All writers sneak a look at their reviews – we are so human (Not sure I completely believe those who say they don’t 😉 ) Looking at INSURRECTIO’s, I was struck by this one:
“Although I enjoyed the first three, IV and V are disappointing; particularly this one. Because they are ‘backstory’, I already knew who did what to whom from the earlier novels.”
I appreciate them taking the time and trouble to write a review. I really do; people are so busy these days, they don’t always get round to it, however much they enjoyed a book. I’m very sorry this reader was disappointed, but I’m pleased they enjoyed Carina’s story in the first three. But this comment set me thinking.
Roma Nova is an imaginary country (Gasp!). The people who live there are not documented historical figures. But as a storyteller I try to make it as realistic as possible; characters do heroic and stupid things, the weather isn’t always sunny – it rains and snows, traffic jams alternate with beautiful scenery.

Like any country Roma Nova has its own history. In our real timeline, who today doesn’t have an older relative who remembers ‘the war’? We know exactly which war they are talking about because it was such a formative experience for that generation and the following one.
My father was at Dunkirk in 1940 and went to France on D-Day+4 in 1944; my mother, a teacher by day, drove ambulances during bombing raids by night.
For me, the grungy 1970s and growth-spurted 1980s when I spent time in uniform were my formative years.
So when I decided to build the world of Roma Nova in an alternative timeline, I incorporated its ‘long’ history back to the end of the 4th century AD as well as its ‘short’ history of the Great Rebellion in the early 1980s.
As Carina, brought up in the Eastern United States, was facing her challenges in INCEPTIO, PERFIDITAS and SUCCESSIO, her grandmother, Aurelia, and others such as Conrad and Quintus Tellus, and Imperatrix Silvia had strong, and grim, memories of that rebellion which coloured their behaviour, values and attitudes in those three stories. And they occasionally referred back to those times in the same way our parents and grandparents refer to ‘the war’.
We know what happened in the past. We know who won, and who lost.
Look back at 1066. Much as we may dream or speculate about or devoutly wish for a Saxon England beyond that date, it didn’t happen. When my writing friend Helen Hollick wrote Harold the King, she couldn’t alter the outcome. But I was so caught up by the writing and characters, I was as optimistic as any Saxon that they would prevail. But in my logical brain I knew the outcome – it was probably the first date I learnt in school. However, it didn’t stop me enjoying the story.
But when she and fellow author Joanna Courtney invited me to join a group of writers to consider different possible outcomes for that tumultuous year in English history, I leapt at it. Alternative history was, and is, my special area of writing fiction. Perfect! The result, published in the run-up to the 950th anniversary of the Battle of Hastings, was 1066 Turned Upside Down.
Several stories are written by medieval fiction specialists, but some were by those of us who were not. I had a great deal of fun inserting an 11th century Roma Novan into the mix. We knew Roma Nova would survive into the 21st century, but it was under a great deal of pressure at that time as its big cousin, the Eastern Roman Empire (the ‘Byzantine Empire’ as we call it now) was exerting its power, wealth and influence across a very wide area.
When the second Roma Nova trilogy goes back to tell the story of Aurelia in the second half of the 1960s (AURELIA) and the early 1980s (INSURRECTIO, and RETALIO, we know she will survive, as will Quintus, Conrad and Silvia. The intrigue, I hope, is how and why they did what they did, whether they acted well or not, and what gains and sacrifices occurred. And what the consequences were for Carina’s generation. And I reveal some secrets from the past that only the characters themselves would know and which even puzzled me when I was writing the first trilogy.
Being inquisitive by temperament, I like to know the background to things, people and events; in short, why they are like they are. This is why I read historical fiction. I’m sorry my reader didn’t share this; perhaps they aren’t as nosy as I am. But as we edge toward the climax of the Aurelia trilogy, I hope the story will be sufficiently enticing for readers to want to know just what Aurelia had to sacrifice at the time of Roma Nova’s civil war.
And do have a look at 1066 Turned Upside Down – it may intrigue, infuriate or delight you; possibly all three! But although you know the outcome, just suppose it had been different…
(Updated June 2019)
Alison Morton is the author of Roma Nova thrillers – INCEPTIO, PERFIDITAS, SUCCESSIO, AURELIA, INSURRECTIO and RETALIO. CARINA, a novella, and ROMA NOVA EXTRA, a collection of short stories, are now available. Audiobooks are available for four of the series. NEXUS, an Aurelia Mitela novella, will be out on 12 September 2019.
Download ‘Welcome to Roma Nova’, a FREE eBook, 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.
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Twenty-first century Roma Nova military train with state of the art weaponry; their firepower and weapon handling are undoubted. But they also train on a ‘volunteer’ basis with a modern carbon steel version of the traditional Pompeii gladius, a short sword in use from at least AD 79 and not uncommon in the 4th century AD.
