story. I was encouraged at school and that probably gave me the confidence to continue writing through my late teens and twenties though my efforts, poetry and short stories, ended up in the bin whenever I moved house. I saw it as something I just did and realized that most of it was rubbish. When I was at home, after my first child was born (she is now in her early thirties), I was decided to move beyond unfinished bits and pieces and write something substantial. The first few years were really re-education as I tried to shake off years of formal and stilted essay and Public Service report writing. Once the children were at secondary school, I took several writing courses which did improve my style. It was at that point that I began thinking that what I was writing might be something others would be interested in reading.

Tonya: In your opinion, what is the hardest part about writing historical fiction?

Catherine: Possibly the most difficult thing for me is developing an awareness of what I do not know. It is always what you don’t know that you don’t know that will trip you up.

As an example, when I had nearly finished writing The Bridled Tongue I read, by chance, that Elizabethan women didn’t wear earrings. Sheer panic set in as earrings were an element in a couple of scenes that I didn’t want to remove. I spent an afternoon searching for images of 16th century women and found that while there were plenty of women wearing earrings throughout the 16th century, these were mainly Spanish and Italian women. The only woman I could find wearing them in England was Mary, Queen of Scots in the 1570s and she had had a French upbringing. Up until the 1580s, it is impossible to tell if English women were wearing them at all because of the shape of women’s headwear, and later the ear-high ruffs. This supported the idea that they were not wearing them because what’s the point of wearing something so pretty if no one can see it? From the 1580s, before earrings appear with any frequency, there are images of women wearing baubles in their hair near the ears. By the end of the 1590s earrings are common but not ubiquitous. I kept the earrings by mentioning that the women wearing them were embracing a new fashion.

While something as small as a pair of earrings is not crucial to the story, if you make assumptions about bigger things you open yourself to being seen as someone who doesn’t know their history well enough. Even with the little things, if you get them wrong, it can erode the reader’s confidence in the authenticity of the world you are trying to recreate.

Assuming is an issue with language as well, particularly when reading contemporary sources. The meaning of words can change over the intervening centuries so it’s important to be aware of this when you are reading and to always use a dictionary such as the OED that includes the historical development of a word as well as its current meaning.

I suppose the best advice is to be vigilant and assume nothing.

Tonya: Is there a genre you would love to write but are too afraid to try?

Catherine: I would love to write a ghost story, one of those unsettling stories where more is implied than what is written, where the darkness of the past echoes into the present leaving the reader uneasy long after the book is closed. I used to make up ghost stories as a child to scare my sister but usually ended up scaring myself more.

Such skill is needed to write these stories well—the creation of atmosphere and tension, implying rather than showing, an ending that resolves but, the more you think about it after you have finished reading, isn’t really resolved at all. One of my favourite short stories is ‘The Tower’ by Marghanita Laski. It is brilliant. It starts in bright sunshine in Florence and ends in something worse than shadows. While not strictly a ghost story, it is chilling and ambiguous. I read it thirty years ago and it still gives me the shivers.

At this point, I doubt I could do such a story justice. Perhaps one day…

Tonya: Which one of your book characters is your favorite? Why?

Catherine: My favourite character is always the one I am currently working on or have just released into the world. So, it is Ellen Thompson, my great-great-grandmother, the central character of the book I’m planning to release in April next year (2022). Ellen was born in Hobart, Tasmania in 1858, the daughter of two transported convicts. Between the ages of nineteen and twenty-six she faced every single thing, short of her own death, that women fear most in life. Hers is the story of the resilience of the human spirit, the story of so many ordinary women of the past.

Tonya: What is your favorite time period to read? Is that also your favorite time period to write in?

Catherine: I used to read a great deal set in the fifteenth to the eighteenth centuries. These days I read widely and will read pretty much anything, provided the story is good. The bulk of my reading is historical but this year I have read from the fourteenth century through to contemporary. I particularly like murder mysteries. Two series that I would absolutely recommend are the Purveen Mistry series by Sujata Massey, set in India in the 1920s, and the Harriet Gordon mysteries by A.M. Stuart set in Singapore in the early 1910s. Both are excellent with female main protagonists.

