River Alde near Aldeburgh Suffolk, one of the sources for Storm & Shelter’s fictional village of Fenwick on Sea

Research helps me to keep my fictional world contract with my readers. All fiction requires readers to suspend disbelief—to accept the reality of the story while they are reading. The writer’s part of the contract is not to jar the reader out of that disbelief.

Since I write historical fiction, that means creating historical worlds that are a recognisable simulacrum of the setting I’ve used and people of the type I’ve use in that particular place and time. And that means research.

In my Children of the Mountain King series, research took me to Iran in the (European) eighteenth century. The fall of one dynasty and the rise of another became part of the plot. So did the Kopet Dag Mountains north of Iran, and the Silk Road, some arms of which pass through those mountains.

I watched movies, documentaries and YouTube clips to get the feel for those places, and read contempary and more recent books about them.

For the first novel, I also read up on Akhal Teke horses, the modern day descendants of the Turkmen horses that were famous for their endurance, faithfulness, and intelligence. The second took me into medical training in the Middle East and Central Asia, and required a close examination of smallpox symptoms, historical treatment and likely progress.

That second novel comes out in less than a fortnight.

Storm & Shelter, the anthology that comes out next month represented a different kind of challenge. Because all eight of us were writing stories set in the same village, using common characters and settings and the same storm, we needed a common body of research.

The story resource we came up with included:

• a list of historical events in the time period of the stories
• accounts of historical floods in the area chosen for our fictional village
• images and descriptions of buildings typical of the area at the time of our setting
• maps and floor plans adapted from real world originals
• and more.

All of that needed research. Here, from our story resource, is the fictional setting that resulted.

The village of Fenwick on Sea lies scattered along a road that sprawls along the peninsula between a coastal beach and the river that was once its reason for being. An inlet still remains where the river was, a harbour for the fishing fleet and the occasional ship, blown of course by the irascable North Sea winds. The river itself is long gone, moving like a disgruntled lover to a more favoured town much further north.

The village sprawls across the boundaries that once could barely contain a bustling town, dreaming of past glories. The network of causeways that once criss-crossed the salt marshes has dwindled to a single road from more inland regions. The coastal road turns where once a bridge crossed the faithless river, to skirt the inlet and continue north until it eventually reaches Lowestoft and Great Yarmouth.

Many of the public buildings recall more populous times, not least the Norman church and the Tudor inn, The Queen’s Barque. Most of the cottages of the former town have tumbled to ruin, many now obliterated by the thrift of the surviving villagers, past and present, who have pressed their materials into use. The nucleus of the town comprises the church and its vicarage, the inn and two rows of cottages, one half-timbered with a slate/tile roof and one plastered with a thatched roof. One of the cottages has a general store on the ground floor.

A mere twenty families still eke out an existence fishing, farming, providing goods and services to one another, or all three. Most of the young men have gone to war in the navy or the army. Of those who remain, more than a couple support the local smuggling enterprises alongside their parents and grandparents.  The inn also serves as a brewery and a bakery. The village has a farrier and a general store.

The village also serves an even more scattered population of farms that combine crops and livestock, grazing cattle in the marshes and sheep on the sandy heaths. They grow grain, and particularly barley and wheat, but even the high demand for grain caused by the war has not helped to make them prosperous, as the landholdings are small, and distances to market across rough roads make selling their produce hard.

There is a local manor; a minor house of a peer who has many. Neither he nor his family have visited in many years. The house is half a mile from the village, on a knoll between the vanished river and the coast, and is kept in order by a staff comprising a housekeeper and half a dozen servants. The housekeeper regards herself as the highest ranked lady in the district, and the keeper of public morals, and has a cadre of supporters. The innkeeper’s wife forms the nucleus of those who oppose her pretensions. If the vicar had a wife, she would outrank them both, but even so, both ladies are more than willing to help him find one.

See more about:

• To Mend the Broken Hearted, released on 23 March
• Storm & Shelter, released on 13 April.