‘Very Adorable Darlings’ in the First World War

Francesca’s latest Wartime in the Valleys novel, Hope in the Valleys, features Elizabeth Meredith who becomes a VAD nurse on the French war front in the Great War. But what did that entail?

Apparently one nickname for the VAD nurses, working voluntarily in hospitals during the First World War, was ‘Very Adorable Darlings’, obviously using the initials to convey how the soldiers considered them. Although it’s nice to know they were appreciated, I can’t help thinking this undervalues their contribution to the war effort.

So who were the VADs? For a start, it stands for Voluntary Aid Detachment, an organisation created in 1909 with the support of the Red Cross and St John’s Ambulance Brigade, due to a fear that there would be a shortage of nurses to aid the military should there be a war. During the Great War (and Second World War) they were used in both hospitals in the UK and abroad where the soldiers were fighting. These ‘nurses’ were not trained like official nurses, but had taken first aid courses.

It wasn’t uncommon for them to be resented by the qualified nurses who thought it unfair that they should be called ‘nurses’ when they hadn’t done the same training. It didn’t help that the VADs were usually middleclass women, compared to the mainly working-class nurses. Usually they were given the dirtiest and most tedious jobs, like scrubbing, dealing with soiled dressings, emptying bedpans and cleaning up bodily fluids. And also the disposal of limbs. Some did work with nurses who valued their contribution and who trusted them with more complicated jobs.

Some of the books I’ve used to research VADs in the Great War

Those who, like Elizabeth, ended up near the war front in France, must have felt like they’d entered hell. Everything about it would have been harder than working in a hospital back home, where conditions would have been cleaner, not mud encrusted and covered with the detritus of explosions. The hospitals in Britain would largely have been dealing with soldiers who’d already been patched up in some way. It’s hard to imagine what horrors the nurses and VADs abroad encountered when men, often great numbers of them, descended upon a hospital at the front. There are reports of limbs blown off or hanging loose, gaping, festering wounds and skin and bone blown apart by gunshot. And then there were the severe mental health problems labelled at that time as ‘shell shock’, that we now call post-traumatic stress disorder.

The percentage of deaths on the front would have been way higher than anything they’d have encountered at a hospital back in Blighty. Many of the men would have been very young, not even considered adults, some probably small for their age as the underfed working classes often were back then. The VADs would have been reminded of their own fighting brothers, cousins, maybe uncles and fathers and many of their own sweethearts, knowing they faced the possibility of the same fate.

And by the way, the VAD nurses were not paid. The clue is in the word ‘Voluntary’. That’s right, they did it for nothing. Yes, they were mainly middle class and could afford to, but that shouldn’t be a cause to belittle their efforts. Having read many accounts of what they experienced, I can only admire them for their sterling work and dedication under horrific conditions.

A VAD in a ward I’m guessing was back in Britain, as the hospitals on the front tended to be makeshift huts and tents.

Hope in the Valleys

It’s August 1917 and WW1 continues to take a toll. The villagers of Dorcalon, a mining village in the Rhymney Valley, try to keep hope alive; but every day brings fresh tragedy as more of their sons and fathers are killed on foreign battlefields.

Elizabeth Meredith, daughter of mine manager Herbert, enjoys a privileged position in the village, but she longs to break free of society’s expectations.

Falling in love with miner, Gwilym Owen, brings more joy to her life than she’s ever known… until she’s forced to choose between her love and her disapproving family. Seeking an escape, Elizabeth signs up as a VAD nurse and is swiftly sent to help the troops in France, even as her heart breaks at leaving Gwilym behind.

Separated by society and the Great War, can Elizabeth and Gwilym find their way back together again? Or will their love become another casualty of war?

Hope in the Valleys is published by Hera Books and is available here:

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Good Afternoon, Good Evening and Good Night!

Francesca explains the Welsh expressions used in her Wartime in the Valleys books

Someone asked me a while ago about the Welsh phrases used in the Wartime in the Valleys series. Although it’s implied that my characters are speaking Welsh much of the time, as many would have in the Valleys a hundred odd years ago, I’ve been careful to use only a few expressions, to add a flavour of the area.

I think some people have struggled with these expressions so, as the third in the Valleys series is going to be published in a week, I thought I’d write a blog post including all the phrases used and their translations. I’ve been through all four books (as there’s another, Trouble in the Valleys, due out in the spring), so hopefully have found them all.

