Guest Post: “The Colour of Shadows” Book Tour- Children’s Early Education in Medieval and Tudor England by Toni Mount

cover_proof crop2I am pleased to welcome Toni Mount back to my blog today as a stop in her The Colour of Shadows Book Tour. The Colour of Shadows is her eighth Sebastian Foxley murder mystery. Today, Toni will be discussing Children’s Education in Medieval and Tudor England. 

In my new Sebastian Foxley murder-mystery novel The Colour of Shadows, set in medieval London, some of the action involves a young scholar, Will Thatcher, studying at St Paul’s Song School in London. Song schools trained choristers – hence the name – for the cathedral to which they were attached. Since all the anthems and responses would be in Latin, this language was taught. In fact, children weren’t permitted even to chat with each other in English and everything was conducted in Latin. The ultimate intention was that every schoolboy would eventually become a cleric, priest, monk, or lawyer; professions carried out mostly in Latin, so an early grounding was vital. 

 But a child’s education began at home. By the time a boy – and the song school’s were always boys only – went to school, aged about seven, he should already know a few basics, so how did adults regard children’s early education in the fifteenth and sixteenth century? What was considered to be the correct way of raising and training children? Thomas Tusser, the Tudor commentator who generally gave parents good and sensible advice, as would have been applicable for the fifteenth century too, had this to say [I’ve modernised the spelling]:

We find it not spoken so often for nought,

That children were better unborn than untaught,

Some cockneys with cocking are made very fools,

Fit neither for prentice, for plough, nor for schools.

Teach child to ask blessing, serve God, and to church,

Then bless as a mother, else bless him with birch.

Thou housewife thus doing, what further shall need?

But all men to call thee good mother indeed.

This fascinating passage covers all that was required in educating a young child – a task undertaken most usually by its mother or, perhaps, by its nurse, if the mother wasn’t around. 

Cockney. We all know the word and these days we often use it to describe a Londoner. It used to be a little more specific, applying only to those born within hearing distance of the bells of St-Mary-le-Bow church in the city. However, as you’ll realise from Tusser’s instructions above, a ‘cockney’ was originally something very different and nothing to do with being born in London. A cockney was a boy-child, spoilt and coddled and therefore effeminate. ‘Cocking Mams’ were over-indulgent mothers whose children would be unsuited in future to being apprenticed, working the land, or even going to school. So Rule no.1 was ‘Do not indulge the child.’

 The first thing a child had to learn was the Lord’s Prayer or Paternoster, the Creed or Credo and, until the Reformation, when England became Protestant, the Hail Mary or Ave Maria. The Creed was the litany recited at mass, beginning ‘I believe in one God…’ At a baby’s baptism, the godparents had to promise, not only to keep their godchild safe ‘from the perils of fire and water’ but to teach him these basic recitations of the Christian faith. Since medieval times, these words, originally in Latin and often together with a basic ABC and numbers, were written on horn books. These weren’t really books at all but a sheet of parchment (later paper), covered with a transparent layer of horn to protect it, put in a wooden frame, shaped like a small, square table-tennis bat, complete with a handle, so the child could hold it easily. By Tudor times, they were more often written in English but these hard-wearing teaching aids often passed down the generations and were still popular in the eighteenth century.

Incidentally: a few words about godparents. From medieval times, child-birth had been a women-only affair. The mother might be in labour for days and need every encouragement from her female relatives, friends, and neighbours. These women also had to be on hand to stand as godparents at short notice, if the baby seemed unlikely to live and required immediate baptism. Godparents were also known as ‘godsibs’ or siblings in God. As you can imagine, a group of women, sitting around, waiting for days, perhaps, with not much to do, did a great deal of chatting and, as they ran out of relevant topics to discuss, probably resorted to exchanging rumours. This activity became known as ‘godsibing’ or – as we would call it – gossiping.

Children as young as three or four would be expected to attend church and to understand when to bow their heads or kneel in prayer and to reverence God. They would also join in family prayers with the household as often as the religious faith of the head of the house required. Many Protestant families took the act of reading aloud from the English Bible very seriously. It might be done daily or else, most certainly, on the Lord’s Day – Sunday. Thus, Rule no.2 was ‘Teach the child to respect God and the Church’.

