Read an excerpt HERE.
Click on image to buy CARINA.
Read an excerpt HERE.
Click on image to buy RETALIO.
Read an excerpt HERE.
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Read an excerpt HERE. Click on image to buy PERFIDITAS.


Read an excerpt HERE.
Click on image to buy INCEPTIO. Amazon bestseller

Five quick and dirty writing tips

Writing friend Keith Dixon asked me in one of those round robins on Facebook to share five writing tips, but without copying his (curses!).

After nine, soon to be ten, books you’d think it would be easy, but the problem is that over that time, I’ve gathered a jumble of writing dos and don’ts. It probably did me a lot of good to sit down and write down some of the essential ones! Here is my five:

1. Bash your story out. We know that editing, refining, honing, etc. are crucial for a good story, but you have to have something to work on. First drafts are always crap, to use a technical term, but give you an initial framework. And it can be fatal if you stop to edit as you go as you can easily lose the flow of your story. and it’s the story that always counts.

2. Research round your subject, period and environment but don’t get caught in research thrall. When you have a good general grasp of these three, start writing. You will inevitably need to look up specific things (how different is a Glock 17 from a Glock 26 and does it matter?) but just mark the place in your text with something (asterisks, emojis, different coloured text, whatever) and go back at the end of your writing session to fill these in.

3. Avoid long passages of description. Readers are not daft and half the pleasure of reading is forming your own picture in your mind of what the author is writing. The convention these days is to start right your story in the middle of the action – ‘in media res‘ if you want it in Latin. I have to confess that having to wade through a lot of verdant forest or dull city streetscape for two or three pages before anything starts or a character pops up does put me off a book these days.

4. Get your money’s worth out of your characters. I have a lot of characters, but none of them is there without a purpose and I often bring them back later in the story or in another story in the series. Doing this with secondary characters (e.g. Lurio, Flavius, Paula Servla in the Roma Nova series) reinforces interactions with the main ones, and the world they live in. As a reader, I love glimpses of such ‘old friends’.

5.Give your characters food, rest and a loo break. They need to wash themselves and their clothes, change shoes, put on a warm jacket. Readers like characters who, however clever or courageous, do stuff they do. Habits help define and reinforce characters and their emotional reactions; Aurelia reaches for French brandy, Carina for coffee or Castra Lucillan white wine, Conrad for whisky. But be very sparing; you can use these actions as beats, pauses or in place of dialogue tags. But no cups of tea every chapter, please.

So, do you have any favourite ‘quick ‘n’ dirty’ writing tips?


Alison Morton is the author of Roma Nova thrillers –  INCEPTIO,  PERFIDITAS,  SUCCESSIO,  AURELIA,  INSURRECTIO  and RETALIO.  CARINA, a novella, is available now.  Audiobooks are available for the first four of the series.

Get INCEPTIO, the series starter, FREE as a thank you gift when you sign up to Alison’s monthly email newsletter. You’ll also be first to know about Roma Nova news and book progress before everybody else, and take part in giveaways.

Lazy and Dozy on the Internet

Dozy (No offence to ostriches)

I love the Internet; its variety, its information, its madness, its connectivity and above all its denizens. I belong to groups, lists and forums, many of them inside Facebook, some on Twitter, some on email. After being on Twitter since 2009 and Facebook since 2011, I’ve sifted out  amusing people, good contacts, reliable sources of information. These are continuing pleasures.

But ever more, I’m starting to see two particular denizens growing in number – Lazy and Dozy.

Dozy can be forgiven to an extent; perhaps they’re new to the ever more complex Internet, they aren’t a frequent visitor, they’re time-strapped, they’re not a geek, just a normal person. But I’d suggest they pay attention to other people’s contributions first and try lurking a little before butting in or leaping in with inane questions or irrelevant points.

Dozy doesn’t read preceding threads where the answer to their question may lie, or where somebody has already made the point in an informed way. Dozy often quotes headlines from the Daily Fail, the Daily Distress or the Dumb newspapers or bogus Facebook groups or blogs. They don’t check where the info comes from, they don’t think what impact their post or comment may have – confusion, hurt, even panic. And in the viral age, their misinformation can spread faster than the old-fashioned wildfire. And they can be the naive unwitting spreader of ‘alternative facts’.