I would have said that the Elizabethan period was my favourite to write but I have found writing ‘Cold Blows the Wind’ liberating. This is partly because it is closer to home in time and place. I haven’t needed to think about where the sun sits in the sky, the time it rises and sets, the depth of colour of the sky or how far away it looks, the stars at night. In a way, it has been writing about ‘home’ although I have never lived in Hobart (my father was born and grew up there) where it is set, just visited quite a number of times. It has been a delight to write the sort of Australian vernacular that was spoken by my maternal grandparents who were born in the 1880s. I had imagined that I would return to the Elizabethan period when this one was finished but I won’t be. I am planning to truly write about home—the suburb where I have lived for the last thirty-four years. The story will be set in the aftermath of World War One. I’ll see how I feel about the 1580s when that is done.

Tonya: Do you have authors that you feel have influenced your writing or inspired you?

Catherine: There are so many wonderful writers that I admire whose writing I wish I could emulate. The greatest are Terry Pratchett, Dorothy Dunnett and Hilary Mantel. I love Terry Pratchett’s writing for the sheer entertainment, the humour with seriousness beneath, the cultural references and the underlying commentary on the human condition. Dorothy Dunnett’s novels have an incredible breadth of vision and complex plotting combined with beautiful prose, depth of characterization and rich evocation of the period. Hilary Mantel has the ability, in a single sentence, to perfectly encapsulate a critical event and the effect it had on ordinary men and women; reading it you are awed by the depth both of her research and her understanding.

I believe that you don’t necessarily have to analyze their work to learn from them. In those moments when you pause reading, awestruck by what you have read, you do take in some understanding of the way brilliant storytelling is constructed. At very least, it allows you to realize when your own writing falls short.

Tonya: What is the biggest obstacle in your writing process?

Catherine: My biggest obstacle is the length of time it takes me to write. I start out with a general plan and I know how the novel will end but my early drafts are seriously lacking. My work goes through many drafts and heavy editing as I slowly refine characterization, structure and language. And, while I do a lot of research prior to writing, this continues while I am writing because, sometimes, I need to check things I have assumed to be correct. If my assumptions are wrong that can mean more rewriting. Once I do have a draft I am not ashamed of, I then pass it on to a structural editor. In the case of The Bridled Tongue and my current work in progress, that is Jenny Quinlan of Historical Editorial. She is brilliant and can see what is missing, what needs to be cut or developed further. Both novels are so much better for her advice. All this takes time. I see this as the slow cooker approach to writing, the one that brings out the full flavour of the ingredients.

Tonya: How long did it take you to write your books?

Catherine: I began my work in progress about ten years ago. I barely touched it between mid-2017 and early 2020 as in that time I published my two other books. I have been working on it solidly since The Bridled Tongue was released over eighteen months ago. The other books took about the same length of time. Usually after a revision, I will put the draft aside and work on something else. So, for a while, I was cycling through three stories. I was working near enough to full time up until a couple of years ago, so that meant I had to juggle writing, work and family commitments. Possibly, if the time was compacted, I have spent about three years writing each book.

Tonya: What is your biggest inspiration for stories? Where do you get your ideas?

Catherine: Each novel has had a different inspiration. Forsaking All Other had its beginnings in a daily writing exercise—a scene of a woman lost in the meaner streets of Elizabethan London. There was something about the scene and the character herself that made me want to develop it further and place it in the wider context of the period and of the lives of ordinary women at that time.

The Bridled Tongue grew out my own experience of gossip both as the subject of it and observing it in action with others, the way minor incidents or slips of the tongue can be twisted into something else and once the snowball starts the most ludicrous things can be said and be believed. While, usually for us today, it is embarrassing and uncomfortable for the subject of gossip, in earlier times it could be dangerous.

Tonya: What are you currently working on?

