ChatGPTing about Roma Nova

Roman woman with phone? (AI)

Roman woman with phone? (AI)

I had a fascinating chat with my phone the other day. Fence-sitter that I am, I haven’t really embraced AI and I voiced my guarded scepticism last year on my writing blog.

However, encouraged by my family, I frivolously threw a question at ChatGPT.

“Have you heard of Alison Morton?” I was expecting a ‘who?’ or a string of other Alison Mortons to pop up in the screen.

I almost fell of my chair when the reply came:

“Yes! Alison Morton is known for her Roma Nova series, which blends alternate history with espionage and political intrigue. Her books imagine a modern-day Roman-style society ruled by women, with plenty of covert operations, power struggles, and betrayals. Given your interest in modern espionage thrillers set in a Roman-style world, her work might be right up your alley.

Are you already familiar with her books, or are you considering checking them out?”

Gods! How did it know I enjoyed espionage novels and stories set in the Roman world? Eek!
“Tell me more,” I tapped.

“Alison Morton’s Roma Nova series is an alternate history thriller saga set in a world where the Roman Empire never fully collapsed. Instead, a breakaway Roman state—Roma Nova—was founded in the mountains of Europe and evolved into a modern, matriarchal society. The series mixes elements of espionage, political intrigue, and adventure, with strong female protagonists navigating high-stakes power struggles.

The Core Series

The main books follow two timelines:

  1. Carina Mitela’s Story (Modern Timeline)

    • INCEPTIO – The first book introduces Carina, an American woman who discovers her Roma Novan heritage and gets entangled in espionage, assassination attempts, and political machinations.

    • CARINA, PERFIDITAS, SUCCESSIO  continue her journey, as she rises within Roma Nova’s intelligence services, facing enemies both inside and outside the state.

  2. Aurelia Mitela’s Story (Historical Timeline – 1960s–1980s)

    • AURELIA focuses on Carina’s ancestor, an intelligence officer battling conspiracies within Roma Nova’s political elite. 

    • INSURRECTIO and RETALIO explore a period of dictatorship and resistance within Roma Nova.

Themes & Style

Morton’s writing blends the tight pacing of a spy thriller with rich world-building. The Roma Novans maintain Latin traditions, yet use modern technology and institutions, making for an intriguing mix of past and present. The books feature strong female leads, espionage, covert operations, and political maneuvering, making them appealing if you enjoy intelligence dramas within a unique setting.

If you’re interested in a blend of James Bond meets Ancient Rome, her books might be a perfect fit. Would you like recommendations on where to start?”

“Yes, please” I replied, completely fascinated.

“Since the Roma Nova series has two main timelines, where you start depends on what kind of story you prefer.

Best Starting Points

  1. If You Want a Modern Spy Thriller with a Strong Female Lead:

    • Start with INCEPTIO (Book 1) – It introduces Carina Mitela, a young woman who discovers her Roma Novan heritage and is thrown into a world of espionage, assassination attempts, and power struggles.

    • If you enjoy it, follow with PERFIDITAS and SUCCESSIO to see her rise in Roma Nova’s intelligence services. (And the novella CARINA?)

  2. If You Prefer a Historical Political Thriller with a Classic Roman Feel:

    • Start with AURELIA (Prequel series, but written later) – It follows Carina’s ancestor in the 1960s as she navigates political conspiracies, intelligence operations, and a looming dictatorship.

    • Follow with INSURRECTIO and RETALIO for a deeper dive into Roma Nova’s internal conflicts.” (It also forgot NEXUS.  Ha!)

Do you find the premise appealing because of the espionage angle, the Roman influence, or both?

Me, now getting into it: “Both”

“The Roma Nova series is a great blend of both espionage and Roman influence, which isn’t something you see often in fiction. The mix of intelligence operations, political conspiracies, and a society that still holds onto its Roman roots creates a unique setting for modern spy thrillers.

The espionage side brings in secret agents, coded messages, betrayals, and high-stakes missions—very much in the style of modern spy fiction. Meanwhile, the Roman influence adds layers of political maneuvering, honor-based conflicts, and a rigid but evolving social structure, making the stakes feel even more intense.

