In the aftermath of Anne Boleyn’s brutal downfall, Jane Seymour is thrust into the scorched ashes of a fractured royal court—and into the arms of a king she finds physically repellent. His bloated pride, mercurial temper, and the ghosts of two dead queens stir not desire, but dread.
I'm pleased to welcome author Nicola Harris to The Writing Desk:
Tell us about your latest book
Henry VIII is no longer the golden prince of legend—he’s bloated, volatile, and tormented by his past. Jane finds herself in his arms, but she is not filled with desire, but with dread. She is quiet, devout, and long dismissed as an unremarkable third wife. But it’s precisely this quietness that makes her dangerous. Jane becomes the unlikely figure entrusted with restoring order and delivering the one prize Henry craves above all: a male heir.
To survive, Jane must become what the court demands—an obedient bride, a submissive consort, a vessel for England’s future. But behind the mask lies a woman who is haunted by the blood price of her crown and the death of her cousin Queen Anne.
As she walks the knife-edge of Tudor politics, Jane must decide how far she’s willing to go to protect her beliefs, her legacy, and the fragile peace she’s fought to create. Out of the Ashes is a tender, haunting portrait of quiet defiance—and of a queen who chose the phoenix as her emblem, never imagining how bitterly prophetic it would become by the end of her tragic reign.
What is your preferred writing routine?
My writing routine is as portable as the Tudor court itself. I can write anywhere—on trains, in cafés, even while someone else watches TV. But I prefer to rise early and write before the day begins. There’s something sacred about those quiet hours, when the world hasn’t yet intruded.
Often, the countryside outside my writing room window inspires as it awakens to the day. Mist over the fields, crows circling the hedgerows—it's all full of echoes of the past. I write in bursts, letting the characters speak when they’re ready, and I spend a lot of time researching and visiting historical places.
What advice do you have for new writers?
f you’re passionate about your subject, that passion will carry you through the hard days, the rewrites, the doubts. And don’t be afraid to write badly. First drafts are meant to be messy. The magic comes in the shaping and rewriting.
During my research, I stumbled upon an incident in the Tower that changed everything. I won’t spoil it here, but it became the emotional spine of the novel. It’s a moment that reveals the brutality of Tudor justice and the quiet horror Jane must have reckoned with. It reminded me that history isn’t just a series of grand events—it’s also small, intimate moments of fear, hope, and choice. That’s what I try to capture in my work.
The most brutal scene I wrote was the opening. Jane is waiting for news of Anne Boleyn’s execution. She is both excited and repulsed by her feelings of happiness. Anne is her second cousin, and her death is the price Jane will pay to be queen of England.
What have you found to be the best way to raise awareness of your books?
Raising awareness of my books has been a journey of generosity and connection. Word of mouth is still the most powerful tool. I’ve found that being generous with other authors—sharing their work, engaging with their posts, celebrating their wins—creates genuine friendships and a supportive community. Readers respond to authenticity. They want to know the person behind the pages.
I’ve leaned into creative campaigns, reels, and even comic strips to bring Tudor history to life in unexpected ways. But at the heart of it all is storytelling. Whether it’s a tweet, a teaser, or a tragic quote from Jane herself, it’s always about the story.
Tell us something unexpected you discovered during your research
What was the hardest scene you remember writing?
I wanted to capture the complexity of that moment—the guilt, the ambition, the dread. Jane isn’t a villain. She’s a woman caught in a web of survival. Writing that scene felt like walking a tightrope. I rewrote it several times, trying to strike a balance between empathy and honesty.
Next, I’m working on a novel called The Daughters of Aragon. It explores the rich, multicultural early life of Katherine of Aragon and her siblings. They grow up in captured Islamic palaces, surrounded by scholars, slaves, and the looming shadow of the Spanish Inquisition.
What are you planning to write next?
It’s a world of beauty and brutality, faith and fire. Katherine’s story is often reduced to her marriage and divorce, but she was shaped by a world far older and more complex than Tudor England could imagine. I want to show her home, how it shaped her personality—and the girl behind the woman who would become a queen.
The Six Queens Series is my way of reclaiming these women’s stories. Each book stands alone, but together they form a tapestry of power, pain, and resilience. These queens were not just wives. They were survivors, schemers, dreamers, and martyrs. They were women who lived in the shadow of a throne—and who cast shadows of their own.
Thank you, Tony, for inviting me to share my work. It’s an honour to be part of your blog and to connect with readers who love history not just for its grandeur, but for its humanity.
The Six Queens Series is my way of reclaiming these women’s stories. Each book stands alone, but together they form a tapestry of power, pain, and resilience. These queens were not just wives. They were survivors, schemers, dreamers, and martyrs. They were women who lived in the shadow of a throne—and who cast shadows of their own.
Thank you, Tony, for inviting me to share my work. It’s an honour to be part of your blog and to connect with readers who love history not just for its grandeur, but for its humanity.
Nicola Harris
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