How and Why I Track My Writing Time (katherinecowley.com)

How and Why I Track My Writing Time (Using Toggl)

How and Why I Track My Writing Time (katherinecowley.com)

Since 2013, I have been tracking the time I spend writing. This has resulted in my glorious end of year posts, filled with charts on the number of hours I’ve spent, and calculations on exactly how long I spend on each stage of writing a book.

Hours Spent Writing Per Month in 2022. January: 103 hours 39 minutes. February: 80 hours 59 minutes. March: 84 hours 4 minutes. April: 58 hours 12 minutes. May: 108 hours 44 minutes. June 66 hours 52 minutes. July 57 hours 21 minutes. August: 47 hours 30 minutes. September: 108 hours 49 minutes. October: 93 hours 28 minutes. November: 77 hours 5 minutes. December: 49 hours 58 minutes.

Hours Spent Writing Per Year. KatherineCowley.com. 2014: 520 hours. 2015: 600 hours. 2016: 530 hours. 2017: 400 hours. 2018: 675 hours. 2019: 734 hours. 2020: 909 hours.

Hours Spent Per Writing Project in 2022. Website, Guest Posts, Book Launches, Presentations, Marketing 309 New Murder Mystery 227 Development 148 Board of Directors for Writing Nonprofit 75.5 Jane Austen Writing Lessons 54.5 Journal Writing 49 Mary Bennet Book 3 32 Novel I'm abandoning 24 Other 18

Chart that shows Time Spent Writing and Revising The Lady's Guide to Death and Deception

Every single time I post about the results of my time tracking, I get questions on how I track my time. So question no more: I’m about to tell you the hows and the whys of tracking my writing time.

First, Why I Track My Writing Time

I spent years not really writing consistently. While some writers can quite effectively write a couple times a month or year, for me this resulted in me writing 2-5 chapters of a number of stories and never finishing any of them.

Then a few things happened: I read the book The Power of Habit by Charles Duhigg, which helped me think about turning writing into a habit, I attended a book signing by Shannon Hale, where she recommended that writers write regularly, and I read a blog post by Susan Dennard on keeping a writing journal. Feeling all-around inspired, I began tracking my writing time.

In doing so I discovered:

  • Writing new words is only one small aspect of my writing process. Research, outlining, revisions—these are all essential to my writing process.
  • All the other writing-related things I work on help me as a writer and count as writing too. If I read a book on writing, attend a writing conference, or critique someone else’s writing, it builds my skills as a writer.
  • I am a slow writer. While I still sometimes do it, tracking daily word counts can be discouraging, while tracking my writing time helps me see my progress.
  • Tracking my writing time holds me accountable. I’m less likely to waste time browsing social media or procrastinating writing when I’m going to log my time.

How I Track My Writing Time

From 2014 to 2017, I tracked my writing time using a notebook/writing journal. Every day I would write down what I did and how much time I spent on it. Or, if I didn’t do anything, I had to write that down.

It was really motivating. And it also resulted in a lot of manual math at the end of each year to figure out how much time I spent writing.

Then in the summer of 2017, I moved, and during the move I lost that year’s writing journal. I also stopped tracking time and almost gave up writing. As one does. (Did I really want to be a writer? Do I really have what it takes to be a writer? Don’t we all stand in front of the mirror and ask that on occasion?)

But then I kept writing.

In 2018 I decided to take the plunge and use a digital option to track my time: Toggl Track. And I’ve absolutely loved it.

Toggl Track

Toggl Track is a time tracking app that you can use in a web browser and as an app. What I love about it is how much it allows you to customize in terms of categories, projects, and tags, and how you can easily generate reports. The basic plan (which I use) is free, though with the paid version you can do extra types of reports, save reports, do more with teams, etc.

While I personally love Toggl, there are lots of other good time tracking apps out there. However, regardless of what you decide to use, the conceptual approach I took to customizing Toggl may be useful to you.

The Big Picture Categories

Toggl’s structure uses big-picture categories which you can subdivide into smaller task.

For Toggl, the big picture category is called a Client.

The Clients view in Toggl Track, where you can create "Clients" for each of your big picture writing goals/tasks

I use clients to for the big-picture categories of how I spend my time:

  • Development
  • Marketing
  • Personal Writing
  • Submissions
  • Each novel that I write becomes a big picture category (for example, “Mary Bennet,” “Mary Bennet Book 2,” “Mary Bennet book 3,” etc.)

While “client” is very much a business-oriented approach to looking at these bigger categories, it reminds me that I need to put time into each of these things. Developing my writing, doing personal writing, submissions—these are each things I can feed by putting time into them.

Depending on the year, I spend more or less on each category. For example, when I was searching for an agent, the “Submissions” category needed a lot more hours. Now it only takes a handful of hours, for the few short stories I submit to publishers each year.

Breaking Your Big Picture Categories into Projects

Big picture categories help me to focus on my big picture writing goals—the larger areas of how I spend my time. But to be really useful, I need to create individual projects for each larger category.

In Toggl, each client can be given as many “projects” as needed.

This is a pretty standard list of projects for one of my novels:

More Categories: Newspapers; Proofread; Research; Copyedits; Tule Revision; Publication Tasks; Outlining and Planning

Each draft is a separate project. Research is a project. Outlining is a project. And apparently I accidentally created two separate newspaper research projects.

Here are the projects I created for my Development category:

Development Category: Critiquing; General Accounting; Meta/Planning/Goals; Networking; Writing Craft Research; Writing Group

These are each things that help me develop myself as a writer, or help me assist other writers on their own journeys.

Next, let’s look at the current projects in my Marketing category:

Marketing Category: Book Reviews; Jane Austen Writing Lessons; Mailchimp; Mary Bennet Marketing; Presentations, Guest Blogging, Networking; Researching Marketing; Social Media Promotion; Twitter Outreach; Website

These projects are flexible—you can easily add new projects in a category or archive ones you no longer need. I need to retire the Book Reviews project, because I’m not using that at the moment. And “Twitter Outreach” needs to be combined with “Social Media,” because that’s how I’ve been logging it. (Note: I don’t log just any time I spend on Twitter and social media—that would be a slippery slope to doing more writing. Rather, I log things like creating book-related posts, participating in Twitter events like #momswritersclub, etc.)

Side Note: I haven’t done this, but with a paid subscription to Toggl you can get more granular and create Sub-Projects (projects within each of these projects, which are called Tasks).

Logging the Time: Descriptions and Tags

Once I have my big picture categories (clients) and projects set up to my satisfaction, I’m ready to time track.

On a web browser, this is what the Track view looks like.

The Toggl Track View, with place to type a Description; Ability to Select the Project and Client; and a Start/Stop Button

I select the Project (with its client) that I am working on, I type in a description of what I’m doing, and then I press the start button.

Editing and Adding Missed Entries

There are plenty of times when I forget to press either the start or the stop button, or forgot to track my writing time entirely. But it’s really easy to fix. I click the + button to add a missed entry or I click on an entry’s attributes to edit them.