Thomas Tusser’s final instruction would not be appreciated today: the use of corporal punishment. Beating children is now unlawful in most modern societies but the Tudors would have been dismayed by our idea. ‘Bless him with birch’, as Tusser said. In other words, a good thrashing never did anyone any harm and to ‘spare the rod’ was to ‘spoil the child’, as the Bible said. In the Book of Proverbs 13: 24, it states: ‘He who spares the rod hates his son, but he who loves him is careful to discipline him’. The Tudors certainly believed this. Physical discipline was thought vital to achieving both learning and good behaviour and children were expected to take it with good grace, even welcoming it as just one aspect of the best educational methods. It would teach them to respect authority. If a child misbehaved, there was no point in trying to reason with him because children were illogical creatures, as yet incapable of rationalising what was good conduct and what was bad. So Rule no.3 was ‘Do not be lenient: a beating does far more good than harm and is vital to a child’s education.’

One last thing: a medieval or Tudor parent would never have told a child that it was naughty. In those days the word meant you were ‘as nothing’ (naught), so wicked you were less than human. It was a term applied to murders. Shakespeare’s Macbeth was naughty; unruly toddlers were not.

Further reading:

Elizabeth Norton’s ‘The Lives of Tudor Women’ Head of Zeus, 2016.  

For images of horn books see https://www.pinterest.co.uk/pin/172262754469747824/

The Colour of Shadows

When Seb Foxley discovers a child’s body in his workshop and another lad goes missing, our medieval sleuth is perplexed at every turn. His investigations take him across London Bridge to Bankside, where he becomes embroiled in the sinister shadows of the city’s underworld. Bankside is a labyrinth of depravity and crime where every harlot intends the downfall of respectable men and every scoundrel has a secret. In a netherworld unlike anything he’s experienced before, can Seb unravel the murky mysteries of The Mermaid Tavern, recover the stolen lad and restore him to his family? 

About the Author- Toni Mount

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I’m an author, a history teacher, an experienced speaker – and an enthusiastic life-long-learner. I’m a member of the Research Committee of the Richard III Society and a library volunteer where I lead a Creative Writing group. I regularly give talks to groups and societies and attend history events as a costumed interpreter. I write for a variety of history magazines and have created seven online courses for www.MedievalCourses.com

I earned my Masters Degree by Research from the University of Kent in 2009 through study of a medieval medical manuscript held at the Wellcome Library in London. My BA (with First-class Honours), my Diploma in Literature and Creative Writing and my Diploma in European Humanities are from the Open University. My Cert. Ed (in Post-Compulsory Education and Training) is from the University of Greenwich.

I have a strong online following with my various social media and web pages:

www.ToniMount.com

www.SebastianFoxley.com

www.facebook.com/toni.mount.10

www.facebook.com/medievalengland

www.facebook.com/medievalmedicine

www.facebook.com/sebfoxley

www.twitter.com/tonihistorian

My works to date include:

Self-Published

2007 The Medieval Housewife and Women of the Middle-ages

2009 (updated 2015) Richard III King of Controversy

2013 Dare they be Doctors.

Amberley Publishing

2014 (Hb) Everyday Life in Medieval London

2015 (Hb) Dragon’s Blood and Willow Bark: the mysteries of medieval medicine

2015 (Pb) The Medieval Housewife: & Other Women of the Middle Ages

2015 (Pb) Everyday Life in Medieval London 

2016 (Pb) Medieval Medicine: Its Mysteries and Science (the renamed paperback version of Dragon’s Blood & Willow Bark)

2016 (Hb) A Year in the Life of Medieval England

2019 (Pb) A Year in the Life of Medieval England

2020 (Hb) The World of Isaac Newton

Pen & Sword

2021 (Pb) How to survive in Medieval England

2021 (Pb) An affectionate look at sex in medieval England

MadeGlobal Publishing

The Sebastian Foxley Medieval Murder Mysteries series:

2016 The Colour of Poison

2016 The Colour of Gold

2017 The Colour of Cold Blood

2017 The Colour of Betrayal

2018 The Colour of Murder

2018 The Colour of Death

2019 The Colour of Lies

2020 The Colour of Shadows

2018 The Death Collector (A Victorian Melodrama)

MedievalCourses.com

2015 Everyday Life of Medieval Folk

2015 Heroes and Villains

2016 Richard III and the Wars of the Roses

2016 Warrior Kings of England: The Story of the Plantagenet Dynasty

2017 Crime and Punishment

2017 The English Reformation: A Religious Revolution

2018 The Roles of Medieval and Tudor Women

New Book: Robin Hood’s Widow (Book Two in the Robin Hood Trilogy) Author Q&A with Olivia Longueville and J.C. Plummer

Today, I would like to welcome Olivia Longueville and J.C. Plummer to discuss their latest book, Robin Hood’s Widow (Book Two in the Robin Hood Trilogy).