I’m not a Welsh speaker myself, as my Welsh mother wasn’t either, only speaking a few phrases, but I’ve been endeavouring to learn some on Duo Lingo. Whether I’ll ever feel proficient enough to talk to a native seems currently unlikely. Unless it’s to say ‘Bore da,’ to my Welsh speaking friend Angela Johnson (author of another novel set in Wales, Arianwen) as we meet for a coffee. It’s been an interesting experience, learning the language of my past ‘fathers’. I think my mum would have enjoyed the opportunity to have a go at Duo Lingo too, if such a thing had been around in her time.

My favourite Welsh phrase of my mother’s? Ych y fi! You have to hear it said to appreciate how much it evokes what it means, which is Ugh! But to give you an idea, it’s something like ‘uh-ch ah vee‘, where the ch is a guttural sound at the back of the throat.

As Truman Burbank (sort of) said in The Truman Show , ‘Bore da, and in case I don’t see ya, prynhawn da, noswaith dda a nos da!’

Bore da                     Good morning
Prynhawn daGood afternoon
Noswaith ddaGood evening
Nos daGood night
Hwyl fawrGoodbye
Diolch yn fawrThank you very much
  
Nadolig LlawenMerry Christmas
Siôn CornFather Christmas
  
Bach (m) / fach (f)An endearment (literally ‘little’)
CariadAn endearment (meaning ‘love’ / ‘sweetheart’
MamguGrandma
  
Ych y fi!Ugh!
O Duw!Oh God!
Diolch i Dduw!Thank God!
  
Y NewyddionThe News
Gymanfa ganuA singing festival
EisteddfodA competition including poetry and music
  
Songs: 
‘Y Delyn Aur’‘The Golden Harp’
‘Dawel Nos’              ‘Silent Night’
‘Calon Lân’               ‘A Pure Heart’
‘Ar Hyd y Nos’          ‘All Through the Night’
‘Suo Gân’                  ‘Lullaby’

Hope in the Valleys is out on 20th January, currently available as an e-book and paperback, and can be pre-ordered from these outlets:

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Exclusive Extract from The Patchwork Girls by Elaine Everest

Today we are thrilled to be able to publish an exclusive extract from the first chapter of the brand new novel, The Patchwork Girls, by well-known saga writer and regular visitor to our blog, Elaine Everest

Chapter 1

‘I’m sorry, Mrs Wentworth, but you shouldn’t be here,’ the grey-haired porter said, reaching out gently to take the young woman’s arm. He could see she was in shock, her face pale and her body trembling.

Helen looked up at the damaged facade of the Victorian mansion block. The building where she’d started her married life with so many hopes and dreams had fared badly: several window panes were missing and the red brickwork was chipped on the first floor. ‘I need to collect a few things,’ she pleaded. ‘I promise to be careful . . .’

‘Okay, missus, but I’ll have to accompany you. I would never forgive myself if something ’appened to you after – well, after what went on here yesterday.’

Without a word Helen entered the building, heading towards the ornate iron lift residents used to travel to the upper floors.

‘Best we don’t use it,’ he said, steering her towards the wide staircase. ‘It’s not been checked out yet and gawd knows what damage has been done.’ He scowled. ‘I don’t know what the world’s come to.’ He fell into step beside her as they started to climb the winding black-and-white tiled staircase. Already some of the ornate windows had been boarded up, although chinks of light from the midday sun shone through the cracks, illuminating dust motes dancing around them.

‘Here we go,’ the porter said, pulling open a heavy oak door that led to the upper hallway and the entrance to her home, along with several others. ‘You’ll find a couple of coppers in there. I did tell them not to hang about, as that ceiling’s bound to come down before too long. Who’d have thought this could ’appen here in Cadogan Mansions?’ He shook his head. ‘I’ll come with you to make sure you stay safe. Do you really want to go in there after . . .’

Helen thanked him, but didn’t say any more. The porter and his wife liked nothing better than a juicy morsel of gossip to keep them going during their live-in job of caring for the old building. She usually did her best to slip quietly past if either of them was hovering in the entrance lobby. They could chat for England, and what had happened in her apartment would certainly keep them interested for many a day.

‘Oh, my goodness; I never thought there would be so much damage! A few broken windows and ruined furnishings, but this . . .’ She clasped a hand to her mouth to stifle a sob. The remains of damask curtains flapped in a light breeze coming through the gaps where once there’d been floor-to-ceiling windows. All around the drawing room were scattered pieces of wood and fabric that Helen could only just recognize as her furniture. The desk where John had worked was intact, although scratched by debris, while a large breakfront cabinet had lost its upper doors. Books were everywhere, pages fluttering in the cold air. ‘He didn’t stand a chance.’ Shrugging off the porter’s attempt to place an arm round her shoulders, Helen took a deep breath. ‘I just need to collect . . .’