Editing an Entry - Click the + button to add a missed entry. Click on an entry to edit times.

Tracking Word Count

There are a lot of dedicated word count trackers out there, and if you put a big focus on tracking your word count, you may want to use one of them.

Word count is not my focus, but I do track it when I’m writing a first draft. I just do this in Toggl. I write my total number of words written in the description, and then I add a tag for word count, to make it easy to sort for word count later in the reports.

Adding the word count to the description and then adding a "Word Count" tag

I pulled up the word count tag for the first draft of my third Mary Bennet novel, The Lady’s Guide to Death and Deception, and you can see different amounts written on different chapters (and if you click on an entry, you can get more detailed information, like the date):

Sorting by the word count tag

Other Views and Reports

One of my favorite parts of tracking my time is looking at the Week View. This helps me to see my progress over the course of the week, and what I’ve been working on.

The Toggl Week View: Looking at Your Writing Over a Week

In addition to sorting by project, you can also sort by your clients/big picture categories.

One of my other favorite reports is the Month View:

The month view in Toggl: tracking your writing over a month

I like the month view for looking at my big-picture progress for the month. Over fifty hours on my current novel meant that I made lots of progress on the book. It also means that I didn’t let all my other types of writing tasks become more important than what I had selected as that month’s big goal.

Sorting for a Particular Client or Category (or for a Selection of Clients or Categories):

One of the most useful things about digital tracking is the ability to see more specific details about the time spent on just one segment of my writing time.

For example, I went to reports and set it for the year 2021. Then I selected three clients or big picture categories, “Mary Bennet,” “Mary Bennet Book 2,” and “Mary Bennet Book 3” so I could see the time spent that year on my entire Mary Bennet spy series.

Sorting for a single client - The Lady's Guide to Death and Deception. You can see the single project over the course of the year, including how many hours per month and how much time was spent on each draft, etc.

I spent only 20 minutes on the first book in the series, 29 hours on the second book in the series, and 386 hours on the third book in the series.

However, this isn’t a full look at what I did on the series. The first Mary Bennet book was released in 2021, and I want to add in the time I spent related to marketing the book.

I leave the existing filters for the three Mary Bennet books, and then, under projects, I also select Mary Bennet Marketing:

Adding a project category to a focused report in Toggl

This now gives me the full look at the time I spent both writing—and marketing—my Mary Bennet spy series during 2021.

A report which shows the time for both a client and an additional project

As you can see, the time went up from 416 hours to 538 hours, because I spent 122 hours on marketing related tasks.

Moving Forward, One Hour at a Time

There’s so much that you can’t control about writing. You can’t control if your book will sell, or if it sells, if it will do well. There are ideas that have to be abandoned, periods of time where the creative well is dry and the muse has fled.

You can’t always even control how much time and energy you have to put towards writing. Life circumstances and other obligations can have a huge impact on what time you have to put toward writing. If this year continues in the way that I expect, I will likely have less time to spend writing this year than I spent writing in 2022.

But what I like about time tracking is that it helps me recognize how I’m spending the writing time that I have. Every hour I put towards my writing is a step forward—it’s a recognition is that I’m bringing my stories and dreams to life.

Have you tried tracking time or word count? Does it work for you? Do you a similar method, or do you use a different method? I would love to hear in the comments!

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Q&A with Mary Bennet Illustrator, Anna Lunt. Illustrating Mary's drawings from The Secret Life of Miss Mary Bennet and The Lady's Guide to Death and Deception

Q&A with Mary Bennet Illustrator, Anna Lunt

Q&A with Mary Bennet Illustrator, Anna Lunt. Illustrating Mary's drawings from The Secret Life of Miss Mary Bennet and The Lady's Guide to Death and Deception

I am so thrilled today to be joined today by illustrator Anna Lunt, to talk about creating the interior illustrations for my Secret Life of Mary Bennet series.

In Pride and Prejudice, Lady Catherine de Bourgh judges Elizabeth Bennet for the fact that none of her sisters know how to draw. I decided, while writing my own series, that Mary would have always wanted drawing lessons. These lessons become a major part of the first book in the series, and then she continues to use her drawing skills in her work as a spy.

Lady Catherine de Bourgh with a haughty expression, from the 2005 film version of Pride and Prejudice

Lady Catherine de Bourgh, from the 2005 version of Pride and Prejudice

The Secret Life of Miss Mary Bennet contains one illustration, Lady Trafford’s ear, which Mary Bennet draws in a letter to her sister Jane. The third book in the series, The Lady’s Guide to Death and Deception, contains two illustrations: Mary Bennet’s drawing of the crime scene, and a map of the basins in Brussels, with relevant spots marked (i.e. the location of the dead body).

The real artist behind these drawings is Anna Lunt, illustrator and writer extraordinaire. I hope you enjoy this interview with her, in which she talks about creating the illustrations for the Mary Bennet spies series, as well as her watercolors, her vineyard, and her other projects.

Q: How did you decide on what style to do the drawings? How did you approach representing the art of a fictional character?

Thank you for the chance to chat about the sketches in the Secret Life of Mary Bennet series! It was so fun to step into Mary’s shoes and attempt to draw for her hand. I first became familiar with Mary’s story from the early drafts we reviewed in our writing critique group long before Kathy was even submitting to agents. I love how in the first book how Mary finally gets a chance at developing skills–to take French lessons and drawing lessons–after being in a family where she was overlooked and forgotten.

When Kathy asked if I could do an ear drawing for Mary’s letter, she supplied a bit of the chapter so I understood the context. I’ve always found Mary very relatable and using the clues I had about her, I tried to step into a character who had some drawing instruction and imagine the details that she would notice. The fact that she was drawing the ear of Lady Trafford was a delightful insight into Mary’s character.

Q: Tell us a little more about your artistic process in creating these drawings. Did you do quick sketches first, plan it out, or use models? How many revisions did you make?

It was a bit different for each sketch.

For the ear, I did a search online for “short haircuts of older women” and studied ear after ear to find a model for Lady Trafford’s distinguished ear. When I found a model I liked I did a few sketches. One was rougher and the other with more attention to blending the shading. I sent both to Kathy and she chose the blended shading.

For the map, Kathy had a map for me to use as a reference, with a few details to adjust for the time period. I enjoyed outlining the landmarks and shading in, and even leaving smudges as that would be how a drawing for Mary would look, especially if she had been blending with her finger.

I attempted some penmanship on a draft of the map, but when I happened upon the Jane Austen font online, I was very excited to find a better representation of the period’s handwriting. I scanned my drawing and added the text on my computer.

Cropped portion of 1837 map of Brussels, given as a model for the map in The Lady's Guide to Death and Deception

A cropped portion of a map from 1837, which was given by the author to Anna Lunt as a model for the map. Note that some of the canals which did not exist in 1815 have been crossed out.

Mary's Bennet's map of the crime scene, from The Lady's Guide to Death and Deception. Illustration by Anna Lunt.