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Robin Hood has been featured in many books, movies, and television shows.  How is your trilogy different?

We have taken a fresh approach to the Robin Hood story, and we’re excited to share our vision with fans of the legendary hero.   

In our first book, Robin Hood’s Dawn, we re-imagined the origins of the Robin Hood legend, which included exploring his family dynamics: an aloof, selfish father, and a kind-hearted mother devoted to ministering to the poor.  One theme is how the consequences of immoral actions and secret sins can reverberate across generations.  This is part of Robin’s legacy from his father.

We cast Robin as a hero fighting against the tyranny of a lawless government official. When Robin is falsely accused of a shocking crime by the new Sheriff of Nottingham, he could have retreated to a safe place beyond the reach of the sheriff.  However, he feels a responsibility to the people because he believes in the intrinsic value of every human being.  Instead of running away, he stays to protect the people from the sheriff.  And this points to another theme: one person can make a difference by taking a stand for what is right.

The second book, Robin Hood’s Widow, picks up where the first book ends. Robin is alive and still with King Richard in the Holy Land, but Marian, the sheriff, and Guy of Gisborne have returned to England thinking that Robin Hood is dead.

Robin Hood’s Widow explores themes of grief and redemption while featuring Marian’s adventures as leader of the outlaws. Her story is interwoven with Robin’s quest to return home while fulfilling his obligations to King Richard.

In this book, we wanted to explore both the stages of grief and their non-linear nature. Experiencing loss and grief is not like climbing stairs; you don’t complete one stage, progress to the next, and eventually arrive at acceptance. The emotional turmoil of an earlier stage can reappear and reassert itself during the process.

That being said, this story is not sad or depressing; Robin Hood’s Widow is an optimistic tale of triumphing over adversity. 

You’ve emphasized how your Robin Hood story has been re-imagined.  Will fans of the traditional ballads still recognize this as a Robin Hood story?

There is a lot of variety in the many books and screen adaptations of the Robin Hood legend.  We wanted to create a story that was respectful towards fans of the original ballads and legends without adhering to the same storylines that have been previously written.  We hope that all Robin Hood fans will enjoy this fresh retelling of the story.

However, we felt that Marian is a character who deserves more attention.  All too often she is a background character with little to do.  With this in mind, we have focused on creating a Lady Marian who will figure more prominently in the story, especially in Robin Hood’s Widow, where she takes center stage as the leader of the outlaws. She must learn how to lead while finding clever ways to thwart the sheriff and rob those supporters of Prince John who dare enter Sherwood Forest.  We also wanted Marian to be feminine and believable as a woman of the 12th century.    

Robin Hood’s Dawn introduced many familiar characters from the Robin Hood legends: Maid Marian, Little John, Allan-a-dale, Will Scarlet, Much the Miller’s son, Guy of Gisborne, and the Sheriff of Nottingham. In Robin Hood’s Widow, Brother Tuck, a Knight Templar, will join the outlaws.

Readers will also meet real historical figures such as Richard the Lionheart, King Philippe II of France, Prince John “the Lackland,” Eleanor of Aquitaine, and many others, including Ranulphus Besace.  Who was he?  Well, he was a real person who was King Richard’s personal physician!

Do the first two books of the trilogy end in cliff-hangers? Are the books stand alone?  

We have structured the trilogy so that the books do not end in cliff-hangers, and we have endeavored to create a sense of completion in each of the books. 

Although we want readers to start with Robin Hood’s Dawn, we know that some might be more interested in Robin Hood’s Widow. Therefore, we have endeavored to provide enough information in the second book so that a new reader will not be lost.

Both Robin and Marian are guarding secrets that will be revealed in Robin Hood’s Widow!

How did each of you become interested in writing this story and working together as co-authors?

Olivia:

I love to tell stories with multi-dimensional characters.  I speak several languages, and I enjoy writing stories in different languages.  My favorite legendary hero is Robin Hood, and my favorite historical figure is Anne Boleyn.  My first novel is an English-language alternate history featuring Anne Boleyn.

The story of Robin Hood’s Widow is very special to me, and I wrote the original version after I experienced a devastating personal loss. Readers might be surprised to learn that Robin Hood’s Widow was written before Robin Hood’s Dawn!

I met Coleen (J.C.) on the Internet, and we decided to co-author a Robin Hood Trilogy with Robin Hood’s Widow as its centerpiece.  