Catherine: I am revising a novel with the working title ‘Cold Blows the Wind’. It is set in Hobart, Tasmania between 1878 and 1885 and is based on a period in the life of my great-great-grandparents, Sarah Ellen Thompson and Henry Watkins Woods. Their story had been forgotten until I uncovered it through my genealogical research about twelve years ago. They were both the children of convicts and belonged to the lower end of the social scale where life was a constant struggle and the middle-class virtues we see as ‘Victorian’ were not much regarded. The story touches on such issues as secrets, family ties, poverty, and the struggles of unmarried mothers. I am hoping to show just how hard life was for these people, women in particular, and the spirit they showed as they did their best for those they loved. While I would describe it as a love story, encompassing not only romantic love but a mother’s love for her children, it certainly doesn’t fall into the standard definition of a romance.

Tonya: What inspired you to write the book you are currently working on?

Catherine: From early in my genealogical research, I felt that I wanted to write something about one of my female forebears. I had read A Cargo of Women: The Novel by Babette Smith, based on the life of her great-great grandmother Suzanna Watson who was transported to New South Wales in 1829 having stolen to feed her children. This book is tight and gripping and reads like any good novel. I had read other novels based on family history that did not work anywhere near as well. A Cargo of Women showed me that it could be done well. The story of Ellen Thompson and Harry Woods had been pretty much lost to memory until I began my obsessive digging. My father was not sure what his great-grandmother’s name was and no one even knew who Harry Woods was. By the end of my research, I knew the whats and wheres of Ellen and Harry’s lives but I did not know the whys. My novel sets out possible motivations and reasons for what happened. I would say over 90% of what happens in the novel is factual but the reasons for it happening are my speculation. The novel only covers a period of seven years but they were tumultuous years for Ellen. I hope, through Ellen, to show what life was like for many women in the past, the everyday courage they showed in their struggles to protect and care for their children in a world that seemed to conspire against them. Ellen and Harry illustrate what I firmly believe – that the people of the past, plus and minus a few attitudes, are just like us with similar hopes and dreams and challenges to face.

Tonya: What words of wisdom would you share with inspiring authors?

Catherine: I think the most important thing of all is to read and keep reading—the classics, whatever is popular now, prize winners, your chosen genre, anything that appeals to you. My belief is that through reading, to a degree, you learn by osmosis. And make sure you read works on the craft of writing. A reputable writing course is a good investment. And revise and redraft, as many times as is needed even if you end up completing more than a dozen drafts like I do. What you want is for your book to be the best it can be. If you can, find a couple of readers, or other writers you can share with, who you can try your new story out on and who are willing to give you their honest opinion. Listen to any professional advice you are given and think especially seriously about those things they say that you hate the most–they are probably right. Be honest with yourself and most of all, keep faith and don’t give up.

Catherine Meyrick is an Australian writer of romantic historical fiction. She grew up in Ballarat, a city in regional Victoria, but has lived all her adult life in Melbourne. Until recently she worked as a customer service librarian at her local library. She has a Master of Arts in history and is an obsessive genealogist. When not writing, reading and researching, Catherine enjoys gardening, the cinema and music of all sorts from early music and classical to folk and country music (she just loves the banjo) and, not least of all, taking photos of the family cat, Dusty, to post on Instagram.

Writing with company

List of published books:

Forsaking All Other (2018)

The Bridled Tongue (2020)

Connect with Catherine at the following sites and check out her books:

Website:  catherinemeyrick.com

Twitter:  @cameyrick1

Facebook:  CatherineMeyrickAuthor

Check out Catherine’s books:

Love is no game for women; the price is far too high.

England 1585.

Bess Stoughton, waiting woman to the well-connected Lady Allingbourne, has discovered that her father is arranging for her to marry an elderly neighbour. Normally obedient Bess rebels and wrests from her father a year to find a husband more to her liking.

Edmund Wyard, a taciturn and scarred veteran of England’s campaign in Ireland, is attempting to ignore the pressure from his family to find a suitable wife as he prepares to join the Earl of Leicester’s army in the Netherlands.

Although Bess and Edmund are drawn to each other, they are aware that they can have nothing more than friendship. Bess knows that Edmund’s wealth and family connections place him beyond her reach. And Edmund, with his well-honed sense of duty, has never considered that he could follow his own wishes.

With England on the brink of war and fear of Catholic plots extending even into Lady Allingbourne’s household, time is running out for both of them.

Death and life are in the power of the tongue.

England 1586

Alyce Bradley has few choices when her father decides it is time she marry as many refuse to see her as other than the girl she once was—unruly, outspoken and close to her grandmother, a woman suspected of witchcraft.