Mary Bennet’s map of the crime scene in Brussels, by Anna Lunt (included in The Lady’s Guide to Death and Deception)

The crime scene sketch was the hardest one, as the only thing we had to help me imagine the view of the basins was from a painting, and the vantage point was wrong. I did rough sketches of the painting to learn details, but we needed the tree to be the focus of the sketch. I did many iterations to figure out what elements to include. I love that Kathy wanted to make sure I showed boats on the basins. That was my favorite part! As I sketched, I imagined standing there in the world I had mapped out in the other sketch. It felt right once I added the bushes and blood trail–Although, I kind of wish I’d put raindrop marks on it, as Mary did get caught in the rain as she finished her drawing.

Mary Bennet drawing of the crime scene, from The Lady's Guide to Death and Deception. Illustration by Anna Lunt

Q: When you’re not channeling a Regency spy, what type of art do you normally create? Can you show us (and tell us about) a few sample pieces from your portfolio?

I love creating in watercolor and primarily create art geared toward a child audience–So quite different from historical mystery! I write as well and love creating picture book stories that incorporate animals, humor, growth, and compassion.

Whimsical watercolor illustration of a young girl reading a book as a bird sits on her shoulder. Art by Anna Lunt.

I love painting birds, so they often find their way into my pieces.

Whimsical watercolor illustration of a girl in an autumn tree, surrounded by both red leaves and blue birds. Art by Anna Lunt.

This one features one of my goats, Vincent van Goat. He is also the inspiration for many stories. You can tell he is quite pleased with himself sitting upon the eggs for his friend, but he also has no idea what is coming.

A watercolor illustration of a curious goat sitting on a nest of chicken eggs in a barn. Art by Anna Lunt.

I love working in watercolor because for me it is very much about the process. I love mixing colors, I love whisking my brush across the page. I love the sound of swishing my brush in my water jar.

Q: Those who follow your Instagram feed know that you also have a farm. Tell us about your farm and how it influences your art.

Link to Anna’s Instagram feed

We’ve lived on this vineyard for five years and have gradually been transforming it into a homestead. We raise chickens, ducks, geese, rabbits, and goats… also have cats and a dog. My husband, Bryce, grew up on a ranch so this lifestyle was very natural to him, but so new to me! I enjoyed living here the first few years and found inspiration in it, but the animals and such were very much Bryce’s thing. Then last year at the very end of a tough harvest season, Bryce broke his foot and couldn’t even walk out in the yard. I took over responsibility for EVERYTHING, including two milk goats and bottle-feeding baby goats. I was completely immersed in the care of all the things and it transformed me. Not surprisingly, that is when a shift began to happen in my art as well. It’s hard to explain, but my creativity is very much intertwined with being outside and caring for my animals and gardens. It fuels my spirit and my creativity. My connection with God. One of my sisters came to visit our farm for the first time recently and she said, “I can see your inspiration now, it makes sense.” So visually my farm influences my art, but it’s also something much, much deeper. I truly love living here and love continuing to learn and find inspiration all around me.

Q: What is your background in art? How did you learn to draw and paint?

In junior high and high school, I loved creating and took a lot of art classes and even did private instruction with Andrea Kirk, but decided not to pursue art in college. I took creative writing classes at BYU and discovered a passion for picture books in Rick Walton’s class and knew in my heart someday I would write and illustrate my own stories. After graduation, while my husband was in grad school, I wrote and dreamed up stories as we welcomed our first child. After my second child was born, I found our local library had a watercolor instructor who did lessons, so I went every week! I was in heaven. I learned many techniques but mostly did portraits. I still hadn’t stepped into the world of narrative illustration. When I moved to Michigan and had my third child, I learned Kathy had a writing group. I jumped on the opportunity to meet monthly with writers and develop my imagination and confidence. After my fourth baby was born, I knew it was time to work beyond my perfectionism, and I took steps every day to draw and paint. It was the pandemic, and I felt like I was in survival mode caring for four young children, but even on hard days I read to my children and paid attention to the art that spoke to my heart. I have been working at it for 2 ½ years now. I’ve been blessed with many opportunities to learn, like working on the Mary illustrations and even a mentorship with the amazing author and illustrator Dow Phumiruk. And so my journey in art has been gradual, but it is also something that has been a tremendous joy for me to continue to grow and develop in.

Q: What advice would you give someone who wants to begin their journey as an artist?

Most of the reasons that kept me from pursuing art were my own limitations. Learning to shift my mindset and be open to possibilities made all the difference, but it’s taken years to get out of my own way and drop my excuses. I couldn’t do it alone. A supportive critique group, mentors, coaches, teachers, and family have helped me to keep moving forward. If you really want to learn, believe in yourself and go for it. Drawing is a skill you can learn, just like Mary! Find an instructor, connect with other creators, listen to creative podcasts, cultivate a connection with your spirit, or simply get outside and observe nature. Most importantly, do a little creating each day. Create the time, because it is time well invested. Believe that those little steps will add up to something.

Q: What are your goals for your art and your writing in the future?

I’m working toward publishing my own picture books! I have the story about Vincent van Goat that I’m currently illustrating and I’m also very excited about a religious picture book I’m working on about the gardens of God. Another project I’m working on is preparing art lessons: one geared toward children to go along with my Vincent van Goat book, and another for a more broad age range to teach watercolors as a way of connecting your mind, body, and spirit.

Thank you!

Thank you, Anna, for joining us to talk about creating the interior illustrations for the Secret Life of Mary Bennet series, as well as your own art and other thoughts on art and creation!

I highly recommend Anna Lunt’s monthly newsletter, which has thoughts on creativity and life, as well as insights into her drawing and other projects.

You can also follow Anna Lunt on Instagram, and see more of her portfolio on her website, Picture Book Homestead.

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How Many Hours it Takes me to Write a Book - KatherineCowley.com

How Many Hours It Takes Me to Write a Book

How Many Hours it Takes me to Write a Book - KatherineCowley.com

On one of my blog posts recapping a year in writing, a reader recently asked how long it takes me to write a novel, and how this time breaks down between drafting and revision.

Because I track my writing time, I can answer both questions rather easily.

Question 1: Total Number of Hours to Write A Novel

For the past three novels I have written, it has taken me between 400 and 650 hours to write and revise the book.

The Secret Life of Miss Mary Bennet: 612.5 hours; The True Confessions of a London Spy: 464 hours. The Lady's Guide to Death and Deception: 408 hours

Question 2: The Time Breakdown (How these hours were spent)

This question gets a little more complicated, because I wrote the first drafts for The Secret Life of Miss Mary Bennet and The True Confessions of a London Spy at the same time. However, I went back through my time tracking app, did some number crunching, and broke things out.

Disclaimer: I came up with the premise for the series in 2013, and I did some initial research, and then spent years thinking about the characters and their motivations, daydreaming about scenes, planning emotional arcs, etc. None of this time is included in the following charts, which only include time spent after mid-2017.

Disclaimer 2: rounding occurred at various points when I exported from my time tracking app and then added numbers in Excel. If the numbers are off by an hour or two, then it’s because you’re not seeing all the rounding.

