One of my vices is a fascination with the how and why of history. It exists in my hobbies, my work and especially in my writing. The part that takes me into imagining and away from the recorded facts is the history without a conclusive story. They say history is written by the victors and that in itself suggests a bent perspective on the happenings that surround events in the long distant past. But, outside these recorded moments are the unknown segments in history that no records exist for. Things like, who built the pyramids? What is the purpose of Stone Henge, why are the Easter Island heads there? And who were the sea people? These unrecorded or unknown historical facts lead many to theories and fables as to the purpose, reason or existence of such things and it is in these historical black holes that my imagination is let loose.
It gives authors the poetic licence to elaborate on the alternate explanations, create characters or even adapt the behaviours of recorded people of significance into the intrigue. I find that so long as the writing is believable, so too will the explanation or elaboration of the events that are shrouded in historical ignorance. Hence, in the Eye of Egypt trilogy, all the key events and even central characters are genuine, but their story is mostly untold. By linking events to places that are or were real, at least according to mainstream recordings, then the missing parts are free reign to develop an alternate string of actions. It’s the authors K-Mart of ideas and allows the luxury of stealing a moment in time.