It is amazing that we have accomplished so much even though we have never met each other in real life.  We talk on the phone and frequently exchange Skype messages and emails.  We have been working together long-distance despite living in very different time zones.

Coleen (J.C.)

I had previously done editing work for other authors, and in 2015, I was inspired to create my own stories.  

I wanted to write a book that would honor the legend of Robin Hood as a man who stood against the tyranny of a powerful government official; a man who fought for justice and fairness because he recognized the intrinsic value rooted in the humanity of all people.  

 

So, you’ve never met, you come from different countries, different cultures, and speak different languages.  How can you co-author a book?  Is it because you have similar writing styles?

Coleen:

Fortunately, Olivia is fluent in English, because that’s the only language I know!

Olivia:

We have found that we have a lot in common—especially our love of writing and of history.  We have to work hard to merge our writing styles, but we have successfully done this. 

Coleen:

That’s true.  Olivia and I have very different “voices” and writing styles.  You might even say they are nearly opposite styles.  

I write in a straightforward, expository style, with a minimum of descriptive elements and metaphorical flourishes.  I am good at explaining things, organizing ideas, and creating natural-sounding dialogue.

Olivia:

My writing is characterized by lush romanticism and passionate lyricism.  I love to create metaphors and descriptions which excite the imagination of the reader in a vivid and dramatic way.

Coleen:

In some respects, Olivia’s words are the emotional heart of the story, and my words represent the rational intellect.  Of course, it’s not quite that cut-and-dried, but it is one way to describe how two people with such different styles have come together to create Robin Hood’s Dawn and Robin Hood’s Widow

Robin Hood’s Dawn (The Robin Hood Trilogy Book 1)

England, 1154-1194
A kingdom under assault.
A conspiracy born of anarchy.
A hero standing against tyranny.

Falsely convicted of a shocking crime, Robin Fitzooth, the Earl of Huntingdon, finds refuge in Sherwood Forest and becomes Robin Hood.  Leading a band of men against the injustices of a malevolent sheriff and his henchmen, Robin begins to unravel a web of treachery threatening the English royal family. 

As shadowy forces gather to destroy the future of a nation, Robin faces deceit, betrayal, and the ravages of war as he defends his king, his country, his people, and the woman he loves from a conspiracy so diabolical, so unexpected, that the course of history hangs in the balance.

From the mists of an ancient woodland to lavish royal courts teeming with intrigue, to the exotic shores of the Holy Land—Robin Hood leads the fight in a battle between good and evil, justice and tyranny, the future and the past.

Part one of an exciting three-part retelling of the Robin Hood legend!

The Robin Hood Trilogy, Book 2 - eBookRobin Hood’s Widow (The Robin Hood Trilogy Book 2)

Robin’s duty to his king sends him on an odyssey that will unfold from the streets of Paris to the banks of the Danube.  From incredible triumphs on the battlefields of the Crusade to harrowing sea voyages to a desperate dash across the frozen landscape of Central Europe, Robin Hood must ensure that King Richard safely returns to England.

Meanwhile, the outlaws of Sherwood Forest rise again under a new leader—and she is unwavering in her pursuit of justice against the tyranny of Sheriff de Argentan.  Marian endures the heartbreak of widowhood only to find strength and purpose as she leads a small band of devoted men in her quest for vengeance while she protects Robin’s legacy.

Sir Guy of Gisborne, tormented by his conscience and enslaved by the sheriff, faces the wraith-like fury of the woman he once loved.  How do you find forgiveness when you have committed an unforgivable crime?  He must attempt a daunting journey of redemption while finding inspiration from an unexpected source.

And through it all, Robin, Marian, and Guy are entangled in a web of treachery spun by the King of France and his sinister advisor, Montlhéry, as the plot to dismantle the Angevin Empire and take the throne of England from the Plantagenets boldly continues. 

Part two of an exciting three-part retelling of the Robin Hood legend!

Robin Hood’s Return (The Robin Hood Trilogy Book 3)

Robin and Marian are finally reunited as they confront an uncertain future. 

While an increasingly reckless Prince John pursues the throne, Queen Eleanor collects an unprecedented king’s ransom. Social unrest and ruinous taxation threatens to tear England apart.

As opposing forces battle for control of the English throne, the King of France and his sinister advisor, Montlhéry, conspire to end the Plantagenet dynasty forever.

Dark secrets and unexpected revelations could destroy the future of England. The course of history hangs in the balance.