Lazy (No offence to seals)

Now, Lazy is extremely annoying; they can’t be arsed to look up the simplest thing. Not only do they not read previous threads/conversations, they think their question or comment is so important that other people don’t have anything else to do but answer it. A classic: “Does anybody know the address of the Kent County Council?” My reply (if can be arsed to make one): “Google Kent County Council”.

Other manifestations are not reading the files in a group or not bothering to click through to a linked site or blog and read it themselves. I’ve posted blogposts on Roman life or history in appropriate Facebook groups and commenters have made a point or written a comment that exactly duplicates what I’ve written in that linked post. I’ve pointed it out and received the reply as a follow-up comment “Oh, I don’t bother reading blog posts these days.” as if it was a virtue. No, they are just content to make (sometimes fatuous) comments or they consider themselves too important to descend to reading the blog post.

Oh, and have I mentioned spelling and punctuation? “i really lik the dahvinchy code caus itsreallymisterious.” (Genuine!)
I hesitate here because I am a rubbish typist, but at least I review before I post or I go back and edit it as soon as I notice (or somebody else does!).

Neither Dozy nor Lazy thinks before they type. Neither takes responsibility for what they post.

Now, everybody is 100% entitled to their point of view and has a right to comment. I take that as written. Reacting quickly is part of the fun of the Internet, especially on Twitter and the odd typo is forgiven. But nobody has the right to be Lazy or Dozy. In the end, they will embarrass themselves and look useless to others, but sometimes not before they have annoyed, mis-informed or hurt others.

How to avoid being Lazy or Dozy

  • Read the thread/previous comments
  • Be original
  • Quote your source and make sure it’s credible
  • Click through to the linked blogpost before commenting
  • Use Google for easy questions
  • Check the ‘About’ section, the pinned post and the Files section in a group first
  • Use humour appropriately
  • Make your headline enticing but not clickbait-y
  • Learn from what others say

(Yes, I’ve used the neutral ‘they’; Lazy and Dozy are found in all genders.)


Alison Morton is the author of Roma Nova thrillers INCEPTIO, PERFIDITASSUCCESSIOAURELIAINSURRECTIO and RETALIO.  CARINA, a novella, is available now. Audiobooks are available for the first four of the series.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, FREE as a thank you gift when you sign up to Alison’s monthly email newsletter

Conflicting emotion

Conflict and emotion are two pillars of fiction writing whether in high-end literary fiction or the most melodramatic genre fiction.

A story will often start by providing the main character with a conflict, be it professional or personal. Sometimes it’s the place where the initial event is set (weather, nighttime, urban, with unlit streets), a dilemma delivered by another character (friend, enemy or stranger) or an inner conflict (love, friendship, betrayal, values, choices, memories). Sometimes, it can just be a gun barrel or the tip of a razor-sharp knife.

In real life, you’d often freeze, be frightened, stunned, angry, helpless, and/or want to lash out (but probably wouldn’t). In fiction, it’s the same, and the main character reacts  in an equally emotional way. But where we would dither around and then make a nice cup of tea or gulp down a glass of wine and tell all our friends about it over the next few weeks, the conflict served up to a character in a novel and his/her reaction to it is the springboard for the book’s plot.

Simultaneous destruction of the Cordelière and the Regent  by Pierre-Julien Gilbert

It can be as dramatic as a shipwreck, catching a lover in flagrante delicto, discovering debts instead of an inheritance, or a burglar in the house. Or it can be an agonising dilemma between job or love, being true to your values, a past memory where your life took a wrong turn or failing a friend.

Once the character has this dilemma and is struggling to make sense of it, emotions should be in overspill mode, even if the writing style is succinct and spare.

Readers want to feel for the character, to share their emotion and to root for them. So how do writers express this?