Are you looking for more books like Roma Nova, or are you just curious about how Morton developed the concept?”

Me, now trying to think more strategically: 
Wondering  if this alternative world appeals to many readers… (innocent face)

The Roma Nova series has a dedicated following, particularly among readers who enjoy espionage thrillers, alternate history, and strong female protagonists. While it’s a niche concept, it appeals to multiple types of readers:

  • Espionage and Thriller Fans – Those who enjoy spy fiction appreciate the covert missions, betrayals, and intelligence operations in a unique setting.
  • Alternate History Enthusiasts – Readers fascinated by “what if” scenarios enjoy how Morton realistically builds a modern Roman-style society.
  • Roman History Buffs – Fans of Ancient Rome like seeing how its traditions and governance might have evolved.
  • Fans of Strong Female Leads – The matriarchal nature of Roma Nova flips traditional power structures, attracting readers who enjoy stories with powerful women in leadership roles.

While it may not be a mainstream bestseller, it has a strong cult following. The uniqueness of a Roman-inspired modern spy thriller makes it stand out. Do you think the concept has the potential for an even bigger audience, or do you see it staying more niche?

Me (now in the give-me-some-marketing-tips mode): I wondered if it had the potential to for a bigger audience?

That’s a great question. The Roma Nova series has the potential to reach a larger audience, but it would likely need a breakout moment—such as a film or TV adaptation, or a major push from a big publisher. Here’s why it could appeal to more readers:

Why It Has Potential for a Bigger Audience

  1. Spy Thrillers Are Always Popular – The espionage genre has a steady audience, and a fresh setting like Roma Nova could attract readers looking for something beyond the usual Cold War or modern geopolitical thrillers.
  2. Roman Influence Adds a Unique Hook – Shows like Gladiator, Rome, and Barbarians prove that audiences love Roman-inspired stories. Mixing that with a modern thriller makes it stand out.
  3. Strong Female Leads Are in Demand – With the rise of interest in female-led action and intelligence stories (Killing Eve, Atomic Blonde), Roma Nova could appeal to those audiences.
  4. Alternate History Is Growing – Books like The Man in the High Castle and Fatherland have shown that alternate history can break into the mainstream, especially if it’s done in a thrilling way.

Then we went on about a possible Netflix series. At that point, I needed a strong cup of tea and a lie-down.

That was a salutary experience or do I mean surreal?

My story writing remains my domain. I will fight like the Horatii on the bridge to preserve that creative place. But perhaps we can harness some of the world’s knowledge in a friendly, specific way through these utilities. But of course, we must always, always check what they produce.

The crucial point – they must always remain our slaves and never become our masters.

 

Alison Morton is the author of Roma Nova thrillers –  INCEPTIO, CARINA (novella), PERFIDITAS, SUCCESSIO,  AURELIA, NEXUS (novella), INSURRECTIO  and RETALIO,  and ROMA NOVA EXTRA, a collection of short stories.  Audiobooks are available for four of the series. Double Identity, a contemporary conspiracy, starts a new series of thrillers. JULIA PRIMA,  Roma Nova story set in the late 4th century, starts the Foundation stories. The sequel, EXSILIUM, is now out.

Download ‘Welcome to Alison Morton’s Thriller Worlds’, a FREE eBook, as a thank you gift when you sign up to Alison’s monthly email update. As a result, you’ll be among the first to know about news and book progress before everybody else, and take part in giveaways.

What is it about writing Romans?

The Ermine Street Guard (Photo: Caroline Morton)

Over the years I’ve been asked in interviews why Rome fascinates me and how it led to me imagining Roma Nova. I reveal all…

What period of history particularly inspires or interests you? Why?
Rome! It’s almost visceral. It’s gripped me since I walked on that first mosaic. ‘Rome’ founded (according to Roman historians) in 753 BC lasted 1229 years in the West, which time span would take us back to AD 796 from today. It changed from a tiny community of tribal farmers and, frankly, riff-raff, to a confident military and trading empire boasting high culture, diversity, power, engineering and rule of law. But by 476 AD, the western part of the empire had dwindled to a miserable rump with a young teenager kneeling before the barbarian King Odoacer.