Named by modern historians after the Roman town of Pompeii, where four instances of the sword type were found – they must have been made before AD 79 when Pompeii was buried in volcanic ash – they’ve been tentatively dated to around 64 AD.
The Pompeii sword had parallel cutting edges and a triangular tip and is the shortest of the gladii and not to be confused with the spatha which was a longer, slashing weapon used initially by mounted troops. Over the years, the Pompeii got longer; later versions are referred to as semi-spathas. Some surviving examples of the Pompeii style sword have reinforced points with raised ridges, possibly designed to punch through leather and thin metal armour.
Pompeii gladius vital statistics
Blade length: 45-50 cm (18-20 inches). Sword length (including grip) 60-65 cm (24-26 in). Blade width: 5 cm (2.0 in). Sword weight: 700g (1.5lb)
Flavius Vegetius Renatus in De Re Militari Book I: The Selection and Training of New Levies, 390 A.D, writes:
“They were likewise taught not to cut but to thrust with their swords. […] A stroke with the edges, though made with ever so much force, seldom kills, as the vital parts of the body are defended both by the bones and armour. On the contrary, a stab, though it penetrates but two inches, is generally fatal. Besides, in the attitude of striking, it is impossible to avoid exposing the right arm and side; but on the other hand, the body is covered while a thrust is given, and the adversary receives the point before he sees the sword. This was the method of fighting principally used by the Romans, and their reason for exercising recruits with arms of such a weight at first was, that when they came to carry the common ones so much lighter, the greater difference might enable them to act with greater security and alacrity in time of action.”
In Roma Nova, the concept of training harder than the fight you expect is still standard procedure.
 Photo courtesy of Britannia www.durolitum.co.uk
INCEPTIO (Carina)
“Still smarting, I went for a session in the gym. I found Flav there and persuaded him to do a turn in the arena.
‘Not if you’re in a bad temper.’
‘I’m perfectly under control, thank you.’
He was cautious as we circled and only made a few exploratory jabs for the first few minutes. Training with a sharp, double-edged, fifty-centimetre carbon steel blade tended to concentrate the mind as well as honing reaction skills.
In a formal session, if you were cut, you were cut; then chewed out for being careless. At this precise moment, I needed to release and ground my tension. I was the trickier fighter, but Flavius more strategic. After fifteen minutes, I was lying on the ground with a nicked arm and calf. And still jumbled nerves.”
SUCCESSIO (Carina)
“Flavius got it all underway, with pairs demonstrating sword skills. Not practised these days outside the professional games arena except by the military, training with a sharp, double-edged fifty centimetre carbon steel blade tended to concentrate the mind as well as honing reaction skills.
Not mandatory – we used state of the art weaponry as normal – but all members of the unit were encouraged to become proficient with a gladius, if only to get used to close physical combat with an opponent. If you got cut, you got cut, then chewed out for being careless.
Contrary to popular belief, the Roman short sword was more than fine for cutting and chopping motions as well as for thrusting. Not much had changed in shape since the Pompeii pattern used in the fourth century which had been spectacularly successful.”
AURELIA (Aurelia)
“[Mercuria] twisted the combination lock on the grey steel cabinet and swung the door open. Inside were racks of short swords, fifty-centimetre blades modelled on the so-called Pompeii gladius pattern. While some late Roman armies used the longer spatha towards the end of the Western Empire, we’d kept the shorter gladius.
Now only the military or licensed gyms used them for training. But they were unrivalled for learning the sheer physicality of close-quarter combat. If you were careless and let your opponent cut you, then more fool you. This evening, I knew I was going to be that fool.”
Alison Morton is the author of Roma Nova thrillers, INCEPTIO, PERFIDITAS, SUCCESSIO and AURELIA. The fifth in the series, INSURRECTIO, was published in April 2016.
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 My ‘Roman’ garden
Gardening and nosing around other people’s gardens are two of my favourite hobbies; my own is designed on Roman lines and I even have a Roman herb garden. You’ll know that I often mention gardens, plants and flowers in the Roma Nova books; Carina has the key to a walled garden full of figs, vines, myrtle and other aromatic plants. Several characters in Roma Nova are serious rose growers: Aurelia, Sylvia and Apollodorus – a very Roman trait.
Ancient Romans loved their gardens (Latin: hortus) and ornamental horticulture became highly developed during much of the Roman period. In the earliest times gardens were a common way for the less wealthy Romans to grow food, mainly herbs and vegetables, for themselves and their families. Herbs not only seasoned food, they were important for medicinal and religious purposes. Growing family food continued even when ornamental gardens became much more fashionable but food production was relegated to a side or back area. Gardens were places of peace and tranquility, refuges from urban life and places filled with religious and symbolic meanings. The perfect place to entertain guests, relax and unwind.