  • Let it build, even if it’s an instant reaction.
  • Set up a happy or contented character for a fall – a classic method
  • Put the character in a terrible situation, then pile more on – the ‘If it wasn’t bad enough already, X happened’ approach
  • Add pressure from another source, especially a negative element from a previously trusted friend
  • Expectations not met – another classic
  • Expectations exceeded or an unexpected pleasant surprise which can make the character overjoyed or even suspicious
  • Anticipation/dread of having to do something
  • Disappointment/betrayal/hurt contrary to previous experience
  • A secondary character questions the main character’s expectations
  • Make your character unwell, then introduce a challenging incident
  • Let your character feel the various stages of the reaction – disbelief, anger, sorrow, determination to act

  • Use both words and actions to show the reaction – often actions reveal more plus allow the reader to interpret the emotions
  • Let the conflict sink in and give the character a secondary reaction later especially at a point where they need to be thinking clearly
  • Use physical reactions to show emotions, but don’t overdo it
  • Let emotion/reaction to conflict inhibit physical movement or action
  • Character initially dismisses the emotion/reactions but allow the reader to guess differently
  • Add in environment elements – rain, snow, hold-ups, too bright sunlight, noise to reinforce the feeling
  • Introduce constraints to speaking out loud or in confidence

Some examples…

‘What did you expect?’ Miklós said. (secondary character questioning)

I’d kept my gaze on the back of Sándor’s neck, too miserable to speak (emotion inhibiting action), as we’d ridden home in the car engulfed by driving sleet (weather element). As Sándor got out to close the black metal gates behind us (constraint to speaking in front of minor character), I slumped against the seat.(physical sign of internal reaction)

‘I don’t know. (uncertainty) I thought they would at least talk to me when they saw me. (expectations not met) We’ve shared so much.’ (sense of betrayal contrary to previous experience)

‘You know how hard they all are,’ he said. ‘You should know – you’re very much one of them.’ (secondary character questioning the main character’s expectations)

‘Apparently not.’ (hurt contrary to previous experience)           RETALIO, Chapter II


‘You seem a bit tense, love. Are you all right?’ (secondary character questioning the main character) He stroked my cheek with the back of his fingers. (physical sign of emotion) A wave of warmth rolled through me. (internal reaction) How could he have the power to do that after all this time? (expectations exceeded) We were an old married couple.

‘I’m fine, really. Maybe a bit tired. (character initially dismisses the emotion) But there’s something else. Probably nothing to worry about, but—’ (and again!)


As the tunnel doors swished open, I felt my irritation at Mossia unwrap itself and flood back.(secondary, later reaction) What in Hades was she playing at? (negative element from a previously trusted friend) By the time I arrived at our end, I was annoyed for not being able to figure out whether she’d told me something significant or not. (reaction building up)                            PERFIDITAS  Chapter I


The thought of writing directly to Caius to express my feelings and ban him (anticipation/dread of having to do something) made my hands tremble so violently I couldn’t hold a pen firmly enough (physical indication of emotion). Half an hour later, after creating a pile of torn-up drafts (physical indication of emotion), I wrote Countess Tella a formal letter, informing her of my mother’s illness and cancelling all visits from her household. It would have to do. (dismissing further emotional reaction)


Emotional conflict is crucial for grabbing, then gripping a reader’s attention and it’s a good way of exposing your character’s weaknesses, strengths and above all, humanity.

What are your favourite ways of expressing conflict and emotion?


Alison Morton is the author of Roma Nova thrillers INCEPTIO, PERFIDITASSUCCESSIOAURELIAINSURRECTIO and RETALIO.  CARINA, a novella, is available now. Audiobooks are available for the first four of the series.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, FREE as a thank you gift when you sign up to Alison’s monthly email newsletter

On being British in Europe now

I had a very trying day yesterday. Apart from 35C under a roasting sun, it was the climax to a process of several weeks of anxiety, research, much digging, sorting and photocopying, all the result of an ill-advised vote in June 2016.

In the wake of the Brexit vote, I have the impression from talking to friends and colleagues in the UK in particular that little is understood about the impact on ordinary UK nationals living mundane lives in France.

1. We don’t all sit round the pool sipping infinite quantities of wine – sorry to disillusion you.

2. Some people live either in rented property or on fixed (pension) income; often both.

3. Some have bought the stereotypical old wreck and have done it up (à la property shows).

4. Most people live in normal houses, some with a bigger garden that they had in the UK, but not always.

5. Healthcare is reimbursed 65-70% from the social security as for French nationals. The patient makes up the rest from a top-up insurance or out of their own pocket. UK pensioners’ social security portion is reimbursed by the UK government to France. In the UK 100% would be covered, so we are a ‘cheap date’ for the British government and taxpayers.