Thomas Granville, an ambitious privateer, inspires fierce loyalty in those close to him and hatred in those he has crossed. Beyond a large dowry, he is seeking a virtuous and dutiful wife. Neither he nor Alyce expect more from marriage than mutual courtesy and respect.

As the King of Spain launches his great armada and England braces for invasion, Alyce must confront closer dangers from both her own and Thomas’s past, threats that could not only destroy her hopes of love and happiness but her life. And Thomas is powerless to help.

‘People never forget. When the fancy takes them, they bring the old stories out and embroider them further.’

Posted in Historic Characters

The First Executed Witch in the North Berwick Witch Trials

What were the North Berwick Witch Trials?

The North Berwick witch trials were held to examine several people who were accused of witchcraft in Scotland starting in 1590.

King James VI of Scotland married Anne of Denmark in a proxy marriage ceremony in 1589. But when it came time for Anne to sail to Scotland to meet her new husband, that is when the real trouble began.

Anne’s ship was delayed by storms for so many months that James decided to sail to Norway, where she was stuck, and retrieve her. He too, had issues with the storms, but they finally reached Scotland in 1590.

  • Portrait title: James VI and I, 1566 – 1625. King of Scotland 1567 – 1625. King of England and Ireland 1603 – 1625. Artist unknown but attributed to Adrian Vanson.
  • Portrait title: Portrait of Anne of Denmark (1574-1619) by Unknown Artist.

It was during this turbulent time that it was first brought to James’ attention that witches might be responsible for the storms that caused the delay in Anne’s travels (and also caused the death of one her maids). Witchcraft and the hunting of witches was very popular in other parts of Europe at the time and James began to make serious inquiries into the possibilities. Eventually a woman name Geillis Duncan who lived in the town of Tranent, was arrested. She went on to accuse several more people of being witches and a true witch hunt began.

Not All Accused Witches Were Women

At least three of the names that Geillis Duncan gave her accusers were men. One of these men was a schoolmaster from Prestonpans by the name of Doctor Fian, who went by the alias, John Cunningham. It was said he was the witches’ register, and  that there was not one man who could come to the devil’s readings but only he.

Once he was arrested, Doctor Fian had his head thrawed, whereby a rope would be wrapped around the head and squeezed. This did not have the effect his accusers had hoped, and he confessed nothing. He was also put in the “boot” which was a wooden or metal device into which wedges were hammered thus crushing the feet and lower legs. Yet, he still would not confess. The other accused witches urged his accusers to search his tongue, whereby two pins were found underneath, pressing up into his tongue. The witches claimed that the charmed pins were the reason Doctor Fian could not confess. He was immediately released from the boots and brought before the king where his confession was taken, written in his own hand.

Love-Sick Schoolmaster?

Along with his admittance of recording the witches’ confessions of service and true oath to the Devil, he would write whatever the Devil commanded him.  Doctor Fian also admitted to bewitching another man in town who had an interest in the same young woman that Doctor Fian did. He caused the man to fall into a state of lunacy for the span of one hour, every 24 hours. This young man was brought before King James to testify and it was witnessed that he did indeed fall into madness, bending himself and capering directly up, so high that his head would touch the ceiling. It took several men to subdue the man and once he was bound hand and foot, he was left to lie still until his fury had passed. Once the bewitchment was over, the man had no recollection of the events. 

Doctor Fian was also accused of trying to bewitch the young woman that he was in love with. Having enlisted the help of one of his students, who happened to be the brother of the woman he was in love with, he attempted to obtain “three hairs of his sister’s privities”. Doctor Fian gave the young man a piece of paper to wrap the hairs in to be brought safely back to him.  The young man pestered his sister so much that she brought it to her mother’s attention.

Her mother (who was said to also be a witch), began to inquire of the brother what he was trying to do. She finally beat a confession out of him and he told her all that Doctor Fian had asked him to do. Wanting to give the schoolmaster a taste of his own medicine, she then proceeded to snip three hairs from the utter of a heifer and wrapped them in the paper that Doctor Fian had given to her son. 