Time Spent Writing and Revising The Secret Life of Miss Mary Bennet

  • Research
  • Outlining
  • Draft 1
  • Draft 2
  • Draft 3
  • Newspaper Research
  • Draft 4
  • Draft 5
  • Draft 6 (with agent)
  • Draft 7 (with agent)
  • Revisions with Publisher
  • Other Tasks
  • 76 hours
  • 34 hours
  • 113 hours
  • 88.5 hours
  • 108 hours
  • 18 hours
  • 6 hours
  • 14.5 hours
  • 77.5 hours
  • 17 hours
  • 33 hours
  • 27 hours

Note: the first draft, which took me 113 hours, was spread out (along with research and outlining) over a period of 11 months. This was a novel that took time to simmer and develop!

What each draft focused on

First draft: The first draft is for me to get the story down. I do revise some as I go, but I also leave plenty of comments for myself for things to fix later. Sometimes I will skip scenes or chapters that I know I will need to add in a future draft, and I am often missing names for key characters (I’ll have lots of _________ to show that I need to add it later). I never show full first drafts to anyone, but I did show bits and pieces to my monthly writing group to get some initial feedback.

Second draft: This draft is the get-it-ready-to-look-at by other people draft. I fill in whatever gaps are left from the first draft, do lots of big picture changes (plot, structure, emotion, relationships, and character), and constantly tweak things at a language and sentence level.

Then I sent the book to my first round of critique partners.

Third draft: Some people break out different types of edits (structural, character, language) into different drafts. I kind of do them all at once. First I created a very large chart on my wall which helped me figure out how to fix bigger picture plot and character problems, and then I dove into changes. For me, a draft sometimes consists of multiple passes–during a single revision, I may go through chapters anywhere from 1 to 4 times, and sometimes I’ll be revising a later chapter and realize I need to go back and change something in a previous chapter that I thought was finished. I decide a draft is finished when I’ve taken care of all the things that seem most crucial–that are really bothering me. I won’t necessarily address every single thing my critique partners have suggested; some I do save for future revisions, and others I set aside and don’t incorporate.

I then added newspaper headings and sent the book to a new set of critique partners. (I like to use people who haven’t yet read the novel and can offer a fresh perspective.) In this case, draft four did not take very long, and then I started querying agents. Then I did another draft and queried more. Then I got my agent–and I wrote a post that talks about the revisions that I did with my agent.

Once the book was acquired by Tule, we did a content edit, another more minor content edit, an edit to make the book shorter, and then copyedits and proofreads.

Time Spent Writing and Revising The True Confessions of a London Spy

  • Research
  • Outlining
  • Draft 1
  • Draft 2
  • Draft 3
  • Newspaper Research
  • Draft 4
  • Draft 5
  • Revisions with Publisher
  • Other Tasks
  • 67 hours
  • 9 hours
  • 48 hours
  • 149.5 hours
  • 11.5 hours
  • 19 hours
  • 71 hours
  • 48 hours
  • 35.5 hours
  • 5 hours

You will notice that I spent a lot less time on this first draft. However, I paid for it during the second draft, which still holds its winning place as the hardest draft I have ever written in my life.

The drafting process was similar to the first book, however, because the second draft was such a major revision, in this case I did a quick third draft to clean things up before sending to critique partners.

Time Spent Writing and Revising The Lady’s Guide to Death and Deception

  • Research
  • Outlining
  • Draft 1
  • Draft 2
  • Draft 3
  • Newspaper Research
  • Draft 4
  • Revisions with Publisher
  • Other Tasks
  • 24 hours
  • 14 hours
  • 147 hours
  • 64 hours
  • 93 hours
  • 16 hours
  • 26.5 hours
  • 20 hours
  • 3 hours

I wrote the first draft of The Lady’s Guide to Death and Deception over a period of six months. And that was hard–I don’t think I could easily write a first draft in less than that, because I only have so many high-level creative energy on any given day or week, and there are parts of the creative process that just can’t be rushed.

Why Some Books Take More or Less Time

If I’m going to undergo some self-analysis and reflection (why not? I made charts!) then I would say that the first book in the series took the longest in part because it was the first book. I was still figuring out characters, relationships, and arcs. And I was able to apply a lot of what I figured out about the characters–as well as a lot of the research–to books 2 and 3.

My agent and my editor also taught me things about writing, and mysteries specifically, which I was able to apply in the process of writing both books 2 and 3. This truly did cut out a couple of drafts.

Also, book 3 in the series was the only book I have written in which I managed to include both the plot AND all the major sub-plots in the first draft. (In the first draft of both The Secret Life of Miss Mary Bennet and The True Confessions of a London Spy, I had most of the subplots, but the main plot was shaky.)

How Long It Will Take Me to Write Future Books

Prior to the Mary Bennet series, I wrote several (unpublished) novels, but I wasn’t as exact about keeping track of time. Based on the records I have, one novel probably took me at least 700 hours. A novella I wrote (“Tatterhood and the Prince’s Hand“) took about 144 hours.

I truly expect that all my future novels will take me at least 400 hours, and if it’s the first book in a series, it could very likely be in the 600 hour range. I’m currently working on a new secret novel, and I’ve already spent 33 hours on brainstorming and research. I could easily have another 60 to 100 hours of research and outlining before I’m ready to start writing the first draft.

I have a number of writing friends who write much more quickly than I do, but I also have plenty of writing friends who take comparable or longer amounts of time to write and revise a novel. There’s no one right way to do it, and either can produce amazing work, as long as it works well with your writing process and your other life commitments.

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Everything You Wanted to Know About Newspapers in the Mary Bennet Series

Everything You Wanted to Know About Newspapers in the Mary Bennet Series

Everything You Wanted to Know About Newspapers in the Mary Bennet Series

Some of the most common questions I get about The Secret Life of Miss Mary Bennet and The True Confessions of a London Spy relate to the epigraphs at the start of each chapter:

  • Are they from real newspapers?
  • What inspired you to include these epigraphs?
  • What purpose do they serve?/ What do they mean?
  • How did you find them?

In this post, I’m going to give readers the answers to each of these questions.

The first page of The True Confessions of a London Spy, with an epigraph from The Times

Are they from real newspapers?

Almost all of the passages are real excerpts from real newspapers, with the exception of three headings in Secret Life and two headings in London Spy. In the upcoming third novel, The Lady’s Guide to Death and Deception, only one is from my own imagination, and one is from a letter instead of a newspaper.

What inspired you to include these epigraphs?

I loved the short newspaper excerpts at the start of each chapter in Mary Robinette Kowal’s alternate history science fiction novel The Calculating Stars, and I thought that they would fit well in my own story.

The Calculating Stars by Mary Robinette Kowal

What purpose do they serve? What do they mean?