Robin and Marian must save both King Richard and Prince John. But can they prevail in the ultimate battle between the future and the past?

About the Authors

Olivia Longueville 

Olivia has always loved literature and fiction, and she is passionate about historical research, genealogy, and the arts.  She has several degrees in finance & general management from London Business School (LBS) and other universities.  At present, she helps her father run the family business.  

During her first trip to France at the age of ten, Olivia had a life-changing epiphany when she visited the magnificent Château de Fontainebleau and toured its library.  This truly transformed her life as she realized her passion for books and writing, foreshadowing her future career as a writer.  In childhood, she began writing stories and poems in different languages.  Loving writing more than anything else in her life, Olivia has resolved to devote her life to creating historical fiction novels.  She has a special interest in the history of France and England.  

Having met on the Internet, Olivia and J. C. Plummer, a writer and historian, decided to co-author The Robin Hood Trilogy.  Olivia and J. C. are retelling the Robin Hood story with an unusual and imaginative plot that is solidly grounded in 12th-century history. The trilogy incorporates twists and turns which will captivate and entertain readers.

Olivia’s social media profiles:

Personal website: http://www.olivialongueville.com/

Project website: http://www.angevinworld.com/

Twitter: @O_Longueville

Facebook: http://www.facebook.com/OliviaLongueville/

Tumblr: http://www.olivia-longueville.tumblr.com/

J. C. Plummer 

J.C. Plummer (Jennie Coleen) graduated Summa Cum Laude from Washburn University with a Bachelor of Arts degree in History and Anthropology.  She later earned a Master of Science degree in Computer Information Science from Dartmouth College.

Co-authoring The Robin Hood Trilogy has merged J.C.’s passions for history, culture, and technology into one unique, exciting project.

As an author and historian, J.C.’s goal is to provide thoughtful and entertaining storytelling that honors the past, is mindful of the present, and is optimistic for the future.

J.C.’s social media profiles:

Project website: http://www.angevinworld.com/

Twitter: @JC_Plummer

Facebook: http://www.facebook.com/jennie.newbrand/

 

Guest Post: Puppet Shows by Toni Mount (“The Colour of Lies” Book Tour)

The_Colour_of_Lies_3DToday, I am delighted to welcome author and historian Toni Mount to my blog as part of her book tour for her latest book, “The Colours of Lies”, the seventh book in her Sebastian Foxley Medieval Murder Mystery Series.

Puppet Shows

In my latest Seb Foxley medieval murder mystery, The Colour of Lies, set in London in the 1470s, the adventure plays out against the background of St Bartholomew’s Fair – England’s great annual trade fair held every August – and the trouble begins with the theft of three exceptionally valuable items from a merchant’s stall: unicorn horns. The fair was also an excuse for entertainment of all kinds: acrobats, musicians, dancers, fire-eaters, and stilt-walkers among others.

Puppet shows were always a popular sideshow at the fair and Seb strikes up a brief friendship with Gerrit, a Dutch puppet-master. Although not listed at St Bartholomew’s specifically until 1600, Geoffrey Chaucer mentions ‘puppets’ and a wonderful Flemish manuscript, known as The Romance of Alexander with parts dated to both the fourteenth and fifteenth centuries, has a marginal illustration of a glove-puppet show in a booth not unlike that for a Punch-and-Judy show. It has been suggested by Omar Khalaf (Visiting Postdoctoral Fellow, English Department, University of Leicester) that the later parts of the manuscript – Bodley ms 264 – may have been decorated by English artists and owned by Anthony Woodville, Earl Rivers, who used it for educational purposes in instructing his nephew Edward, Prince of Wales, son of Edward IV.

image2Bodley ms 264 showing a puppet show

The word ‘puppet’ comes from the Latin for doll – pupa – and they were also referred to as ‘poppets’ or ‘poopets’. Being light and easily portable, glove puppets were popular in medieval times, used by travelling minstrels and other entertainers to tell stories from the Bible or ancient myths and legends. It is thought that they began as ordinary gloves which had the tips of the thumb and little finger cut off to show the puppeteer’s flesh for hands and a wooden or earthenware ball, painted with features for a head, was inserted over the middle finger of the glove. The very first shows may have been performed by monks and priests who used puppets to tell Bible stories in church so it is not surprising that the Devil was often a leading antagonist in the plays. By the fifteenth century, glove puppets had become a little more sophisticated, being purposefully crafted and more detailed in character.

image1

A reconstruction of a Devil puppet

In 1561, the Duchess of Suffolk recorded in her accounts that she had paid two men who played upon the puppets. Shakespeare also referred to puppets and Italian puppeteers introduced marionettes or string puppets to this country in the seventeenth century, playing at fairs and markets much as before. According to a poem of the period by Samuel Butler, fireworks were used with puppet plays involving the Devil to show the perils of hellfire – not to mention the danger to the audience at the time:

Nor devil in the puppet-play be allowed
To roar and spit fire, but to fright the crowd.

