Mary Anne: Looking back to writing The Briton and the Dane, what first inspired you to explore the era of Norse incursions into Saxon England?
Mary Ann: You can blame Sir Walter Scott for piquing my interest in “merry old England.” Ivanhoe was required reading in high school, and it opened the door to a world of chivalry, conflict, and cultural collision that stayed with me. At the same time, Hollywood was feeding that fascination with films like Vikings, Knights of the Round Table, The Long Ships, and, of course, another adaptation of Ivanhoe.
All of it blended together, the literature, the cinema, the mythic sweep of early medieval history, and those early impressions planted the seeds for what eventually became my Erik the Viking story, which ultimately evolved into The Briton and the Dane. The era felt alive, dramatic, and full of unanswered questions, which made it irresistible to explore through fiction.
Mary Anne: When you began this book, what excited you most about the story — and what challenged you the most as a writer?
What excited me most was finally having the chance to write the story that had been living in the back of my mind for years. Ivanhoe may have sparked my fascination back in high school, but I wasn’t able to begin the project until after I retired. When I finally sat down with a blank screen and started Erik’s story, it felt like opening a door I’d been waiting decades to walk through.
The greatest challenge came from trying to keep the tale contained to a single novel. My secondary characters had other ideas; They kept insisting on more “screen time”, more development, more of their own journeys. In the end, I let them have their say, and the story naturally expanded into a trilogy. It was unexpected, but ultimately the right choice for the world and the characters who inhabited it.
Mary Anne: How did you go about balancing historical accuracy with compelling character drama in this novel?
Mary Ann: Balancing historical accuracy with character‑driven drama has always been important to me. Over the years, I conducted extensive research on the period and did my best to remain faithful to what is known about 9th‑century Anglo‑Saxon England. At the same time, I wanted the characters to drive the story, not the historical record.
Fortunately, or perhaps mischievously, very little documentation survives from that era. For a novelist, that scarcity is a gift. It provides creative space to imagine motivations, relationships, and conflicts while still anchoring the narrative to the fragments of history recorded during Alfred the Great’s reign. That balance allowed me to stay true to the period without letting the research overshadow the human drama at the heart of the story.
Mary Anne: The relationship between cultures and loyalties is a big theme in the story — how did you develop that through your characters?
Mary Ann: The series explores several themes, but one of the most powerful is the clash between cultures and the loyalties that pull individuals in opposing directions. A clear example is the contrast in religious belief. The Norsemen followed their own pantheon of gods, while Alfred the Great’s world was firmly rooted in Christianity.
When Alfred and Guthrum negotiated peace, one condition required the Norse pagans to be baptized and to accept the Christian God. Refusal meant forfeiting their lives. That created an intense personal dilemma for anyone caught between the two cultures.
I used that tension deliberately. It allowed me to show how sweeping political or religious mandates affect ordinary people on a deeply human level. This is just one of the many cultural crossroads woven throughout the trilogy, each revealing how identity, belief, and loyalty collide and reshape the characters’ lives.
Mary Anne: What research discoveries surprised you most while working on this book?
Mary Ann: One of the discoveries that surprised me most was King Alfred’s actual age during the events we associate with his greatest achievements. Many people imagine him as an older, seasoned ruler when he inherited the crown and later defeated Guthrum, but in reality, he was remarkably young.
Another surprise came from how limited the available information is about the 9th century. That scarcity of material actually worked in my favor, giving me the freedom to imagine the emotional and personal dimensions of the story while still staying grounded in what is historically known.
Mary Anne: Since publishing The Briton and the Dane, how has your writing evolved or changed in subsequent works?
Mary Ann: My writing has evolved tremendously since publishing The Briton and the Dane. Like many authors, my early work reflected where I was in my craft at the time.
I look back on my debut novel with appreciation, because it represents the beginning of my journey. But each book since then reflects growth, confidence, and a much more polished command of the craft.
Mary Anne: Which scene or character from the book are you most proud of — and why?
Mary Ann: I’m most proud of the way my characters embody the era’s cultural and emotional tensions, but if I had to choose one, it would be Gwyneth. She’s a strong, no‑nonsense young woman who feels as though she was born centuries too early. Her modern sensibilities clash with the expectations of 9th‑century life, yet she adapts, survives, and ultimately shapes the world around her in ways she never expected.
I’m also proud of Erik, whose journey begins with the impulsiveness of a typical Viking raider but evolves into something far deeper. His choices, loyalties, and personal growth reflect the heart of the story.
Both characters challenged me as a writer, and both represent the themes I wanted to explore: identity, resilience, and the collision of two very different worlds.
Mary Anne: What’s one piece of feedback from readers that has stayed with you or influenced your writing since?
Mary Ann: In truth, I learned early on not to rely too heavily on reader reviews, especially for my debut novel. Feedback can be helpful, of course, but anonymous comments can also be unpredictable and sometimes unnecessarily harsh. What stayed with me wasn’t any single remark, but the realization that I needed to write for myself first.
That understanding has guided me ever since. I focus on telling the story I want to tell, staying true to my characters and my vision, rather than trying to anticipate or react to every opinion. That mindset has made me a stronger and more confident writer.
Mary Anne: If you could go back to the day you started this book, what advice would you give your earlier author self?
Mary Ann: If I could go back to the day I started this book, I would simply tell myself to trust my instincts. My writing process hasn’t changed much over the years. I still research as thoroughly as I can, build my character list, map out my storyboards, and let the narrative unfold without locking my characters into rigid physical descriptions. I’ve always preferred giving readers the freedom to imagine the characters for themselves.
The only real advice I’d offer my earlier self is not to worry about outside opinions. Reviews can be unpredictable, and trying to write for everyone is impossible. Staying true to my own voice and vision has served me far better than chasing approval ever could.
Mary Anne: Finally, as you look back on your writing journey so far, what has The Briton and the Dane come to mean to you personally?
Mary Ann: Looking back, The Briton and the Dane represents the moment I proved to myself that I could do what I had always dreamed of doing. I set out to write a single novel, and instead the story grew into a trilogy because the characters insisted on having their own space and their own voices. What began as one book became an entire world.
In the end, The Briton and the Dane marks the beginning of a creative journey that has taken me far beyond what I originally imagined. It taught me that stories evolve, characters surprise you, and sometimes the best part of writing is discovering where the journey leads.
Mary Anne: Our thanks to Mary Ann Bernal for sharing such open and insightful reflections on The Briton and the Dane. Revisiting the novel reveals not only the foundations of a richly imagined historical world, but also the beginnings of a writing journey shaped by curiosity, discipline, and a deep respect for character and history. We hope readers have enjoyed this look back at the story that sparked a trilogy and continue to be drawn to the world Mary Ann so vividly brings to life.
A Lurking Shadow. A Whispered Secret. A Veiled Betrayal.
As the specter of Norse conquest looms over Saxon England, a young woman becomes a pawn in a ruthless game of ambition and deceit. Her capture thrusts her into a tangled web of lies where allies vanish, truths twist, and loyalty can cost a life. In the heart of this storm, she searches for clarity and clings to the memory of a prince, her enemy, and the only one who made her feel seen. But as the drums of war grow louder, every choice she makes could tip the balance between salvation and ruin.
Step into a world of shadowed alliances and silent defiance.
The Briton and the Dane by Mary Ann Bernal is available now in Kindle, paperback, hardback, and audiobook formats. Discover the novel HERE and choose the format that suits you best as you step into this gripping tale of conflict, loyalty, and survival in early medieval Britain.