The Patchwork Girls

A moving story set during WWII, about how the strong bonds of female friendship can carry you through the most difficult times.

1939. After the sudden and tragic loss of her husband, Helen returns to her mother’s house in Biggin Hill, Kent – the one place she vowed she’d never go back to.

Alone and not knowing where to turn, she joins the local women’s sewing circle to find some companionship and comfort, despite being hopeless with a needle and thread. These resourceful women can not only ‘make- do and mend’ clothes, quilts and woolly hats, but the fast-formed friendship with Lizzie and Effie mends something deeper in Helen too.

When the reason for Helen’s husband’s death comes to light, her world is turned upside down yet again. The investigating officer on the case, Richard, will leave no stone unturned – but it’s not long before his interest in Helen goes beyond the professional. As she pieces together old fabrics into a beautiful quilt, will Helen patch up the rifts in her own life?

The Patchwork Girls is out on 14th October and published by Pan Macmillan

About Elaine

Elaine Everest is the author of bestselling novels The Woolworths Girls, The
Butlins Girls, Christmas at Woolworths and The Teashop Girls. She was born and
raised in North-West Kent, where many of her bestselling historical sagas are set.
She grew up listening to tales of the war years in her hometown of Erith, which
has inspired her own stories.

Elaine has been a freelance writer for 25 years and has written over 100 short
stories and serials for the women’s magazine market. She is also the author of a
number of popular non-fiction books for dog owners.

When she isn’t writing, Elaine runs The Write Place creative writing school in Hextable, Kent. She now lives in Swanley with her husband, Michael and their Polish Lowland Sheepdog, Henry.

You can find out more about Elaine on:

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All in a Day’s Work

Francesca has a look at all the different topics she might end up researching during one day’s writing, for her historical novels set in World War 1 Wales.

It occurred to me recently, as I was writing the fourth novel for my Valleys series, that it’s amazing what diverse topics you can find yourself researching in just one day.

For instance, if I want a character to go out on a trip outside of the village, there are a few things to find out. Although my village of Dorcalon is imaginary (albeit heavily based on Abertysswg, in the Rhymney Valley), all of the towns and villages around it that I mention, are real. My characters have visited Rhymney, Tredegar, Bargoed, Cardiff, Monmouth, Barry Island and even a couple of places in London.

‘Dorcalon’ (Abertysswg) today. The mine was in the area where the rugby post is.

Under normal circumstances, it would be easy enough to go onto Google maps and have a look around the streets to see what a town looks like, and what kind of shops it has. I could look up train journey times on Network Rail journey planner.

The times they are a-changing

But of course, none of these would give me an accurate picture of what was in the towns, or how to get to them, in, say, 1918. I’ve managed to find train line routes at this time on Wikipedia, so know, by comparing them to today’s rail maps, that many of the stations, and branch lines, no longer exist. Then it’s a case of making a rough estimation of how long the journey might have taken. Rhymney to Cardiff, for instance, had about ten fewer stations.

If I want my character to walk down Castle Street in Cardiff, there’s no point at looking at a photographic map of the street today. Luckily, with most of the towns I’ve mentioned, I’ve found lots of photographs of the time, in books and online. Cardiff, I discovered, had a tram system, and the shops had wonderful canopies, the likes of which we never see nowadays.

A bit of local colour

As for the shops themselves, not always obvious on photographs, there are the marvellous Kelly’s Directories, and also local papers of the time. I’m particularly blessed where Wales is concerned, as the Library of Wales has the most wonderful catalogue of newspapers online. In fact, the newspapers have furnished me with information on many subjects, including theatre and cinema programmes, court proceedings, café menus and jobs. There’s also the census which, apart from revealing people’s occupations, tells you what names were popular, and the size of families.

Less is More

While all the above is just touching the surface, I only ever end up using a fraction of what I learn while I’m researching. For instance, I mostly don’t need to mention how long a train journey took, but I need to know, so that I don’t have the character leaving early afternoon on what should be an hour’s journey, and arriving late evening! Much of the information used is ‘set dressing’, to give a flavour of the time and the people, not to overwhelm with it.