Other puppet shows were versions of popular stage plays, historical stories and contemporary events, including Guy Fawkes and the Gunpowder Plot after the incident in 1605. When Oliver Cromwell’s Puritan regime closed the theatres in the 1650s and stage plays were forbidden, puppet plays were not included in the ban and continued as a popular entertainment – one of very few permitted at the time – as did St Bartholomew’s Fair, its commercial value being of far greater importance to Parliament than its Roman Catholic religious heritage.

In my novel, The Colour of Lies, the Dutch puppet-master takes centre stage, briefly, in the action and readers can enjoy all the fun and trouble at medieval London’s St Bartholomew’s Fair.

Sources:
‘The Romance of Alexander, the Great Lord Rivers and Oxford, Bodleian Library, Ms Bodley 264: A Speculum for the Prince of Wales?’ by Omar Khalaf in The Journal of the Early Book Society for the Study of Manuscripts and Printing History, Annual 2011.

http://bodley30.bodley.ox.ac.uk:8180/luna/servlet/detail/ODLodl~1~1~33362~105860:Romance-of-Alexander-

Walter Wilkinson. Museum no. S.261-1998 at the V&A Museum, London.

 

Toni typingAbout the Author:

Toni is a history teacher, a writer, and an experienced public speaker – and describes herself as an enthusiastic life-long-learner; she is a member of the Richard III Society Research Committee and a library volunteer, where she leads the creative writing group.

Toni attended Gravesend Grammar School and originally studied chemistry at college. She worked as a scientist in the pharmaceutical industry before stopping work to have her family. Inspired by Sharon Kay Penman’s Sunne in Splendour Toni decided she too wanted to write a Richard III novel, which she did, but back in the 1980s was told there was no market for more historic novels and it remains unpublished.

Having enjoyed history as a child she joined an adult history class and ultimately started teaching classes herself. Her BA (with First-class Honours), her Diploma in Literature and Creative Writing and Diploma in European Humanities are from the Open University. Toni’s Certificate in Education (in Post-Compulsory Education and Training) is from the University of Greenwich. She earned her Masters degree from the University of Kent in 2009 by the study of a medieval medical manuscript at the Wellcome Library.

After submitting an idea for her first book, about the lives of ordinary people in the middle-ages, Everyday Life in Medieval London was published in 2014 by Amberley Publishing – the first print run sold out quickly and it was voted ‘Best history book of the year’ at Christmas 2014 on Goodreads.com. The Medieval Housewife was published in November 2014 and Dragon’s Blood & Willow Bark, the mysteries of medieval medicine (later renamed in paperback as Medieval Medicine it mysteries and science) was first released in May 2015. A Year in The life of Medieval England, a diary of everyday incidents through an entire year, was published in 2016.

Having taught history to adults madeglobal.com recruited her to create a range of online history courses for medievalcourses.com, but she still wanted to write a medieval novel: The Colour of Poison the first Sebastian Foxley murder mystery was the result, published by madeglobal in 2016. Shortly before publication Tim at madeglobal asked if this was going to be a series – although nothing else was planned, Toni said “yes” and now The Colour of Lies (published in April 2019) is the seventh book in that series.

Toni is married with two grown-up children and lives with her husband in Kent, England. When she is not writing, teaching or speaking to history groups – or volunteering – she reads endlessly, with several books on the go at any one time. She is currently working on The Colour of Shadows the next Sebastian Foxley murder mystery and The World of Isaac Newton, her next non-fiction.

Her websites include:

www.ToniMount.com

www.SebastianFoxley.com

www.ToniTalks.co.uk

You can follow Toni on social media at:

www.facebook.com/toni.mount.10

www.facebook.com/sebfoxley/

www.facebook.com/medievalengland/

www.twitter.com/tonihistorian

If you would like to purchase “The Colour of Lies”, you can buy it here: http://getbook.at/colour_of_lies/

Toni also has a free ebook for her followers, that you can download here: https://madeglobal.com/authors/toni-mount/download/