The newspaper excerpts do a number of things:

  • Historical underpinning: unlike Jane Austen’s contemporary readers, most of us today don’t know the full historical context of the Regency. I wanted to Mary Bennet to solve mysteries that deal directly with the historical events and social issues of the day, and including these excerpts helps provide that context for the reader. For example, I wanted to establish the widespread dread of Napoleon Bonaparte, which is clearly present in the newspapers.
  • Mary and other spies read a lot of newspapers: In the books, Mary, Lady Trafford, and other characters read numerous newspapers. I wanted to give a sense for some of the stories they encounter.
  • Direct commentary on the content of the chapters: Because I use real historical events in the novels, many of the newspapers made direct commentary on these events. For example, in The True Confessions of a London Spy, the account that The Times made of the customs house explosion is devastating, and in the third novel, The Lady’s Guide to Death and Deception, I wanted to showcase some of the alternative viewpoints on the war that aren’t held by the main characters of my story.

A portion of the first article in The Times about the Custom House fire, printed on February 14, 1814

  • Parallels and Alternate Experiences: Some of the epigraphs are not specifically connected to any of the events, but they create parallel narratives and showcase alternate experiences. For instance, in each of the books I include excerpts about women in disguise or as spies. In London Spy, the weather acts as a sort of character and so receives a number of newspaper excerpts.
  • Other Purposes: At times the newspaper excerpts are in conversation with the subtext of the novel, deal with the themes of the book, or add humor or satire to elements of a chapter.

How did you find the excerpts?

For each of the books, I waited until at least the third draft to start looking for newspaper headings. I needed the overall story to be mostly solidified, and I wanted the date each chapter occurred to be relatively fixed.

I used two newspaper subscriptions: a personal subscription to the British Newspaper Archives (which has digitized hundreds of newspapers), and a university subscription to The Times.

The British Newspaper Archive

The tricky part is that computer programs have a hard time reading old newspapers, some of which were not well preserved. If you do a search in the British Newspaper Archives for the name Napoleon or Bonaparte in the year 1814, you’re lucky if the computer program finds 10% of the actual references. (It also doesn’t help that some of the newspapers wrote his name as Buonaparte to try to delegitimize his rule.). Most of the time instead of searching, I would download half a dozen different newspapers for a given day and read them.

Sometimes I had something very specific in mind that I was looking for—I was looking for a news story Bonaparte, crime, the stock exchange, the or the Viennese Waltz, or the weather. Yet most of the time I didn’t have a specific type of news in mind. Instead, I would read the articles with a sense of discovery, letting myself wander to columns or advertisements that drew my attention, and finding endless connections to my book. Sometimes I would find the perfect article quickly; other times I would choose three or four possibilities and then consider which really had the effect I wanted for the chapter, and fit the overall arc of the epigraphs.

I quickly got a good feel for different newspapers of the news, which ones were liberal or conservative, had the most interesting ads, included a regular fashion column, published poetry, or wrote the best opinion pieces. There was also a variety of different formats—while many of the newspapers only printed ads on the first page, others included articles from the start. Newspapers would reprint articles from other papers, and sometimes the news would be about events weeks or months in the past, depending on how long it took the information to reach England’s shores.

Sometimes I shifted the dates and timeline for a book because I really wanted to use as particular newspaper heading. And I definitely revised numerous details in the chapters because of things I learned through reading the newspapers—for example, in London Spy, Kitty’s reference to ice skating in Hyde Park came from a newspaper reference.

I have now read hundreds of newspapers from 1813, 1814, and 1815, and I feel like doing so has not only helped my books, but made me a more interesting person at parties—after all, who doesn’t want to hear 1814 trivia?

More About My Journey with Newspapers

All this newspapering has influenced my readings of other Jane Austen texts.

I also did a guest post on My Favorite Bit, talking about some of my favorite newspaper excerpts.

Coming Soon!

Next week, on this blog, I’ll be posting about my trip to London and how that influenced the setting of The True Confessions of a London Spy. I’ll also be showing some of the actual dresses that were influences for Fanny’s designs. So come back to the blog, keep a watch on social media, or subscribe to my newsletter!

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Excerpt: Tatterhood and the Prince's Hand. Katherine Cowley

Excerpt: “Tatterhood and the Prince’s Hand”

Excerpt: Tatterhood and the Prince's Hand. Katherine Cowley

“Tatterhood and the Prince’s Hand” is a novella I wrote that was published in the 2018 collection, Unspun: A Collection of Tattered Fairy Tales.

Tatterhood is a princess from Norwegian fairy tales who rides around on a goat and fights monsters with a giant wooden spoon. I instantly fell in love with her character, but the ending of the story bothered me: she uses magic to change herself to look beautiful so that the prince she is marrying will be happy. Surely that would not end well, I thought.

My story, “Tatterhood and the Prince’s Hand,” occurs six months later.

Excerpt from “Tatterhood and the Prince’s Hand”

Chapter 2

At first, winning a prince’s hand in marriage had seemed a grand sort of prize to Tatterhood—after all, she had single-handedly defeated an entire band of trolls and saved her sister. Surely she deserved some sort of reward, and Ingridr convinced her a husband would bring her great happiness. But now, six months wed, Tatterhood wondered if she had made a wise decision. Yes, her parents had been thrilled when she returned with a husband who was also a prince, but Prince Trygve was still better at pleasing her parents than her.

Tatterhood rode her nanny goat, Storm, through the fields toward the practice grounds, where she thought she’d find Trygve. She had realized, that morning, that she was expecting a child—she should’ve noticed several weeks ago—and she wanted to tell him.

Trygve was engaged in a swordfight with one of her soldiers. He swung his double-edged sword with great finesse, expertly blocking the soldier’s blows and delivering his own.

Trygve was strong and intelligent—a real warrior. And he was a good man, kind to the people. These were all good traits for a husband who would someday rule by her side. The maids said he was a handsome man, but Tatterhood did not care much about that.

Her people liked him, and Tatterhood liked him for that. But he was always more comfortable with everyone else than with her (except for when she changed her appearance). The previous night they had argued about the new coverlet for their bed. Tatterhood insisted the color didn’t matter while Trygve protested that it did matter and the craftsman had not delivered what he had promised and should redo the work. They had said unkind things to each other, and though they both apologized, they had not spoken much to each other since. So now Tatterhood wanted to tell him about their baby—needed to tell him—but she did not know how exactly to start the conversation.

Trygve won his fight. A smile covered his face as he patted the soldier on the back.

“Who will challenge Trygve next?” asked the sword master.

Maybe if they fought in the training arena, it would make it easier to talk to each other. Tatterhood jumped off her goat and raised her wooden spoon. “I will!”

The people cheered, but Trygve’s smile disappeared.

“What is your weapon?”

Tatterhood raised her wooden spoon. It was a full arm in length—perfect for fighting against a sword. The bowl of the spoon was about the size of her head and worked well as a mace. The handle was not completely smooth; the front side was flat, to make it easier to hold. The end of the handle curved out, like the end of an axe handle, so that during a fight the spoon could not slide out of her grip.

“Tatterhood! Tatterhood! Tatterhood!” the people chanted.

