Bringing the world of Andolin to life has been a journey as varied and adventurous as the voyages of The Tigress herself. While the series is firmly rooted in the aesthetics of the 18th century—the golden age of sail—creating a fantasy setting affords a unique freedom to reshape history to suit a more fantastical story.
It was while I had written the first book but still deep in the editing phase, that I met my now-editor, Julie. We met aboard the schooner The Huron Jewel, where she serves as the first mate alongside her husband, Captain Hugh, the ship's captain and owner. Stepping onto the deck and feeling the wind in my hair mirrored the atmosphere I wanted to capture. I was pleased to learn that Julie is also a book editor, and I now have her expertise to ensure the authenticity of my writing. To truly understand maritime life, I had by this time also read many historical texts on sailing, including Two Years Before the Mast. While a challenging read for many due to its detailed subject matter, this memoir offers an unvarnished, gritty look at the life of a common sailor—the very sort of life that would have made the historically inspired world of my books possible.
However, while the setting is inspired by the 1700s, I made a conscious choice to diverge from history in one significant way: I removed the invention of gunpowder. I simply didn't want to research firearms at that time, and the change gave the world a different feel. In lieu of such, the occupants of Andolin rely on the tension of strings and the weight of stone; they use bows, crossbows, and ballistas. The ships of the reavers—my word for "pirates" so as to avoid the peg-leg, "Arr matey," reader expectations—are outfitted much like Roman warships, bearing a ballista on the forecastle instead of cannon. I had to research that ancient aspect as well to ensure the battles felt authentic.
I already possessed a solid idea of what it was like to be on board various tall ships, at least superficially, as I always attend the Bay City Tall Ship festival. There, one can step aboard galleons, Viking ships, schooners, and other types of sailing vessels, even venturing below decks. I've also chartered short trips on local schooners to enjoy the view. But of course, none of them are outfitted with ballistas, so I had to use historical sources and pure imagination to visualize how a stone ball launched from the forecastle might breach a hull from alongside, or how the angle and height of a barque's prow might lend to the ballista targeting individuals on the deck of a rammed caravel.
My background in archaeology certainly helped bring the world to life, as the 18th century was a particular interest during my studies. I also regularly attend living history events with my family (my father is a scrimshander) that celebrate and re-create the material culture of this era. I use that experience to furnish the world and clothe the people—from the specific details of fall-front kneebreeches, to the speckled glow of a punched-tin lantern.
While the sea is central to the story, the characters must also traverse the land. The horse-focused scenes came naturally to me, since I am a longtime equestrian with a horse of my own, Dragon. Now, we also own a 54-acre hunter/jumper equestrian facility, and my daily experiences with these animals continue to inspire my scenes—whether it's Adella's bond with Shy or the sights even a well-trained cavalry horse might balk at.
Most recently, in 2025, I traveled to Iceland and had the pleasure of riding 112 miles over six days, following the Kjolur Trail. I got the honor of being carried by twelve different, steadfast Icelandic horses through absolutely epic terrain. The rugged beauty of that landscape has etched itself into my mind, and this trip will undoubtedly help inspire the next book in the series.
Whether by sea or by saddle, the world of Andolin continues to grow, built on a foundation of history, research, and a bit of adventure.
Thanks for reading,
Audra