An example of some of the items I had to research for one scene in Cardiff:

I’ve visited the city many times (my mum was brought up there), and some things are the same, but I had to assume I knew nothing, so, among other queries, I needed to know:

What was the train route? (Direct from Rhymney, as it is today.)

Where was the station? (Queen Street station was where it is today.)

What were the major stores etc Gwen would likely visit?  (Marments, David Morgan’s, and Howell’s department stores and the arcades.)

What fabrics were available to buy in 1918? (Linens, cottons, silks, organzas, chiffons, crepes and even the new artificial rayon.)

What did the market look like back then? (A lot like it does today!)

Was there a well-known café and what did it look like inside? (I could have made one up but finding The Dutch Café on Queen Street meant I could have something authentic.)

What you would have seen walking down Queen Street and Castle Street? (Old shops on Queen Street, not the modern ones of today, the castle, the tram.)

Could you visit the castle? (No. It wasn’t open to the public then.)

Cardiff Castle in the 1960s, taken by my father.

It’s a good job I enjoy research, isn’t it? 🙂

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Remembering Rosemary Goodacre and her new novel, Until We Can Forgive

It’s three weeks now since we were saddened to hear of the death of our friend and fellow author, Rosemary Goodacre

Rosemary had been ill but was recovering and looking forward to the release of the third novel in her Derwent Chronicles series, Until We Can Forgive. She was busy getting started on her blog tour questions, when she was sadly taken from us. Here we recall times we’ve spent with Rosemary, and take a look at her latest novel.

 

 

 

 

Francesca: I first met Rosemary in an Adult Education class for creative writing, run by Elaine Everest, back in 2006. We’d been in various classes together since that time, as well as both attending Writers’ Holiday weeks and many Romantic Novelist Association events. Often she wrote things that were a little different, like a novel she was working on several years ago that involved chemistry classes and poisonings!

She was a well informed and cultured woman, with knowledge of foreign languages, yet never blew her own trumpet. She was great fun at social events. I recall the last RNA conference we were at, one evening, sitting around our flat’s kitchen table, playing a game which involved singing various songs, and Rosemary joining in as enthusiastically as the rest of us (I dare say a little alcohol was involved!). She will be sorely missed by me, and there’ll be a Rosemary-shaped hole in our group of friends for evermore.

Elaine: I first met Rosemary at The Write Place in 2012. I will always remember Rosemary as a well read and intelligent person. Her interests were quite diverse, as indeed was her reading. I know she loved playing bridge, going to the theatre and having some more unusual holidays. However, she also had a scatty side to her unassuming nature. She was a lovely lady that would never want to offend anyone and was also someone you couldn’t get cross with.

When we were travelling to Romantic Novelist’s Association events together, like the conferences, she was often waiting for everyone in the wrong place. We all worried about losing her when we were going anywhere as a group. I remember arranging to meet her just inside the doorway of a summer party we were both attending and I waited for sometime before I was told she was already upstairs. She was very apologetic when she realised but it was just another moment where you just thought ‘that’s Rosemary’, she didn’t have a malicious bone in her whole body.

I will miss her more than words can say, as I’m sure everyone who knew her will.

Until We Can Forgive

Spring 1919: WW1 is over and a fragile peace has descended over the country. Now living in Cambridge with husband EdmondAmy Derwent is settling into her new life as wife and mother to little Beth. But the shadow of the Great War looms large, particularly as the injuries Edmond sustained at Ypres still take their toll on him today.

Edmond’s cousin, Vicky, has now grown into a fine young woman, eager to help her
country. Throwing off her privileged background to train as a nurse, she spends her days tending to the many soldiers still suffering the after-effects of their time on the battlefield.

Meeting Maxim Duclos, a young Frenchman who has arrived in Larchbury, fills her heart with joy – but when it is discovered that Maxim may be hiding the truth about his past, Vicky is faced with an impossible choice. Follow her heart’s desire and risk her family’s disapproval or keep her family – but deny herself the chance of true love?

The war may be over, but Edmond, Amy and Vicky must all face a new battle, finding their own peace in a country wounded by loss.

Available on Kindle and paperback at:

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The first two books of the Derwent Chronicles:

 

 

 

 

 

 

Available here:

Until We Meet Again

Until the War is Over

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Welcome to our own Francesca Capaldi and Heartbreak in the Valleys

Today Francesca is popping in to answer a few questions

 

Tell us about your setting and why you chose it?