“Let the match begin!” declared the sword master.

Tatterhood sprang into the attack, using both arms to swing her spoon toward her husband’s knee. He blocked and then moved to the offensive, swinging his sword first toward her chest, then toward her abdomen. His strokes came in rapid succession, but his motions had lost some of their normal fluidity.

“What’s wrong?” asked Tatterhood as she used the spoon handle to deflect one of Trygve’s jabs.

“Nothing,” the prince muttered. “You just look very gray today.”

Tatterhood wondered again if he was embarrassed by her appearance. Most people got used to it after a few weeks, yet it still seemed to bother Trygve.

She scowled and spread her hands about a foot apart on the middle of the spoon’s handle. She pushed her right hand forward, propelling the spoon head toward his arm (if it weren’t a training fight, she would’ve gone for his neck). He barely managed to block. She yanked her right arm back at the same time as she pushed her left hand forward, which pulled the spoon head back and sent the back of the handle toward his other arm. Once again, he barely blocked. He tried to attack, but she planted her feet firmly on the ground and pushed the spoon handle against his sword with all her strength. He stumbled backward.

She did not want to cause him any true damage—he was her husband—but she wasn’t going to play easy on him. That was not her way.

She swung toward his knee again. He blocked, and she yanked the spoon back and drove it straight forward, hitting him in the ribs with the spoon head. The hit wasn’t hard enough to break any bones, but he would surely bruise.

“This is not a fair fight,” gasped the prince. “Your spoon is magic.”

“It’s not a magic spoon,” insisted Tatterhood. “Not exactly.” It’s not like she had placed a spell on it—there were a handful of ways she could consciously use magic, but for the most part, it did what it wanted. She could not yoke it to her will. (If she had better, more constant control, she could’ve become a witch, but it was too late for that now.) Yet on occasion, when she used things that resonated with her essence, they channeled a bit of the magic inside her. She couldn’t force it to happen, but at times she might fight better or travel faster or jump higher; once she’d even managed to sing a half decent song while on her goat and holding her spoon, which was clearly magic helping things along.

“It’s made of wood,” said the prince. “If it were a normal spoon it would be damaged by my sword.” His sword had rags wrapped around it to make it less lethal, but even so, he was probably correct.

“Very well,” said Tatterhood. “I will fight you with a sword.”

She raised her hand to pause the fight and thought very hard of the sword in her bedroom. She willed her wooden spoon and her sword to switch places, and suddenly, her sword was in her hand instead of the spoon. Like Trygve’s, it was a stout, two-edged blade, though hers weighed less.

The sword master wrapped rags around the blade.

Tatterhood adjusted her grip on the sword. The metal handle felt cold, lifeless, while her spoon felt as alive as a tree.

Trygve swung his sword, so she parried him.

When it became clear that she would not be an ordinary princess, Tatterhood’s parents had encouraged her to take up sword fighting. In this endeavor, she gained proficiency but not expertise.

Perhaps the problem was the sword itself. It had a decorative hilt, fit for a princess, and a beautiful shine. It had been forged by the best sword maker in the land, and the sword master declared it perfect for either a parade or a fight. But it did not speak to Tatterhood’s essence, and so she much preferred her spoon.

Tatterhood was not as fast as her husband—at least not when she held a sword—and Trygve was very good at this. Though she tried her best, she barely blocked his attacks. She kept shifting her sword’s height, but she could not get in a good attack. Yet even if she weren’t as proficient at the sword, at least there was a light in Trygve’s eyes that she did not see most days, and she liked the way their bodies and their swords moved together. They should fight like this again.

Trygve swung and she moved to block, but it was a feint and now his sword was at her throat. The sword master declared the victor.

Tatterhood bit her lip. She had not wanted the fight to end so quickly, and she did not like to lose. She told herself she would have beaten him if she’d kept her wooden spoon. The soldiers patted the prince on the back.

“Walk with me back to the castle?” Trygve asked.

Tatterhood agreed and asked a servant to take her goat. The servant grimaced but nodded and proceeded to chase the goat. Storm was large, shaggy, and brown. And rather ferocious. She jumped onto a waist-high, wooden fence, bit off the servant’s hat, and ran into a field. This did not worry Tatterhood—Storm always came back.

Trygve took Tatterhood’s hand. He held it, raised, in the formal manner used to escort a noble woman. Their fingers did not intertwine as the villagers’ fingers did when they held each other’s hands, but surely it still counted as holding her hand, and in a public, outdoor setting. He must be pleased with her.

They walked through the field. Tatterhood was about to tell him she was expecting a child when a messenger approached. The lass curtsied and declared, “Letters for Princess Tatterhood and Prince Trygve!” Trygve’s letter was from his father, King Varg, and Tatterhood’s from Ingridr.

They read their letters as they walked. Ingridr was doing well and enjoying the sunny, summer weather. She mentioned that King Varg was troubled. “There are reports of the return of a magical creature, but he won’t tell me any more details.”

Tatterhood looked at Trygve. His face was pale, and his eyes darted back and forth across his own letter.

“Anything wrong?” she asked when he finished reading.

“Of course not,” he snapped.

She did not press him or force an answer. She had already discovered that, in marriage, such tactics should be used only in times of great expediency.

They arrived at the castle, Trygve maintaining his stony silence.

“Bring me my horse,” he instructed a servant.

The servant returned with Sunset, the prince’s prize horse. She was a deep-black beauty with a silver mane. He rode her every day and would touch no other creature. He mounted her and rode to the fields without a word of farewell. Tatterhood entered the castle alone.

Trygve spent several hours with Sunset. When he returned, he was back to his normal self. Whatever troubled him must not be too great if it could be cured by a simple horse ride.

That night she had yet to tell him of their baby. Perhaps she needed to create the right moment. She changed out of her tattered clothes into softer, newer material.

Tatterhood turned to her husband. “Will you lie with me?”

He shrugged, as if to say he did not care either way. Sometimes it seemed he lay with her out of a sense of his duty as a husband, but she did not want that from him tonight. She wanted to please him, wanted to tell him about their baby when she was sure he’d be happy to hear the news.

She considered herself in the mirror, and, as always, found herself satisfied with her own appearance. Tatterhood liked her crooked, lumpy nose; liked the piercing of her eyes and her fierce, bushy eyebrows; liked that her left ear was higher than her right. Above all, she liked her gray skin. It allowed her to blend in with shadows.

She shifted her focus to her husband. There were several ways she could use magic. When she used items that expressed the essence of her soul, magic enhanced her actions. She could switch one object for another if she knew both objects well and knew their location. She could sometimes find a missing object if she had a strong connection to it.

She could also change her appearance for a time, though this was a bit trickier. She sent a wisp of magic toward Trygve, let it prod him, touch his desires. She turned the wisp on herself. She instantly transformed—skin smoother and clearer than her sister’s, dainty eyebrows, proportional features. Her hair was still curly but had a reddish tint to it, which surprised her. Normally it turned pale blond.

Tatterhood sat next to her husband on the bed, feeling less like herself.