6. The vast majority are not retirees although a lot are, especially in my area.

7. Ordinary people retire away from their previous home, be it to France, the Cotswolds, Scotland, Ireland or Cyprus because they want a gentle, cheaper retirement.

We researched our move here in 2010 to death; you have never seen so many spreadsheets, bookshelves brimming with ‘how to’ books, a whole page of bookmarks on Protopage, plus I had experience of living and studying in France and could speak fluent French. I’d worked on several EU commissioned projects and knew my way round the systems and websites. One bright spark recently asked why we hadn’t sorted out residency cards before our move. Er, because of freedom of movement under the EU treaties, they were obsolete for EU citizens including us. Duh!

Pre-Brexit vote
As such, UK nationals have been able to move to France since 2004 with no restrictions and no special paperwork. You sort out your housing beforehand, book the removal van, get the cat a pet passport and off you go through the Tunnel. Once in France, it’s advisable, and friendly, but not in any way obligatory to say hello to the mairie (town hall) and that’s it. (Obviously, there’s a lot more to it, but I’m talking legal niceties here.)

I remember as a student in France in the early 1970s having to apply for a residence card (carte de séjour) months ahead of my visit, trog up to the French consulate in London several times for interviews, letters, forms, etc., arrange a monthly transfer facility with the Bank of England and the Banque de France (exchange control was in force). Once over in France, I had to have my carte de séjour validated at the local gendarmérie (intimidating for an 19 year old who’d never been in a military barracks before), then report back every month. As I was staying beyond the tourist maximum, I had to re-register my little Mini, then when I got back trog over to Maidstone to re-re-register it back to my UK number. Now, I had a fab time in France – don’t get me wrong – but all this ‘paperasse’ was a royal pain in the bottom. I don’t want to go back to that ‘glorious’ time.

Post-Brexit vote
I admit as a passionate Remainer, I went through the classic of shock, disbelief, anger, despair, grieving. No, wait, I’m still at stage three. My husband and I, as they say, have been angry for two years. However, we saw the UK government machine grind into action and hoped they would organise an orderly exit. Well, we’ve all seen what’s been happening, but that’s not the subject of this post.

What are the consequences for the ordinary UK citizens living in France?
I can only speak for people I know in our little part of rural France. YMMV. Basically, if you’ve been in France for 5 years or more living in a ‘regular and stable manner’, you have acquired residency rights. That’s well and good. As EU citizens, you don’t have to do anything else – no registration, no ID card, etc. Workers pay social security like any other French citizens and receive benefits for themselves and their children (schooling, local services, etc.) at the same level as French citizens. Retired people and non-workers should have adequate income and health cover either from the UK or as a dependent. All their rights are guaranteed including voting in local and European elections.

However, post-Brexit, you revert to a Third Country National (TCN), with no European rights, no voting rights and obligation to have your life examined in forensic detail with the possible instruction to leave France permanently, i.e. deportation. The UK government has negotiated citizens’ rights protection in the Withdrawal Agreement but the possibility of a hard Brexit in March 2019 has caused no little consternation as that agreement will fall without any safeguards for UK nationals lliving in the EU. And local UK nationals have the distinct feeling that the EU is more concerned about them than the UK government is. Local French people are totally bewildered at the referendum result and have been universally sympathetic and kind to us.

The French Ministry of the Interior and the departmental prefectures were, like many European government bodies, caught completely off guard in June 2016. ‘Expect the unexpected’ had happened. Due to lack of clarity and, to be honest, a lot of ‘headless chicken syndrome’ in the UK, protecting the interests of UK nationals faded from the headlines. The EU, at least, insisted on dealing with this as a first line measure but until/unless the Withdrawal Agreement is signed, there is no protection.

In liaison with British community groups in France, the French Ministry of the Interior started developing processes to deal with this, but were hampered by the lack of decision from the UK/EU negotiations. It took the initiative and issued guidelines to the departmental prefectures (county councils) for processing applications from UK nationals for cartes de séjour. Going through the carte process would mean residency rights were proven, whenever the Brexit date came. Agnès Fontana, the chief civil servant at the Ministry of the Interior, confirmed in the National Assembly that whatever happened at Brexit, France would respect as an acquired right of residence of people who had obtained a permanent residency card (carte de séjour permanent)

But here are the two main problems …
1. Many Brits don’t have the paperwork. Who but a filing nerd keeps years and years of invoices? Many don’t have the information or skills to put their case together. Many are anxious or frightened of ‘government’, especially as they may not speak the language to a sufficient degree. And there is a lot of opinion rather than factual information out there on social media which disturbs people even more. And those poo-pooing the panic to get cartes are hiding their anxiety behind bluster.