Foreign bodies
With conquest and trade, ideas and techniques from Greek, Egyptian, Italian and Persian gardens influenced Roman culture as villa and palace pleasure gardens, public parks and exercise gardens. Modified versions of Roman garden designs were adopted in Roman settlements in Africa, Gaul and Britannia.
Formal gardens had existed in Egypt as early as 2800 BC to beautify the homes of the wealthy. Porticos were developed to connect the home with the outdoors, to create outdoor living spaces. (Nothing new under the sun!) Persian gardens were enclosed to protect from drought, and were rich and fertile in contrast to the dry and arid terrain.
 Peristyle, Pompeii
The peristyle garden derived from Greek influence; it was used to beautify temple groves and create recreational spaces and was adapted to a domestic scale as a town house inner courtyard garden. In Ancient Latium, a garden was part of every farm. According to Cato the Elder, every garden should be close to the house and should have flower beds and ornamental trees. Alexander the Great is credited with bringing back new varieties of fruits and plants from Western Asia which stimulated increased interest in horticulture. Horace wrote that during his time, flower gardens became a national indulgence. Augustus constructed the Porticus Liviae, a public garden on the Oppian Hill in Rome.
 Roman garden in Pompeii
Size mattered
Large villas and estates had much larger gardens laid out on a grand scale something copied by aristocrats from the Renaissance period over a thousand years later.Topiary, lakes, riding grounds, swimming pools, even water theatres as at Hadrian’s villa at Tivoli. But the country garden would also stay true to its origins in the simple hortus. Each garden maintained an olera or vegetable patch. But even these practical gardens evolved. By the first century AD, they were joined by hothouses for the forcing of grapes and melons. Excavations in Pompeii show that gardens attaching to residences were scaled down to meet the space constraints of the home of the average Roman. As town houses were replaced by tall insulae (apartment buildings), these urban gardens were replaced by window boxes or roof gardens.
Common parts
Roman gardens were generally separated into the same basic parts whatever the style or type of garden. A xystus lay at the centre of Roman gardens; a garden walk in front of porticoes and divided into flower beds with box borders. The xystus often overlooked a lower garden, or ambulation. The ambulation consisted of a variety of flowers, trees and other foliage and served as an ideal place for a leisurely stroll after a meal or conversation. Paths or walkways were often constructed of loose stone, gravel, sand or packed earth. Gardens featured many ornamental styles, from sculpture to frescoes to sundials depicting nature scenes or a shrine (aediculae) to the gods or other non-worldly creatures. A summer dining room – a triclinium – an open-air dining area attached to the house was often overhung with vines to provide shade.
A pleasure
Pleasure gardens incorporated different designs depending on the taste of those who built them and generally consisted of a patio at the entrance, a terrace, an orchard or vineyard, several water features, a kitchen garden, shrines or grottoes and other decorations. The patio would normally be decorated with garden furniture, water basins/fountains and lead to walkways to other parts of the garden.
 Garden at the National Roman Legion Museum, Caerleon
The green stuff
Weather often played a decisive part in what went into the ground. Planting ranged from flowering shrubs to herbs and vegetables for everyday use, and trees. Walkways and beds were often edged with box, sometimes cypresses and plane trees. The most popular plants found in the typical Roman family’s garden were roses, mulberry and fig trees along with a variety of dwarf trees, tall trees, marigolds, hyacinths, narcissi, oleanders, violets, saffron, cassia, lily, gladioli, iris, poppy, amaranth, acanthus. Favourite herbs included thyme mint, savory, celery seed, basil, bay, rosemary and hyssop.
 Roman rake
And we still use gardening and horticultural techniques which the Romans established 2,000 years ago, from turning soil in the autumn and mixing compost, to hoeing beds, sowing seeds in spring and forcing flowers, fruit and vegetables. And our standard garden tools are not modern inventions…
 Thou Rose of All Roses, Alma-Tadema
Roses by any other name
Almost all aristocrats in ancient Rome had rose gardens at their residences. Like the Greeks and Phoenicians, Romans not only cultivated roses but also traded them. They acquired the roses while they conquered and occupied and planted them in their old and new homes throughout the Empire. Consequently, roses spread rapidly and extensively throughout the Middle East and Mediterranean.
During the Roman era, a repeat-blooming variant of the Damask rose evidently appeared, the first member of a group which came to be called “Damask Perpetuals.” The Romans were so sophisticated that they developed a hot-house technology which allowed them to ‘force’ roses into more bloom; they also imported roses from Egypt. Damasks, Albas and Gallicas dates from these most ancient times in Europe and the Mediterranean.
So how does your garden grow?
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. You’ll also be among the first to know about news and book progress before everybody else, and take part in giveaways.
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