“It always amazes me when you do that,” said Trygve.

Now it was Tatterhood’s turn to shrug.

“I wonder what the people would think if you transformed before them,” he said.

“I’ve done it before.” As a child, she’d transformed by accident during a festival. Once she recognized the ability and its implications she did it repeatedly until she mastered the skill. But then the novelty wore off for both her and her people. She thought of them cheering for her in the training grounds. “I’m not sure it’s necessary to do again.” She had told Trygve that she could only change her appearance occasionally because it used too much magic. That wasn’t strictly true—magic wasn’t like a vial of oil that could be used up—but she liked being herself. She already changed herself two or three times a week, and didn’t want him to press her to do it even more often.

“Of course it’s not necessary,” said Trygve. “But when you change, you look as beautiful on the outside as you are on the inside.”

Tatterhood chuckled. “I don’t think I’m like this on the inside.” And then she opened up to him, in a way that surprised her. “On the inside I’m muddy, always ready for a fight. I’m rough edges and frightening cliffs. I’m disheveled, and not always sure what I should do.”

Trygve put his arm around her. His hand wore the ring she had made for him as a late wedding present. “That sounds beautiful to me.”

Beauty didn’t matter to Tatterhood, but she liked his warmth so she leaned into him and kissed his neck. He kissed her on the lips, and soon they engaged in the same activity that led her to be with child. After, they held each other on the bed, and she knew this was the right moment to tell him the news.

But before she could, Trygve combed his fingers through her hair. “I like the red. Why did you add that?”

“I don’t choose what I’ll look like.”

“You don’t?”

“Well, I can choose, if I have something particular in mind. Sometimes I make myself look like a troll. And when I was young, I always made my face look like a frog to frighten Ingridr. Most of the time, though, I make myself appear like what someone else desires to see in me. You always want me beautiful, and so I become beautiful. Today you must like red hair.”

Trygve sat up and wrapped his arms around his knees. “How very strange.”

“It’s not strange at all,” said Tatterhood. “You probably saw someone with red hair and—” The realization hit her like the punch of a two-headed troll to the face. “The new serving girl has red hair. You think she’s beautiful.” At least only Tatterhood’s hair had changed to match Mette’s, and not her entire face.

“I, I—” stuttered Trygve. His face was flushed. “It’s not like that, Tatterhood. Yes, she has nice hair. But I’ve never looked at her in that way—I don’t desire her.”

“Then why is my hair red?” she said, tugging at it.

“Your hair isn’t red anymore.” He pulled on his nightclothes.

She turned to the mirror. Her hair was back to its normal, grayish brown. She’d lost control of the magic, lost the will to make herself what she was not. She curled up in the bed, pulling the blankets around her. She wanted to take her wooden spoon and hit Trygve with it, but she also wanted to hit herself. This was all her fault—all her fault for marrying a prince who did not want her, all her fault for changing her appearance for their wedding.

She had wanted to show him that appearance was transient and unimportant. She had wanted him to talk before their wedding. But she should’ve stayed ugly and gray, and waited for him to like her as she was, if such a thing was even possible.

“I’m sorry, Tatterhood.”

She could not bring herself to turn and look at him, could not accept such a simple apology. She waited, listened as he fell asleep beside her. Then she let three tears—only three—fall down her face and onto her pillow. She was not the crying sort, and so she blamed the tears on her pregnancy.

She had still not managed to tell him about their baby. She wondered if their child would look ugly like her or handsome like Trygve, and if their child would care either way.

Chapter 3

When Tatterhood woke in the morning, she found herself alone.

During their first few months of marriage, every morning they held each other before rising for the day. It seemed the natural thing to do during the almost endless nights of winter, when the sun awoke for only a few hours in the middle of the day. Now, in summer, the sun slept for only a few hours, creating almost endless illumination. The light often caused Trygve to wake hours before Tatterhood, and she would find him reading a book in a chair. She wished she could hold him this morning, because if they had fought the night before, it always softened their feelings toward each other.

“Trygve?” she called.

Silence.

A sense of unease enveloped her, a fear she could not shake. She walked through their rooms, slowly at first, then more rapidly, peeking her head in every nook and corner. The prince was gone.

Her head ached and her jaw felt tight and sore. She must have clenched it as she slept.

She looked on her table, where he always left her notes if he went to do something or meet with someone. There was nothing.

Her heart sank. Trygve never wrote her the sorts of romantic letters featured in ballads, but he always jotted down a few words to let her know if something demanded his attention. She gripped the edge of the table. Maybe he didn’t want her to know where he had gone.

“He’s left me,” she said aloud, and there was no one in her rooms to disagree with her.

Tatterhood dressed hastily in a ragged dress. Rather than brushing her hair, she pulled her hood on top of it. She grabbed her wooden spoon, rushed out of the room, and addressed her attendant, who sat in the hall, doing embroidery and waiting to be called upon.

“Lady Tove, have you seen Trygve today?”

The woman curtsied. “No, Princess. I assumed he was with you.”

The soldier posted in the hall spoke up. “I took the shift before dawn. He must have left before then.”

She wanted to scream that the prince had not just left their rooms, but left her, for good. Yet she should not do such a thing unless she was absolutely certain. She stuck a finger through a small hole in her sleeve, pulling at it until the fabric ripped, creating a much larger hole. She fiddled with the frayed threads. She wished she could ask Ingridr for advice, but her sister was kingdoms away.

As she walked to breakfast, she stopped every single servant in her path to ask if they had seen Trygve. No one had.

One of the servant’s daughters, Anna, came running down the hall. She jumped into Tatterhood’s arms and gave her a sticky kiss on the cheek.

“Where’s Trygve?” the little girl asked.

Surprised to hear her own question turned back on her, it took Tatterhood a moment to mumble, “I don’t know.” Someday, would her own child ask the same question, and would she be forced to give the same response?

“I want him to play with me,” said Anna.

“I can play with you,” said Tatterhood, wanting anything to distract her from her worries.

The girl shook her head and ran back down the hall toward her mother, Elin. “It’s more fun with both of you.”

“You shouldn’t say things like that,” Elin rebuked her daughter. She turned toward Tatterhood. “I’m sorry, Princess. Is there anything I can do for you?”

“Have you seen Trygve?” she asked, already knowing the answer.

“No,” said Elin, and she got a faraway look in her eyes.

Tatterhood wanted to know the woman’s thoughts but did not dare to ask. Elin’s husband had left her last summer. And she wasn’t the only one in the castle to experience such a thing. Years before, the stable master’s wife had left him for another. These sorts of things happened. But they did not—they should not—happen to Tatterhood.

She tightened her grip on her wooden spoon, trying to channel her emotions away from grief, toward anger.

She stomped into the private, family dining room, nodded to her parents, and set her wooden spoon on the table, none too gently.

The queen cleared her throat. “What do I always say about spoons at the breakfast table?”

“There are dozens of spoons on this table.”

“But none made of wood, and none that large.”