Romulus Augustulus renouncing  his role as the last Roman emperor in the West (19th century sketch, public domain)

Rome had the dark side of all ancient cultures: slavery, rampant corruption, patriarchalism and scant regard for disabled and poor people. But it gave us systems, values, including civic-mindedness, cultural and engineering genius and literacy that are still firmly embedded in our psyches today. In my alternate projection of a Roman society in the present day, this heritage is an integral part of the thriller stories and the characters’ motivations. In their minds, hearts and souls, they are Roman.

Is there anything unusual or even quirky that you would like to share about your writing?
My whole writing world is quirky – an alternative historical timeline, women running a 20th century Roman-based state with a feminist twist. But the characters are still very much people we would recognise. Although they live naturally in their Roman style society with strong values, they have the same feelings and aspirations that we do. But inheritance and family names descend through the female line on the principle that you always know who the child’s mother is…  Quirky, yes, but something that I hope provokes a different way of looking at things.

Is there a particular photo or piece of art that resonates with you? 

I’ve stayed faithful to the Pont du Gard, near Nimes in southern France since I was seven years old. It’s elegant yet massive, a practical manifestation of Roman authority, but also an inspiration of engineering bringing the essential of life – water – to people in their urban environment. Designed by engineers, paid for publicly (sometimes by a wealthy benefactor), built by both skilled craftsmen and the labouring poor, it’s a true symbol of the complexity and contradictions of Rome. It also makes a nice photo nearly two thousand years later. 😉

Pont du Gard (Author photo)

The great thing about the setting of your thrillers is that you have some leeway with historical accuracy. Was the accuracy in describing the Roma Nova culture important to you?

Absolutely! I have an MA in History which has given me a grounding in being picky about accuracy and the techniques to research sources in a methodical way. I don’t think you can ‘alternate’ history without knowing it first.

When you choose to diverge from the standard historical timeline, you have to know exactly what the world was like at that point of divergence. This is the last solid foothold you have on the historical record. The Roma Nova storyline starts when a group of senatorial families trekked out of Italy at the end of the fourth century (as told in EXSILIUM). In my novel, the main characters worshipped the traditional gods – Jupiter, Juno, Minerva, Mercury etc. For that reason they were persecuted by Christian Emperor Theodosius II for not converting to Christianity, which had become the state religion of the Roman Empire.

Roman gods, frieze in Ashmolean Museum (Author photo)

This persecution in Late Antiquity really happened, and was cemented by a series of edicts in the 390s AD. Theodosius signed the final edict outlawing worship of the traditional Roman gods in AD 394; the punishment was death. Sadly, we’re not taught about that when we ‘do’ the Romans at school – it’s all brushed over with Christianity ‘winning’.

Anyway…Once you’ve researched that divergence point in time ad nauseam, you then project forwards using historical logical until you reach the later time when your story is set. It helps to have a general knowledge of history, know how it unfolds and its dynamics when doing this. If not, research!

In fact, everything has to be checked from technology and attitudes in the 1960s (AURELIA), how to mount a coup d’état, intelligence techniques, warfighting of the 1980s (INSURRECTIO, RETALIO), weaponry, signals, locations and transferable Roman practices for all the books. I spent hours and hours on researching New York for the first part of INCEPTIO and ended up going there. Ditto for Montréal and Québéc for CARINA. As for SUCCESSIO, that drew strongly on my own time in the UK armed forces. But I love research. Honestly!

In your novels, Roma Nova is ruled by women. The real Romans had a very interesting way of viewing women: they were afforded the maximum status and respect, but had no rights or say in the world. How do you reconcile the view of the ‘real’  Romans with the Romans in your alternative timeline? 

If freeborn, women in ancient Rome were citizens and increasingly during Imperial period gained much more freedom to act, trade, own property and run businesses of all types. But they held no direct political power. Nevertheless, women from wealthy or powerful families could and did exert influence throughout Rome’s history: the Julio-Claudian Livia Drusilla; the later Severan Julias; and Galla Placidia towards the end of the Roman Empire.

In my novels, women rule, but men are not disadvantaged. Life is much more nuanced than that. Roma Nova survived by changing its social structure. As men constantly fought to defend the new colony, women took over the social, political and economic roles, weaving new power and influence networks based on family structures.

