Blending Historical Accuracy with Captivating Storytelling
MJ Porter discusses their passion for early medieval England, the balance between historical accuracy and storytelling, crafting compelling characters, writing battle scenes, and their unexpected foray into 20th-century mysteries.
MJ Porter’s literary craftsmanship brings history to life with an enthralling blend of meticulous research and compelling storytelling. As an award-winning author, Porter has carved a distinctive niche in historical fiction, expertly navigating the turbulent landscapes of early medieval England and the Viking Age. With a deep-rooted passion for the Saxon era, their work transports readers to a time of shifting power, fierce battles, and political intrigue, shedding light on figures often overlooked in mainstream narratives.
From the gripping The Last King series to the intricately woven The Eagle of Mercia Chronicles, Porter’s novels breathe life into the past with rich characterisation and immersive world-building. Their ability to balance historical accuracy with creative interpretation ensures that each book is as enlightening as it is entertaining. Most recently, with Men of Iron, Porter embarks on an ambitious exploration of England’s pre-Saxon history, further cementing their reputation as a master of the genre.
Beyond the medieval world, Porter has also turned their storytelling prowess to the 20th century, crafting atmospheric mysteries that capture the essence of post-war Britain. Whether set in the age of Vikings or the era of ration books and classic automobiles, their works stand as a testament to a writer with an unerring ability to transport readers through time.
In this exclusive interview for Reader’s House magazine, MJ Porter shares insights into their writing process, the challenges of crafting authentic historical fiction, and the fascinating discoveries made along the way. Prepare to be captivated by the mind behind some of the most immersive historical novels of our time.
MJ Porter masterfully transforms history into vivid, page-turning fiction, crafting unforgettable characters and immersive worlds that bring the past to life.
What initially drew you to writing about early medieval England and the Viking Age?
I discovered my first historical hero while working on my Master’s degree. Ealdorman Leofwine of the Hwicce (often part of the ancient Saxon kingdom of Mercia, roughly the Midlands of England), and his descendants offered an opportunity to retell the final 100 years of Saxon England from their viewpoint. They were the only family (and I include the ruling Houses of Wessex and Denmark in that) who held their positions of influence throughout that period. With the emphasis so often on the House of Godwine, I knew this was the perfect character to offer a different interpretation to that which readers (and indeed, TV viewers) are always given.
However, after starting with Ealdorman Leofwine, I’ve slowly been working my way backwards through the Saxon era of England. My forthcoming release, Men of Iron, begins a trilogy telling a story of what was happening within England before the emergence of the Saxon kingdoms, and I think should probably be termed ‘archaeological’ fiction rather than historical.
How do you balance historical accuracy with creative storytelling in your novels?
This is a great question, and I know it truly paralyses some people, especially historians. I find I research extensively, but equally, when I’m writing I don’t stop to check many ‘facts’ (aside from names) and this means the story flows from me even if sometimes it steps aside from professed accuracy. At that point, it’s often not possible to un-work those elements, and so they stay. I believe it also helps I’m endeavouring to rewrite perceived historical ‘facts’ by exploring ‘other’ scenarios. With the move away from relying extensively on written records, the ‘history’ of Saxon England, and its neighbours, is due a rewrite, and is being rewritten.
Which of your characters has been the most challenging to write, and why?
The majority of my characters take a few years to fully form. I often write a short story and my character grows from there. These short stories don’t always end up in the book, and many take place much later in the story I eventually write. I don’t ‘force’ them, and they appear quite fully formed. I ‘hear’ my characters, but often don’t see them. As soon as I have their ‘voice’ I know what they’ll do in certain circumstances and what their motivations are.
For my latest book, I’ve worked hard to ensure both my male and female character feel ‘true’ to how I perceive them moving through their environment. Both of them coalesced in different ways. For my female character, Meddi, she had to feel a part of her environment as she’s a seeress. In many ways, Wærmund, the male character was the exact opposite as he wasn’t to feel as though he belonged. For both of them, I researched their environment, and for Wærmund, a trip on the Norfolk Broads helped me to understand where he comes from.
Can you share any interesting historical facts you discovered during your research that didn’t make it into your books?
I genuinely try and include all the interesting little snippets I discover in my books. I’m constantly researching and so I’m always learning new things. I will say one of the things that has caused me a lot of heartache, is when and whether there was a bridge over the River Thames close to London, and if not, how people used to traverse the river. There are differing arguments about when there was a bridge, when there wasn’t a bridge and who built the ones there were. I know there was possibly a crossing at Laleham Gulls when the river water was low, and equally that it was easier to transport goods along the River Thames at points in this era when it was winter. I think many people just assume there was a bridge.
How do you approach writing battle scenes to make them both authentic and engaging for readers?
I almost dare not answer this one, but here goes. To begin with, I used to get my children’s play swords and pretend to fight with them, trying to determine how the flow of one-on-one combat might work. I’m often personally disappointed in battle scenes in books because many authors don’t go into great detail, almost announcing ‘and then there was a battle’ without any description. I decided to move aside from this, and get into the nitty gritty of it as many of my books are from a single character’s point of view. However, my battle scenes are rarely full set piece battles and much of it is down to my imagination. That said, I’ve also read about battle sites and understand how seemingly small geographical features, such as a slight rise, or a stream, can have a huge impact on the outcome.
What inspired you to explore 20th-century mysteries alongside your historical fiction?
During Lockdown, I discovered some 1940s and 1950s Birds Custard adverts in copies of The Picture Post magazine. I thought they were so fabulous, I wanted to share them. And, because I’m clearly a little twisted, I devised a murder mystery connected to them. It’s a slightly strange reason but it’s what happened. Once I’d written one mystery, I decided to try another one, and that one’s inspired by the old Automobile Association (the AA) sentry boxes. And then, my third mystery was inspired by my Lockdown walks around the North Northumberland country estate of Cragside, where I found myself thinking, ‘well, that would be a good place to hide a body.’ I very much enjoy being able to move my characters around in cars, and having access to telephones, if not necessarily to fingerprinting.
What advice would you give to aspiring authors looking to write historical fiction?
Don’t let too much research cripple your creativity, and remember, no matter how interesting you find the person/period/event you’re writing about, there still needs to be a story. It can’t just be a random series of events.