Yes, of course there have been the free-riders, the wilful dodgers of the system, the refusers to learn the language. ‘Chickens’ and ‘coming home to roost’ occurs to me. But most people are not them.

2. Many prefectures don’t have the staff to process thousands of Brits. Here in the Deux-Sèvres, they only process about 500 applications annually from French-speaking former colonies and TCNs. Since the Brexit referendum that figure has doubled to include this peculiar new category of UK nationals. We applied in May (2018) for our interview and went yesterday (2 August 2018). If you apply today, you can’t get an appointment until February 2020 (as at time of writing). Apparently, there are urgent meetings going on to address this.

But why should the French authorities/taxpayer have to pay for new staff, new buildings, new storage when it’s not a problem of their making? As with many government services in France, there is no charge to the applicant (ISBNs included – bite me!).

What are the options?
1. Apply for a carte de séjour as a priority (But see update at the end of this article)

2. Put up with a tourist status (or visa system like the proposed ETIAS) which gives you 90 days’ residence out of any 180 day period but under which you can’t return to France within the 90 days after your 90 days residence in France (No quickie Ryanair weekends in that period).

3. Sell up and return to the UK

4. Do nothing and hope you will not get caught. But good luck with travel back to France, work, banking, government services, etc. in France)

The Morton experience
UK nationals including us moved their lives to France never dreaming a thing such as Brexit was possible. Now, angry as I am, I have the language and admin skills to go through the bureaucratic rigmarole of applying to verify residency with a carte de séjour (hitherto unnecessary for UK citizens and often refused as an obsolete measure). Even as chief paper shuffler in our household I’ve found it an anxiety-inducing process.

Once we had decided to follow the British Embassy in France and the French Ministry of the Interior’s strong advice to obtain the residents’ permanent cartes de séjour, we booked our appointment and then started collating our paperwork. Had we got it back far enough? Could we satisfy every requirement of proof? We joined Remain in France Together, a Facebook group disseminating and sharing information which also had a local group for the Poitou-Charentes. We shared information on our local Deux-Sèvres Facebook group. But I was in mid conference season, plus we took a week’s holiday, so we were dashing about Europe, and then I was struck by a vicious virus. Time became shorter.

But filing nerd that I am, I was relieved to find that we had everything. Then followed a mammoth photocopying session: passport, birth and marriage certificates (translations not requested, but we had them anyway), photos to the official passport standard, current certificate of health cover, taxe foncière and d’habitation (council tax) for the past 5 years, avis d’impostion (tax statements) for previous 5 years, notaire’s certification of house purchase, my most recent DWP pension update letter showing weekly amount, my private pension P60 for 2018, my French pension statements, Steve’s private pension advice starting early 2019, most recent bills (electricity, water and mobile phone). We set out the annual and monthly income amounts in the list, converting pounds to euros and weekly or annual amount to monthly amounts which are more French-friendly! Plus we took loads of other stuff, just in case. If we fluffed this interview, we didn’t want to have to go to the back of the queue and start again.

No glasses, no earrings, no fringe and above all, no smiling

Tough and grim, or just fed up with it all

The interviewer at the Bureau des Étrangers was extremely friendly and efficient, but scrutinised everything. The blissful part was that the office was air conditioned! Our fingerprints were taken by green glowing scanning machine – all ink-free! Afterwards we went and had lunch and wine. Driving back, I felt exhausted and dozed. Once at home and a cup of tea in hand, I sat down and cried. I swore at the fly buzzing round my head.

I think we’ll be safe once those little pink cards are in our hot hands, but it was the end of a dream. Now, in the place where we live and expect to die, we have become mere guests.