Abertysswg today

The setting came out of the initial idea. Since that was to do with a miner being discharged from the army, it seemed likely he’d come home to a mining area. And since it was based on my own great grandfather Hugh’s experience, and he was from the Rhymney Valley, that seemed like the perfect choice. However, I didn’t even consider Hugh’s actual place of residence at the time as the basis of my imaginary village. He was living in New Tredegar. I immediately knew I wanted to set it in a village based on one up the road, Abertysswg. This is where my other great grandparents were living, along with my great great grandfather. I’d visited it a couple of times, once with my mother, who was born there, and later with one of my children, so had a better idea of its layout. It was built around 1900 as a ‘model village’, according to newspaper reports, for the workers of the McLaren pit. The houses were placed on the hillside overlooking the colliery in the dip of the valley.

As I researched the village, largely via the Welsh local newspapers which can be accessed online, I discovered there was quite a community here. The funds for both the hospital and the Workmen’s Institute were raised by the villagers themselves, through subs. Health care continued to be paid for by subs, a kind of early national health system. The Workmen’s Institute, far from being just for the men, laid on all sort of talks and social activities. It also contained a library. Studying the village was like researching my own past, knowing that my grandparents and some of their family members would have partaken of these activities.

Abertysswg with red outline showing roughly where the colliery was.

I took the decision to rename the village Dorcalon (which literally means ‘heartbreak’) because I wanted to be flexible with some details and dates. For instance, there was a mining disaster in Abertysswg in 1902, but I needed one in 1915. Where real places are concerned, I do try to be as accurate as I can. My village does sit in the same spot on the map though, with Rhymney up the road and New Tredegar down the road. The other useful aspect of picking somewhere real as a basis is that it’s easier to be consistent with places like chapels or shops.

The pit itself was closed in 1969 and is long gone. I’ve never seen it in reality, but have seen plenty of photographs which give me an idea of what it must have been like to live with such a brooding presence. It’s a character in itself.

Where do your ideas come from?

As with Heartbreak in the Valleys, quite a few of my ideas have been sparked by my family, including a serial I wrote for The People’s Friend and several short stories. A few have come from my own childhood, living on the Sussex coast. Often something will occur that makes me think, there’s a story there. Stories in the media and overheard snatches of conversation are good too.

Do you have a favourite writing place?

Whitstable – where I’ve often sat to write

If I could, I’d sit by the beach for ever, writing, but since I don’t have a seaside shack at my disposal, I tend to sit in the dining room at home so I’m overlooking the garden. I go on week-long writing retreats with writing friends every now and again, and invariably a seaside location is picked by us all. On occasion the house will overlook the sea, which is marvellous. I’m the one most likely to take my notebook down to the beach or to a café overlooking it, to write. There is something soothing about the water and the lapping of the waves.

What are you working on at the moment?

I’ve just finished the second Valleys book, which is now with the publisher. I’m not sure yet whether they’ll want a third in the series, so I’ve gone back to another saga I was writing, again set in the First World War. This time it’s set by the seaside (surprise surprise!).

 How do you select the names of your characters?

For Heartbreak in the Valleys I looked at the 1911 census, a list of top names in different decades and an online list of Welsh names. I think there are possibly more Welsh names in my novel than there would have been in that area at the time, judging by the census, but I’m unrepentant! The local newspapers were also handy for this.

 

ABOUT HEARTBREAK IN THE VALLEYS

The world was crumbling, but her love stayed strong

November 1915. For young housemaid, Anwen Rhys, life is hard in the Welsh mining village of Dorcalon, deep in the Rhymney Valley. She cares for her ill mother and beloved younger sister Sara, all while shielding them from her father’s drunken, violent temper. Anwen comforts herself with her love for childhood sweetheart, Idris Hughes, away fighting in the Great War.

Yet when Idris returns, he is a changed man; no longer the innocent boy she loved, he is harder, more distant, quickly breaking off their engagement. And when tragedy once again strikes her family, Anwen’s heart is completely broken.

But when an explosion at the pit brings unimaginable heartache to Dorcalon, Anwen and Idris put their feelings aside to unite their mining community.

In the midst of despair, can Anwen find hope again? And will she ever find the happiness she deserves?

“Heartbreak in the Valley is a fabulous debut. Rich with well drawn characters, twists and turns, sense of history and place…  it was hard to put down. I loved it!” Author Rosie Hendry

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Welcome to Our Own Elaine Roberts and The Foyles Bookshop Girls

We turn the tables on Elaine Roberts today, as we find out about her debut novel, The Foyles Bookshop Girlsset in World War One, and also a little about Elaine’s writing life

Hello Elaine! I’d like to say welcome to the blog, but you’re already here.

