Alison Weir’s latest historical novel explores a deep Tudor secret

Alison Weir’s publishing career is unique: After establishing herself as a premier author of non-fiction biographies, she successfully pivoted to fiction in 2006 with Innocent Traitor. Since then, she’s become a titan of the historical reimagining genre, most notably through her acclaimed Six Tudor Queens series. Her new novel, The Boleyn Secret, shifts the lens from the well-trodden lives of Henry VIII’s wives to the perspective of Katherine Carey, the daughter of Mary Boleyn and niece of the executed Anne Boleyn.

The story begins with a 12-year-old Katherine witnessing her aunt’s death, setting the stage for a narrative that blends rigorous historical research with the discovery of a life-shattering family secret. As the audiobook’s narrator, Genevieve Gaunt embodies Katherine, and Weir approves: "I liked her diction, her expression, and the quality of her voice. I think she will make a wonderful Katherine!"

For fans, the book represents a return to the heart of the Tudor court, offering a fresh, intimate look at the dynasty’s survival through the eyes of a woman who lived in the shadow of the throne. It further cements Weir's reputation for giving voice to the women who shaped British history.


Jerry Portwood: Since you’re known for writing non-fiction and biographies, how do you decide which historical "gaps" are safe to fill with imagination and which must remain strictly factual to maintain the integrity of the person's legacy? Are there some historical "what ifs" that are too damaging to explore?

Alison Weir: I enjoy filling in the gaps! That’s why I started writing historical fiction. I wrote my first published novel when I was writing a biography of Eleanor of Aquitaine, which involved piecing together myriad fragments of evidence in an attempt to construct a cohesive narrative—such is the challenge of mediaeval biography. It was, to some extent, a frustrating exercise, because there were gaps that I could not hope to fill. I found myself longing to do so, knowing that a historian oversteps the bounds of legitimate speculation and inference at their peril.

We can only infer so much from historical sources, so it occurred to me that I wanted to write a historical novel, one in which I could develop ideas and themes that had no place in a history book, but which—based on sound research and educated guesses—could help to illuminate the life of a historical figure and explain their motives and actions. Unlike a historian, a novelist has the power to inhabit their subject’s head, and that can afford one insights that would not be permissible to a historian, yet can have a legitimate value of their own. A historian has to work within the strict constraints imposed by the source material and credible speculation. A novelist, however, is able to use their imagination to fill in the gaps—although I strongly feel that what you write must be credible within the context of what is known about the subject.

No, there are no historical what ifs that are too damaging to explore. I always jump in with both feet!

In The Boleyn Secret, you explore a character who "remained in the shadows for almost 500 years." How do you build a relatable emotional arc for a historical figure when there are very few primary sources detailing their personal thoughts or feelings?

It is possible to trace Katherine Carey’s life in the historical sources, and some of the evidence is so detailed that it would be possible to write a biography of her. I always try to imagine my subject’s life from their point of view and imagine how events must have impacted on them. Inevitably, I get close to my subject and really empathise with them.

However, I find it fascinating to construct a narrative around a subject about whom we have very little evidence. That’s a gift to a novelist. In 2012, for example, I published a novel about Richard II’s bastard daughter, A Dangerous Inheritance, based on just five brief references in contemporary sources. I had to do a lot of research around the character, but eventually I gained some idea of what her life was probably like—and my imagination did the rest.

Let's nerd out for a minute here. After writing over 30 books, has your research process changed with the advent of digital archives, or do you still find that physical locations and "immaculate period details" offer the most significant inspiration for your prose?

My research process has changed, no doubt about it. I used to spend a lot of time in reference libraries, busily transcribing historical sources, or borrowing rare books. But now, a lot of the major sources I use are online, so much of my time is spent at a computer. I also have a vast reference library at home, which I’ve built up over many decades, and it’s invaluable. Back in the '90s, the internet offered few opportunities for serious research, but now you can access or purchase many sources online.

People often come to Tudor stories with preconceived notions of figures like Anne Boleyn or Henry VIII. What is your strategy for "un-teaching" popular myths through fiction without alienating readers who love the archetypes?

I strive to be objective, and I love sharing new research with readers, citing the sources and showing how I draw my conclusions. I often find at events that when I’ve said something that challenges hitherto accepted wisdom, people rarely speak out or ask questions, possibly because they want to read the book—or read around the subject—before forming a view. But in my experience, it sometimes takes a long time for people to change entrenched opinions—if they ever do.

The Tudors have been described as the original "reality TV stars" because of their public scandals and high-stakes personal dramas of marriage and execution. Do you see any parallels between the Tudor court and how we follow modern celebrity or political dynasties today?

Not really, because the Tudors didn’t have any media, apart from proclamations and tracts; and of course, they used magnificent display to win hearts and the public imagination—think bread and circuses! I suspect that many of their subjects didn’t really mind who sat on the throne so long as they brought stable government and did not encourage foreign influence.

Sensational events, such as Henry VIII’s Great Matter or the fall of Anne Boleyn, did cause a stir, and excited public opinion, but like most news, it was soon yesterday’s. It’s important to remember that the Tudors and the people who served them were engaged in the serious business of government, and their lives were not always glamorous.

Katherine Carey carries a secret that could literally cost her her life. If you were in her position—a fly on the wall to the most powerful and dangerous family in England—would you have stayed silent to protect your status, or risked everything to speak out?

No question of it—I’d have kept silent! Best policy in the Tudor court.