Given the unstable, dangerous times in Roma Nova’s first few hundred years, the daughters and sisters as well as sons and brothers had to put on armour and carry weapons to defend their homeland and their way of life. Fighting danger side by side with brothers and fathers reinforced women’s roles. And they never allowed the incursion of monotheistic paternalistic religions. They and their descendants never forgot the persecution that forced them into exile in Rome. So I don’t think that it’s too far a stretch for women to have developed leadership roles in all parts of Roma Novan life over the next sixteen centuries.

Characters from the Roma Nova thrillers

Characters from the Roma Nova thrillers

My female protagonist’s story starts in INCEPTIO in a(n almost) standard Western society. When she’s compelled to flee to her dead mother’s homeland in Europe ­she finds the Roman-infused culture unnerving. Although outward facing and willing to cooperate with other nations, Roma Novans live to a tough ethic of self-sufficiency and an ingrained sense of duty to their state – core Roman values which have been crucial to their survival down the centuries. They are somewhat robust in their approach to life.

The strong female characters surrounding our heroine – her grandmother Aurelia, cousin Helena, female colleagues and friends – are the result of this and form the pattern for her. As you might expect, the men around her are distinctly Roman in their attitude which often makes personal and professional relationships fraught (but interesting!).

Not all runs smoothly, but the Twelve Families try to keep conspiracies – a core Roman activity – to an infrequent number. But Renschman, Pertinax, Nicola and Caius come along and every heroine needs an enemy…

 

Alison Morton is the author of Roma Nova thrillers –  INCEPTIO, CARINA (novella), PERFIDITAS, SUCCESSIO,  AURELIA, NEXUS (novella), INSURRECTIO  and RETALIO,  and ROMA NOVA EXTRA, a collection of short stories.  Audiobooks are available for four of the series. Double Identity, a contemporary conspiracy, starts a new series of thrillers. JULIA PRIMA,  Roma Nova story set in the late 4th century, starts the Foundation stories. The sequel, EXSILIUM, is now out.

Download ‘Welcome to Alison Morton’s Thriller Worlds’, a FREE eBook, as a thank you gift when you sign up to Alison’s monthly email update. As a result, you’ll be among the first to know about news and book progress before everybody else, and take part in giveaways.

Debunking the 'Roman salute'

Painting: Oath of the Horatii (Jean-Louis David, 1784)

Oath of the Horatii (Jean-Louis David, 1784)

Recently, a prominent social media personality thrust his arm in the air in a straight arm salute that caused an earthquake of reaction, mostly shuddering. For many, it recalled fascists, Nazis and ultra nationalism of every kind. According to legend, this fascist gesture was based on a customary greeting which was claimed to be used in Ancient Rome.

Um, wrong.

No Roman text describes such a gesture, and the Roman works of art that display salutational gestures bear little resemblance to the modern ‘Roman salute’.

So that’s all sorted out.

Let’s unpick a little…

Originating from Jacques-Louis David’s painting The Oath of the Horatii (1784), the gesture developed a historically inaccurate association with (manly) Roman Republican and imperial culture. All this popped up all over the place in other neoclassic artworks.

In the United States, a similar salute for the pledge of allegiance – the Bellamy salute – was created by Francis Bellamy in 1892. The picture of little children in their classroom making a fascist-like salute seems not only bizarre but repugnant to us today. But the gesture rolled on during the late 19th and early 20th centuries into plays and films that portrayed the salute as an ancient Roman custom.

Italian nationalist poet Gabriele d’Annunzio adopted it in 1919 as a neo-imperial ritual when he led an occupation of Fiume. Through his influence, the gesture became  was gradually adopted by the Italian Fascist regime. Then the Nazis made such a gesture compulsory within their movement in 1926 and became the keynote greeting in the Third Reich.

Since the end of World War II, displaying the Nazi variant of the salute has been a criminal offence in Germany, Austria, the Czech Republic, Slovakia, and Poland. Legal restrictions on its use in Italy are more nuanced and use there has generated controversy. Sadly, the gesture and its variations continue to be used in neo-fascist, neo-Nazi, and Falangist contexts.