When Fian used the hairs in an attempt to cast his love spell, you might imagine what happened next! According to contemporary accounts, he had no sooner done his intent to them, that the heifer appeared at the door of the church where the schoolmaster was. The cow came through the doors of the church and made toward him “leaping and dancing”, and followed him out of the church and wherever he went. 

According to the writer of Newes from Scotland, this was witnessed by many of the townspeople who recognized that such acts could never have been sufficiently effected without the help of the Devil. It became such an ordeal that Doctor Fian came to be known amongst the people of Scotland as a notable conjurer. 

An Apparent Change of Heart

Doctor Fian eventually recanted his allegiance to the Devil and renewed his confession of Christ. He pledged to live a godly life and eschew all that the Devil had asked of him. But the morning following his confession, Fian revealed that the Devil had visited him in the night and demanded that he continue his faithful service. The Devil had appeared to him dressed all in black with a white wand in his hand. Doctor Fian claims he rebuked the Devil, telling him that he would no longer take part in that lifestyle. He also claimed that the Devil then told him “once ere thou die, thou shalt be mine”. The Devil then broke the white wand and immediately vanished. 

Doctor Fian told these events to his accusers the next morning and remained in solitary confinement throughout the day. He appeared to ponder the care of his own soul and would call upon God indicating a penitent heart. However, that very same night, Fian was able to apprehend a key to the cell in which he was kept and escaped the prison.

The king immediately issued public proclamations throughout the land in an effort to apprehend Doctor Fian. According to Newes from Scotland, a hot and hard pursuit ensued, and he was eventually recaptured.

Although the schoolmaster had confessed his sins in his own handwriting, he denied now that he had ever had such a pact with the Devil. The king, perceiving that Fian had renewed his allegiance to the Devil during his absence from prison, commanded he be searched again for a mark indicating his new pact. He was thoroughly searched, but no mark could ever be found. 
More torture was ordered and it was done in this manner:

**SENSITIVITY WARNING**


All his fingernails were split with an instrument called a Turkas (pincers)  and two needles were pushed up under each nail up to the heads. The Doctor felt nothing and confessed to nothing from this torture.

He was then put to the boot again. He remained in the boots for a long time, enduring many blows insomuch that his legs were “crushed and beaten together as small as might be, and the bones and flesh so bruised, that the blood and marrow spouted forth in great abundance, whereby they were made unserviceable forever.” For more information about how the boot was used as a torture device check out this website here.

Example of a boot used for torture

Yet, he still would not confess. 

His accusers claimed that the Devil had entered his heart so deeply that he utterly denied all that he had previously confessed. Doctor Fian claimed that he had only made such confessions for fear of pains which he had endured. 

Pincers from the archaeological excavation at the Harburger Schloßstraße in Hamburg-Harburg, Germany. Dated to approx. 15th or 16th century. Photoraphed at Archaeological Museum Hamburg. Photo credit: Bullenwächter; Wikipedia CC

After great consideration by the king and His Majesty’s council, in the name of justice and “also for example’s sake”, Doctor Fian was soon condemned to death. 

According to Newes from Scotland, he was strangled, carried in a cart to Castle Hill of Edinburgh and put into a great fire and burned. 

Doctor Fian was the first accused witch executed in the North Berwick witch trials.  There would be many more.

Woodcut featured as a scene from the life of Doctor Fian’s life, in Newes from Scotland, published 1591.

Posted in Book Review

The Mermaid and the Bear

Book Title: The Mermaid and the Bear

Author: Ailish Sinclair

Time Period: Late 16th Century

Setting: Scotland, during the reign of King James VI

My Rating:

Before I go any further, I just have to say, this is one of the most beautifully written books I have ever read. Yes, it is written in one of my favorite time periods, and yes it takes place in one of my favorite places in all the world, but when you combine that with the almost poetic style of Sinclair’s writing—sigh!

Ok, I know it sounds like I’m gushing, and maybe I am, but deservedly so. Sinclair’s development of characters is charming, making you love the characters she loves and hate the characters that she hates. Or, if she doesn’t hate them, she sure does a good job at making me do it for her.