Tatterhood pinched her lips together. She moved the spoon onto the floor, beneath her feet.

“Much better,” said her mother.

The serving girls came in carrying fruit. The red-haired girl—Mette—spooned bilberries onto Tatterhood’s plate. Tatterhood tried not to look at her.

“Where’s Trygve?” asked her father.

“I don’t believe he’s coming to breakfast,” Tatterhood said between gritted teeth.

Mette walked out of the room with a bounce.

Tatterhood grabbed a handful of the blue bilberries and shoved them in her mouth, daring her mother to correct her for not using utensils. She knew she was behaving much younger than her age, but she did it anyway.

“You didn’t argue about the coverlet again, did you?”

“No, Mother.”

“I took care of the problem. I ordered another in the color Trygve requested, and, to make you happy, since you hate to see someone not compensated for their work, I purchased the coverlet with the wrong colors. I am sure I will find a place for it.”

Her mother was rather stingy when it came to new furnishings. She had finally replaced the castle curtains a few weeks before, and had made all sorts of complaints about the cost. The fact that she was willing to buy an extra coverlet to make both of them happy meant she must be worried about the state of their marriage.

“Thank you, Mother.” Of course, with Trygve gone, the color didn’t matter.

Mette brought in the cheeses. The sunlight shining through the windows glinted off her long, red braid. Tatterhood gripped her silver fork and knife, picturing Trygve talking to Mette, putting his hand on her shoulder, perhaps escorting her to her room. . . .

Mette smiled at her as she returned to the kitchen.

Tatterhood tried a bite of cheese but did not like the taste. She raised one of the breakfast linens to her mouth and spit the cheese into it. Why had she tried to pretend nothing was wrong? She could continue this charade no longer. She dropped the soiled fabric on her plate.

“Please excuse me.” She dashed after Mette and slammed open the door to the kitchen.

The servants all stared as Tatterhood bounded into the room. Mette turned quickly, almost dropping her tray.

“Where is my husband?” Tatterhood hadn’t entirely meant to yell, but it came out that way.

“Wh-what?” Mette stammered, simultaneously setting down the tray and trying to curtsy.

Tatterhood put her hands on Mette’s shoulders. It took great control not to shake the girl, though she desperately wanted to. “Where is Trygve? Where is the prince?”

“I don’t know,” she whimpered. “Why should I know?”

“Just tell me where he is. What did he say to you?”

Mette was almost in tears. “I’ve only been here three days. I’ve never even talked to the prince.”

“Did he visit you this morning?”

The girl did not respond. She looked like a rabbit, frozen in fear.

“Did he?” Tatterhood yelled.

One of the other serving girls curtsied before her. “With all due respect, Princess, Mette shares a room with me. The prince could not have visited her. I’ve been with her almost every moment since she’s been here.”

“The prince never spoke to her,” the other servants confirmed.

Tatterhood’s eyes jumped from servant to servant, reading the sincerity in their faces.

She released Mette as if she were a burning hot pan. The girl sniffled and seemed to shrink away.

The other servants stared at Tatterhood. She breathed in and out, trying to control her rage. She trusted these people, these people who had worked for her family for years, and if they said the girl was innocent of wrongdoing, she had to believe them.

But oh how she wished the girl had wronged her, for then she would no longer need to blame herself for Trygve’s departure.

She knew she needed to apologize to Mette, knew she should, but could not bring herself to do it. Not to this woman that Trygve desired, not to this woman that he had partially turned her into.

A throat cleared. Tatterhood turned reluctantly toward it.

Her father stood in the doorway. He held her wooden spoon.

She walked toward him, head bowed.

He put his arm around her, and did not even berate her for her treatment of Mette, though she surely deserved it.

“What has happened?”

Tatterhood could not speak.

Her mother came and put her hands on both of their shoulders, then led them back into the dining room. As the door closed, the words of a servant drifted through: “Tatterhood’s not normally like this.”

Her father gave her the wooden spoon and she clutched it to her chest.

“What happened between you and Trygve?” he asked.

“Trygve does not like being my husband.” She swallowed. “And I think he has run away.”

She let them hold her for a minute, and then they sprang into action, assembling the servants and courtiers and sending them to scour the castle, the city, and the surrounding areas. Tatterhood joined in the search herself. But during the entire morning, no one found a trace of him.

Tatterhood went to the stables. The stable master put his hand on her shoulder. He had kind eyes, eyes that understood, that had been through this before. But she could not bear his kindness, not right now.

“I need a little time alone.”

The stable master sent all the stablehands away.

She beat at the hay with her wooden spoon. Little pieces broke off and flew into the air. Several guards had seen the prince wandering the gardens in nightclothes during the early morning, but no one had seen him leave the castle grounds.

Tatterhood beat a new bale of hay. Her father had offered to send out the guard, all the way to King Varg’s kingdom if necessary, to bring Trygve back. She had turned him down. She would force no man to be her husband. She did not want a man, anyway, who cared only about her appearance.

She set down her spoon and leaned with her back against the hay. Her belly was a little queasy. For some reason she had assumed she wouldn’t have the same physical troubles as other women. She put her hand on her stomach, which had not yet begun to grow. There were no outward signs of the baby. Would Trygve have left if she had told him?

At least she had what she needed from him: an heir. She did not doubt her ability to rule the kingdom without a king by her side.

She stood, not bothering to brush the hay from her tattered dress. She walked through the stable, and a horse whinnied at her. She stopped.

It was Sunset.

She ran her fingers through the mare’s immaculate, silver mane. Sunset pushed her muzzle against Tatterhood’s chest, so Tatterhood found a brush and groomed the horse. The steady, rhythmic action calmed her in a way that beating the hay had not.

How strange for the prince to leave Sunset behind—it would be like her abandoning Storm. She would never do such a thing unless under great duress.

Tatterhood set down the brush. Sunset snorted at her.

“Sorry to cut it short,” Tatterhood said and stepped outside the stable.

“Sunset is still here,” she said to the stable master. “Did Trygve take one of the other horses?”

He scratched his chin. “I don’t know, Princess. There’s been a lot of horses out and about, what with looking for him.”

She waited while he called back the stablehands. They went over all their charges—every single horse—but not a one was unaccounted for. All the horses absent from the stable had been used by someone trying to find Trygve.

So Trygve had left on foot. Maybe he had bought a horse in one of the villages on the road, but why if he could take his own steed?

“I am sorry,” said the stable master. “I should have checked earlier.”

“It’s not your fault.” Her belief that Trygve had left her had probably made the people searching for him less likely to notice any details that contradicted that conclusion.

She returned to their rooms, examining them in more detail.

Trygve had left his sword.

The laundry master brought in a dozen laundry girls and boys. They determined that the only clothes missing were his nightclothes.

Tatterhood could understand him leaving, but to leave in his nightclothes, without sword or horse? Maybe she had judged him too quickly.

Read the full story

If you enjoyed this excerpt from “Tatterhood and the Prince’s Hand,” you can read the full novella in Unspun: A Collection of Tattered Fairy Tales.

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