But what about the Romans saying hi or acclaiming something or somebody?

Augustus, National Museum of Roman Civilisation, Rome (Author photo)

Augustus, National Museum of Roman Civilisation, Rome (Author photo)

Not a single Roman work of art displays a salute like the straight arm fascist one. The gesture of the raised right arm or hand in Roman and other ancient cultures that does exist in surviving literature and art generally had a significantly different function.

The right hand (Latin dextera, dextra) was commonly used in antiquity as a symbol of pledging trust, friendship or loyalty. Sculptures commemorating military victories such as those on the Arch of Titus, the Arch of Constantine, or on Trajan’s Column are the best-known examples of raised arms in art from this period. However, these monuments do not display a single representation of the straight arm Roman salute.

The images closest in appearance to a raised arm salute are scenes in Roman sculpture and coins which show an adlocutio, acclamatio, adventus, or profectio. These are occasions when a high-ranking official, such as a general or the emperor, addresses individuals or a group, often soldiers. Unlike modern custom, in which both the leader and the people he addresses raise their arms, most of these scenes show only the senior official raising his hand. Occasionally, it’s a sign of greeting or benevolence, but usually is used as an indication of power.

An example of a salutational gesture of imperial power can be seen in the statue of Augustus of Prima Porta which follows certain guidelines set out by oratory scholars of his day. For instance,  Quintillian states in his Institutio Oratoria: “Experts do not permit the hand to be raised above the level of the eyes or lowered beneath the breast; to such a degree is this true that it is considered a fault to direct the hand above the head or lower it to the lower part of the belly. It may be extended to the left within the limits of the shoulder, but beyond that it is not fitting.” The Prima Porta does go beyond these dignified limits, but then Augustus was a showman.

That Horatii painting

Jacques-Louis David has a lot to answer for as do people who went on to misinterpret his painting of the three sons of Horatius. They are swearing an oath on their swords, held by their father, that they will defend Rome to the death. It’s based on a historical event described by Livy (Book I, sections 24-6) and elaborated by Dionysius in Roman Antiquities (Book III).

However… the moment depicted in David’s painting is straight from David’s imagination. Neither Livy nor Dionysius mention any oath-taking episode. Dionysius, the more detailed source, reports that the father had left to his sons the decision to fight, then raised his hands to the heavens to thank the gods. But what does historical accuracy matter in art?

In more detail…  In the painting, the brothers’ father faces left with both hands raised. His left hand is holding three swords, while his right hand is empty, with fingers stretched but not touching. The brother closest to us is holding his arm almost horizontally. The brother on the left is holding his arm slightly higher, while the third brother holds his hand higher still. While the first brother extends his right arm, the other two are extending their left arms. The succession of arms raised progressively higher leads to a gesture closely approximating the style used by fascists in the 20th century in Italy, albeit with the wrong arms. Oh dear.

The moving image

Those of us of more mature years grew up with epic films such as the 1951 film Quo Vadis where the Nero character repeatedly uses the full arm salute at mass rallies, meant to imply the fascistic nature of the Roman Empire. Others did the same including Ben-Hur, Spartacus, and Cleopatra. In Gladiator, the salute is notably absent in most scenes and in HBO’s Rome series, the emphasis is on the right hand placed over the heart and then extended horizontally to the front of the body, not a ‘Roman salute’.

So there you have it.

Alison Morton is the author of Roma Nova thrillers –  INCEPTIO, CARINA (novella), PERFIDITAS, SUCCESSIO,  AURELIA, NEXUS (novella), INSURRECTIO  and RETALIO,  and ROMA NOVA EXTRA, a collection of short stories.  Audiobooks are available for four of the series. Double Identity, a contemporary conspiracy, starts a new series of thrillers. JULIA PRIMA,  Roma Nova story set in the late 4th century, starts the Foundation stories. The sequel, EXSILIUM, is now out.

Download ‘Welcome to Alison Morton’s Thriller Worlds’, a FREE eBook, as a thank you gift when you sign up to Alison’s monthly email update. As a result, you’ll be among the first to know about news and book progress before everybody else, and take part in giveaways.