Update 10 August 2018: The prefecture at Niort has stopped giving interview appointments. Their list had reached March 2020. They are now asking applicants to send in a letter with contact details only (no documents) and the prefecture will contact them in March 2019. (Because nobody knows at this time of writing what is going to happen…)

Alison Morton is the author of Roma Nova thrillers INCEPTIO, PERFIDITASSUCCESSIOAURELIAINSURRECTIO and RETALIO.  CARINA, a novella, is available now. Audiobooks are available for the first four of the series.Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, FREE as a thank you gift when you sign up to Alison’s monthly email newsletter

Not a whinge about author income. Ah, wait...

The cheesed off look

If you go through the mainstream system, your agent will sell your book to a publisher (or you may sell it direct). You get an advance of anticipated earnings on the books, then after that amount is ‘earned out’, you start getting royalties.

But apart from the ‘big cheese’ authors, most writers receive a fairly token advance, say £300, sometimes  as much as £2-3000, sometimes none, just royalties. Of course, the publisher covers the cost of editing, book and cover design, production, distribution and some PR and marketing. The author receives around 7-10% of the book’s sale price.

You have to sell a lot of books to bring in even the minimum wage, let alone cover the hours you spent working at your desk or researching.

Indies pay upfront for cover and interior design, editing, formatting, proofreading, marketing services, advertising and promotion. Some of these can be done by the author if they have the appropriate skills. Once authors have published the books, they buy in print books for events and pay for their own launches, shipping and other expenses. Yes, they receive 65-70% of the book sale price, but that has to cover everything including admin and tax. Again, you have to sell a decent number of books to cover all that and make even a modest profit. Again, I’m not including the megastars here.

Well, most writers are realists; they accept being an author is not the road to riches. But it’s a bit depressing to read the ALCS latest survey

The key findings

  • The median annual income of a professional author is £10,500, which is well below the minimum wage.
  • The equivalent figure in 2013 was £11,000 and in 2005 it was £12,500.
  • In real terms, taking inflation into account, this represents a fall in writing income of 42% since 2005, and 15% since 2013.
  • Just 13.7% of authors earn their income solely from writing. In 2005 this was 40%.
  • There is a growing gender pay gap, with the average earnings of female professional authors only around 75% of those of the average male professional author, down from 78% in 2005.

You can read the full report here:

So why is author income so low and declining?

Well, there are 257 reasons being bandied about, but here are a few thoughts from me:

  • There are an estimated 7 million books out there in print and ebook, let alone audiobooks
  • Sadly, there is a lot of crap uploaded to the major retailers which puts readers off the whole business of reading
  • There are now loads of different competing ways to spend precious leisure hours
  • While some big houses put silly prices on ebooks (£14.94 I found recently!), there are a lot of ’99 pence/cents’ books for sale, some terrible, but some really good ones obliged by market forces to sell at that price but which shouldn’t sell themselves so cheaply
  • 35% of 99 pence/cents is hardly steady income (30p to the author to cover all their costs and tax. Oh, please! 🙄 )
  • Retailers’ lending schemes which can open the door to abuse – see my writing friend Jane Davis’s powerful exposé on this specific subject
  • A culture of entitlement to a ‘free lunch’. Try asking for free in your favourite coffee shop or at Next or Marks& Spencer. I only give a free book away if you sign up to my newsletter – an exchange of value.
  • Not attributing any value to culture. We have to sweat long hours to produce these books as well as try to contribute something to human knowledge and enlightenment
  • PIRACY known also as theft. It is so NOT okay to download and make copies to distribute free to all and sundry, even if you are a book club. It’s not playing fair.

From ‘Pirates: Truth and Tale‘ by HelenHollick

I love my readers; they enthuse about the worlds I create, they are loyal, honourable and happy people who like a ripping tale. I don’t sting them for my 90-100,000 word stories – the ebooks are generally £2.99/$3.99, the price of a latte/pair of tights/high quality chocolate bar. The paperbacks which weigh nearly half a kilo, or a pound (lb) in imperial, come in at £8.99/£9.99 (and look pretty).

But if people don’t buy books or borrow them from their library (which gives the author a small fee), many authors who would like to eat and pay the rent, will have to give up. And that would be terrible, wouldn’t it?


Alison Morton is the author of Roma Nova thrillers INCEPTIO, PERFIDITASSUCCESSIOAURELIAINSURRECTIO and RETALIO.  CARINA, a novella, is available now. Audiobooks are available for the first four of the series.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, free as a thank you gift when you sign up to Alison’s monthly email newsletter