This feels a little weird but thanks you for hosting me on our blog and the interesting questions.

Do you think someone could be a writer if they dont feel emotions strongly?

When I write, I tend to put myself in the position of my characters, but that’s not to say the characters are me. I need to know their back-story, so I can write their actions and reactions accordingly. I do believe it helps to tap into your own emotions, to remember how you felt when something similar happened to you, or someone you know, or imagine how you would feel. A good example is if you lost someone you love, store those emotions so when you write it’s real.

I wouldn’t like to say you couldn’t be a writer, but it must be harder to draw the reader in if the emotions aren’t there to draw on, or at least don’t come across as real.

Do you want each book to stand on its own, or are you trying to build a body of work with connections between each book?

I enjoy reading books that are connected, whether by characters or setting, so it’s something I would love to do with my own novels. The Foyles Girls series are all stand alone books, but they have the same three girls in them. The fourth book idea I’m planning contains one of the characters, but she will probably be a grandmother, but of course it’s only an idea at the moment.

 If you could tell your younger writing self anything, what would it be?

Have belief in yourself and don’t give up.

I heard a poem a couple of years ago on YouTube. It’s by Prince Ea and called A Brand New Ending, about not being a “kinda” person because if you are, you end up with “kinda” results. It left a mark on me, and since then I’ve endeavoured to put my heart and soul into what I want to do. I can often be heard saying “don’t be a kinda person”

What was the best money you ever spent as a writer?

That’s quite a difficult question. Everything has been a series of stepping-stones. I attend a writing class, which introduced me to the Romantic Novelist Association’s New Writers’ Scheme, which enabled me to have my work critiqued each year. They also hold a conference each year, which is very high on my list of must do events, because of the workshops, panel talks and meeting industry professionals. It’s good to know that all the self-doubts you feel are the same for everyone.

Whats the most difficult thing about writing characters of the opposite sex?

Finding the tone and the voice of the characters. As a woman, I want to make sure the male character sounds real. Again it’s about knowing their back-story and I tend to think about people I know, but that’s not to say my characters are people I know. By nature, I have always been a people watcher, so people’s mannerisms and actions fascinate me. I constantly ask myself if they would act or speak like that?

How do you select the names of your characters?

I use a number of methods. Family names are a popular way of choosing, but I’ve also done an internet search of popular names in a given year. There is also the census, which is a great resource for names and occupations.

Does your family support your career as a writer?

I can honestly say, hand on heart, that I couldn’t have achieved what I have without them. In the past, I’ve had my children acting out scenes in my front room, as well as giving ideas and advice. My husband reads everything I write and lifts me when I’m down. My whole family has been involved in my writing journey and continue to be excited and part of the story.

 

About The Foyles Bookshop Girls

London, 1914: one ordinary day, three girls arrive for work at London’s renowned Foyles bookshop. But when war with Germany is declared their lives will never be the same again… 

Alice has always been the ‘sensible’ one in her family – especially in comparison with her suffrage-supporting sister! But decidedly against her father’s wishes, she accepts a job at Foyles Bookshop; and for bookworm Alice it’s a dream come true.

But with the country at war, Alice’s happy world is shattered in an instant. Determined to do what she can, Alice works in the bookshop by day, and risks her own life driving an ambulance around bomb-ravaged London by night. But however busy she keeps herself, she can’t help but think of the constant danger those she loves are facing on the frontline…

Alice, Victoria and Molly couldn’t be more different and yet they share a friendship that stems back to their childhood – a friendship that provides everyday solace from the tribulations and heartbreak of war. 

Available at Amazon here

 

Elaine Roberts had a dream to write for a living. She completed her first novel in her twenties and received her first very nice rejection. Life then got in the way until circumstances made her re-evaluate her life, and she picked up her dream again in 2010. She joined a creative writing class, The Write Place, in 2012 and shortly afterwards had her first short story published. She was thrilled when many more followed and started to believe in herself.

As a member of the Romantic Novelists’ Association, progressing to full membership from the New Writers Sceme, and The Society of Women Writers & Journalists, Elaine attends many conferences, workshops, seminars and wonderful parties. Meeting other writers gives her encouragement, finding most face similar problems.

Elaine and her patient husband, Dave, have five children who have flown the nest. Home is in Dartford, Kent and is always busy with their children, grandchildren, grand dogs and cats visiting. Without her wonderful family and supportive friends, she knows the dream would never have been realised.

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