Isobell is an English girl trying to escape the prospects of an abusive marriage to a wicked man. She comes up with a plan to escape to Scotland, leaving her privileged life behind to serve as a kitchen maid on the estate of the young Laird, Thomas Manteith. Isobell finds solace in the beautiful and spiritual countryside of Scotland and I loved viewing her world and experiencing it all over again through her eyes. From the flowering trees, the birds and other wildlife to the ancient stone circles and rocky cliffs of this magical land, Sinclair’s writing is a treat for the senses.

The storyline is beautiful too. The love Isobell shared with her “light of the world and salt of the earth” as she called him, was well written, leaving no room for doubt of the love they shared for each other, yet without some of the awkward details that other stories offer.  And while I enjoyed experiencing all the wonderful sights (and feels!) with Isobell, I was always waiting for the proverbial “other shoe to drop”, and Sinclair did not disappoint!

I have read several books having to do with witch trials, from the North Berwick witch trials in Scotland, to the Salem witch trials in America. All have been well written, but Sinclair’s description of not only the treatment of the accused witches and the bodily harm that they endured, but the spiritual, mental and emotional trauma that these accused women (and men, at times) must have endured, is brilliant.

I also enjoyed Isobell’s exploration of Celtic spiritualism, Catholic rites and Reformed practices as she sought for her own truth. It is an excellent example of Scotland’s own spiritual journey throughout history.

I will read this book again. Now that I know there is a beautiful end for Isobell (admittedly not the end I was expecting!), I will read it for the pure enjoyment of meandering the deeply moving countryside of Scotland once more.  

If you would like to see more of Ailish Sinclair’s writings or see her beautiful pictures of Scotland, visit her on her blog at https://ailishsinclair.com/

To purchase a copy of The Mermaid and the Bear click here.

Posted in Book Review

The Bridled Tongue

Book Title: The Bridled Tongue

Author: Catherine Meyrick

Time Period: Late 16th Century

Setting: Elizabethan England

My Rating:

Alyce Bradley is practically past her prime in terms of making a good match. When she is faced with marriage to a man that repulses her, the offer of marriage from another man, though rumored to be a womanizer and a pirate, almost appeals to her.

Alyce makes her choice, and has to live with it. And slowly she is making it work. But when jealousy and bad blood cause Alyce to be accused of damnable deeds, she will face the most difficult trial of her life.

She is not the perfect, beautiful protagonist that you see quite often in fictional stories, which is one thing that makes this story unique. Alyce has a sharp tongue, is quite practical and solemn, and has a hard time showing her affection. But she has likable qualities, and the one I found to be most admirable was her ability to bite her tongue when those around her were being rude to her. I found myself quite often thinking of all the things I would have said in response to the characters that verbally mistreated her, had I been in her shoes! (Yeah, I probably would have been accused of witchcraft for being insolent, incorrigible, or whatever other bad qualities that get attached to women who aren’t demure and meek. LOL)

Meyrick gives you a wonderful insight into the everyday life of a late 16th century English household and the workings of a manor house. Her attention to detail concerning the court systems, jails and commerce of the time period are wonderfully described making you feel as if you are experiencing it for yourself. She demonstrates perfectly how tittle-tattle, jealousy, and revenge played a large part in the witchcraft accusations in the 16th century, and it is easy to see how one might find themselves on the wrong side of the law, just because a neighbor (or worse-a friend or relative) had it out for them.

Alyce had so much stress in her life. From a husband whom she was trying to get to know and understand in the small snatches of time they were allotted together, to a jealous sister, and a delusional former suitor. I fretted throughout the story as to how she was going to get out of her predicament. Meyrick really knows how to build the tension and keep you guessing as to what is going to happen next. I worried myself to find out how all the loose ends were going to come together to resolve the conflict in poor Alyce’s life. I am a sucker for a knight in shining armor and I tend to lean toward the whole rescued damsel in distress trope. Alyce’s husband tries to be that for her but can’t. And I’m ok with that. I was still pleased to see the author give Alyce the happy ending that she deserved!

This was my first exposure to reading books from this author. I do plan on reading more of her wonderfully detailed works.

For more information about author Catherine Meyrick visit her at: https://catherinemeyrick.com/

To purchase The Bridled Tongue visit: