Looking back – 13 insights on historical fiction

In 2017, I asked readers and authors to look under the covers of historical fiction and examine what sets the genre apart and makes it tick. Today, I’ve gathered together various insights that resonate for me.

Historical fiction adds context to modern-day social problems … my preferred approach is to let characters and their responses to the conditions around them inform the reader. Janie Chang author of Dragon Springs Road

The magic ingredient of historical fiction is the emotional truth of the time, the landscape of consciousness in the era described. Simon Parke author of The soldier, the gaoler, the spy and her lover

I build my worlds in concentric circles. The outer circle is the social, political, religious, economic and historical backdrop within which my story takes place … The next circle in will include the ‘props’ that the characters interact with … the innermost circle is the emotional core of the characters living in a particular period.  Fiona Veitch Smith author of Pilate’s Daughter 

The historical writer has to juggle with making sensibilities and prejudices true to the time while not overly offending the reader. Rhys Bowen author of In Farleigh Field 

World building is absolutely essential, and it is probably the deal breaker as far as I am concerned. I come to the book for the setting, I enjoy plot and characters, but if the world does not come alive for me as I read, I consider it a big let down. Author, Davide Mana responded to my questions as a reader.

Details have to be woven in seamlessly, so that it doesn’t come off as a contemporary novel dressed up in historical costume. Also, an author needs to give just enough description, but not so much that it weighs the reader down and interrupts the flow. Author Michelle Cox responded to my questions as a reader.

Until scientists succeed in inventing a working time machine, historical fiction is the best means we have of sinking into vanished worlds and gaining a sense of what it must have been like to live in another time. Jennifer Robson author of Goodnight From London 

Also responding as a reader is  Margaret McGovern author of The Battle of Watling Street – History is concerned primarily with conflicts, winners and losers, and what historical fiction adds to a dry retelling of history is where it imbues the events of the past with characters that reach back in time to make it happen again for me, the reader.

“Novels are about exposing the truth” of who we are and who we have been, particularly women. Geraldine Brooks author of The Secret Chord

Character is the bridge to the distant past. Exploring the nature of a character from the past, whether fictional or historical, requires embracing what makes them different, even if that means showing how their perspective differs from how we think today. Cryssa Bazos author of Traitor’s Knot

Conflict is everything in stories and when that conflict is internal as well as external, it produces a mouth-watering cocktail. Mark Stibbe author of The Fate of Kings

As historical fiction writers, we’re chasing the bubble of verisimilitude … By this I mean not only their dialogue, but also their patterns of thought, reactions to all manner of situations, and interactions with each other and their world. Jeffrey Walker author of Truly Are the Free

But perhaps for historical novel readers, it is the spicy details that change our experience from commonplace to a story that transports us to a time long ago. Rebecca Rosenberg author of The Secret Life of Mrs. London

Do these resonate for you? 

FOR MORE ON READING & WRITING HISTORICAL FICTION follow A WRITER OF HISTORY (using the widget on the left sidebar)

M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, NookKoboGoogle Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website www.mktod.com.



Interview with Barbara Gaskell Denvil

Barbara Gaskell Denvil is an award-winning author with eclectic tastes in that she’s written historical, fantasy, mystery for both adults and children. At one point in her career, Barbara worked at the British Museum Library amongst the collection of ancient folios and manuscripts. A perfect background for writing historical fiction. Let’s see what she has to say about her writing.

MKT: You write both historical fiction and fantasy. How are these genres similar and how are they different?

BGD: Both are certainly escapism. I make every effort within my writing style to bring these worlds alive but of course, the difference is that medieval England really existed, and therefore I am attempting to recreate truth whereas with fantasy I am attempting to create believability from scratch. But until a Tardis is invented, we cannot really be sure what the medieval world was like. I have adored walking those narrow cobbled alleys in London, wandering the Tower and the castles of the north, and imaging the bustle of folk around me. That is what I try to convey. But documentation from that period is scarce, and it does not relate everything by any means. With fantasy, on the other hand, I make my own rules and I walk those roads in my mind – not in fact. So both are escapes into my own imagination and yet both are serious attempts to turn imagination into reality.

What ‘magic ingredients’ do you try to weave into your novels to make them unforgettable and irresistible?

This is where I rely on inspiration. The magic is in my head. I try to make that magic believable, but it continues to dance in bubbles inside my mind as I write, I suppose I simply put on paper what comes into my thoughts, but I never feel I can write about a place in history until I can smell it in my imagination.

Characterisation is even more important to me. My principal characters, and even most of the minor characters, must leap alive in my head before I can write about them. Then they seem to write themselves.

Are historical novels inherently different from contemporary novels, and if so, in what ways?

Yes, I think there is an inherent difference, for the way a character must act, believe and think is so varied in historical fiction. What is expected from people 500 years ago is certainly not the same as that expected nowadays. Therefore the general direction of historical fiction is different from the start. There is also the limitation of historical accuracy, the fascination of genuine historical characters, the warfare and the poverty. When writing of crime (as I often do) we enter a world of confusion and ignorance, for not only were there no forensic aids (no DNA, finger prints, understanding of blood or stains nor even of exactly how someone must have died) but there was no actual police force. The Constable of an area did not DO investigations himself and there were certainly no detectives. Therefore in historical novels the author has both the advantage and the disadvantage of writing under a whole new set of rules, and this offers us some very unusual plots and storylines, and the reader will find himself walking through a strange new world indeed.

In writing historical fiction, what research and techniques do you use to ensure that conflict, plot, setting, dialogue, and characters are true to the time period?

I have been researching that period of history for many, many years. I have read so much non-fiction that there are times when I feel I live in the 15th Century, and I even dream of it. I love the medieval castles and villages of England and Europe and have travelled extensively to those places. It is therefore comparatively easy for me to slip back into those times, and recreate them in my novels. I feel I understand the difficulties and the ways of thinking which existed back then. However, there are also problems. I do not agree with attempting to re-create the manner of speaking since it would prove completely unreadable to our modern world. However, I do try not to include words which would have been out of context back then, or references to ideas, scientific or medicinal, which would have been entirely unknown. I try to keep a balance with characters speaking in a modern fashion, but without absurdly modern ideas. There also needs to be a balance when referencing 15th Century religious practices. Because many of our surviving documentation was written by the priests of the time, some people believe that folk were wildly religious. However, we also know that humanity tries to escape the limitations of strictly confining practice, and in spite of the clergy’s teaching, sexual infidelity and other so-called sins were widely practiced even by kings. I therefore use my own careful standards in keeping accurate detail without making my books unreadable. After all, even in the call of accuracy (which I believe extremely important) what would be the point in writing a book of boring confusion?

Which authors have inspired your writing? Why?

So many authors have inspired me since I was a child and I could probably say that every single book I’ve ever read has given me inspiration of a sort. I adore Shakespeare – then discovered Dorothy Dunnet, migrated to Mary Renault, on to the simple delights of Georgette Heyer, deeper into C.S. Lewis, J.R.R.Tolkein – and a hundred and more non-fiction books drawing me deeper into the English medieval.

Rather than list so many authors, I should say that the written word and the creative genius of so many just sets me on fire. But life is my greatest inspiration. Just looking up at the sky, watching a sunset or dawn, the amazing chaos of India where I have recently been visiting, the gentle glory of the Eastern countries, and the shimmering flutter of wisteria, rose petals, magnolia and irises in my garden. The astonishing variety of everything, both the kindness and the brutality of people, and the strange motivations we have for every action.

I reach out for inspiration when I first wake each morning – and it continues through my colourful dreams at night. I have been known to forget what is real and what is fanciful. Oh dear – sometimes I think all authors are simply crackers.

Have you ever been inspired to write a modern novel? What is the main difference?

Because the modern world is so well known and understood by us, there is no scope for describing it, nor attempting to bring it to life. And there is less scope for creating believable adventure. In the past the battles and extremes of everyday living were far more brutal, and the struggles were more common. I find that many modern novels offer us plots concerning a life even more drab and boring than those we live ourselves. There is less personality and less colour, whereas in the bustling escapism of both history and fantasy, both the writer and the reader can use their imaginations without being confined to dreary routine. Of course, some books set in modern times are remarkable and wonderfully composed and written, but I prefer the inspiration of turning the unknown into believability.

Please tell us a little about your latest novel.

After many years of writing for adults, I have been inspired to write a new series for children, combining history and fantasy. These are books of adventure and excitement in two worlds – medieval England – and the fantasy world I have invented. The series is BANNISTER’S MUSTER and Book 1 SNAP is already published while Book 2 SNAKES AND LADDERS will be out soon. They are aimed at an age group of roughly 8 to 12, So far they are proving very popular.

I have frequently felt sorry that so little history is taught in schools these days, and I wanted to re-create a fascination for the past in young minds. More but simply, I just wanted to write some good old fashioned adventure, and I also wanted to try my hand at writing for children.

I have also created a new website for these children’s books, so please do drop in and visit both my adult website –   http://barbaragaskelldenvil.com

And my children’s website –   http://bannistersmuster.com

All will be revealed ———-

Many thanks for sharing your thoughts on writing, Barbara. And yes, sometimes we writers are crackers!

FOR MORE ON READING & WRITING HISTORICAL FICTION follow A WRITER OF HISTORY (either through WordPress or by using the widget on the left sidebar)

M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, NookKoboGoogle Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website www.mktod.com.

Successful Historical Fiction – with Margaret McGoverne

Returning to the notion of successful historical fiction, today we have Margaret McGoverne adding her perspective from both a reader’s and a writer’s point of view. Margaret has recently completed a historical fiction novel set in 1st century AD and concerned with the (imagined) end of Queen Boudicca’s revolt against the Romans. Margaret is fascinated with the rich historical tapestry of Great Britain and enjoys weaving historical facts and fiction with speculative Sci-Fi in her writing.

Q What’s your definition of successful historical fiction?

A – This is such a deceptively simple question! The obvious and simplistic answer would be that historical fiction is fiction that’s set in a historical time frame. But this definition asks more question than it answers. I quickly learned that there’s no agreed definition of what constitutes “historical” in this context.

For instance, one of my works in progress is a novel set in 1970’s Northern Ireland, during the “Troubles”, so the setting is forty or so years ago. My research to determine if this would be classified as historical fiction was inconclusive. The question actually breaks down into two parts; how long ago was the setting, and is the book written from an historical perspective for the characters (and for the author)?

The Historical Novel Society defines a historical fiction novel as one written “at least fifty years after the events described, or have been written by someone who was not alive at the time of those events (who therefore approaches them only by research).”

Applying this definition, my novel wasn’t set far enough in the past, as I was alive at the time (albeit a child). But this isn’t a universally applied definition, and some definitions categorise fiction set more than twenty years in the past as historical. In addition, context is all; to my son, the Troubles are a distant, historical period of Irish/British history; I experienced them as a child, my parents as young adults and my grandparents remember life in Northern Ireland prior to The Troubles; would we all consider a story in that setting as historical? Using the subjective rule, all novels are historical, starting with those written today!

I would dispute the above definition, as although some aspects of this novel are autobiographical, and they happened less than fifty years ago, the events and time period are of key political and historical importance in the recent history of Britain. In addition I’ve had to undertake considerable research on the events and timelines of the period that I wasn’t aware of as a (young) bystander.

Another way we could approach the definition is to ask if the events in the novel are historical for the characters, or contemporary. I have recently published a historical/Science fiction novel, The Battle of Watling Street that reimagines the end of the Celtic Queen Boudicca, following her defeat to the Romans at the Battle of Watling Street. This battle took place in England in AD61, so nearly two thousand years ago. Clearly the setting meets the criteria for historical fiction for most observers, but most of the vents in the novel are contemporary or recent history for the characters; there’s some reference to Britain prior to the Roman occupation, but the bulk of the action is set in AD61. So is this historical fiction? You start to appreciate how slippery it is to pin down a universally acceptable definition of historical fiction!

Q- What attributes are most important to you when designating a novel ‘successful historical fiction’

A – If a novel can be defined as a fictional narrative which describes some aspect of the human experience, then historical fiction has the added challenge of bringing to life aspects of humanity from a different time period, or in other words, to bring to life past events, characters and ways of life. Often as a reader I relish the descriptions of life in another time period, as much as the events and characters inhabited by the world I’m reading about. I want to be fully immersed in the time period, with no jarring hints of modernity or historic anachronisms; I don’t want to read something that’s the written equivalent of the gas tank on the back of the chariot in the film “Gladiator”, which otherwise evoked the Roman world so splendidly!

Of course, different authors will have different perspectives on characters in their novels; if these are well-known historical figures, the reader is often presented with very different interpretations of the character’s actions and motivations; for example the emperor Tiberius is presented as a complex, almost sympathetic figure in Allan Massie’s eponymous novel, and the reader can appreciate the pressures bought to bear on the historical figure of Tiberius. This treatment contrasts with Robert Graves’ more damning assessment in I, Claudius. Both are fine, offering as they do additional dimensions and justifications of historical figures, as long as the known facts tally.

Q – Which authors do you think create the most successful historical fiction, and what makes these particular authors stand out?

A – Since a school trip to Colchester I have been fascinated with the Romans; unsurprisingly my favourite historical novelists include the above mentioned Robert Graves; I also enjoy the Roman historical fiction of Robert Harris; his Cicero trilogy brings to life famed orator and consul Marcus Tullius Cicero, and offers a grandstand view of the doomed Roman republic, and the rise of the dictators Julius Caesar and Octavian (Augustus). Allan Massie’s Roman emperor (and nearly emperor) novels offer us a glimpse of the all-too-frail humans behind the marble statues and history books that represent what we know about these historical movers and shakers.

Another author who I think isn’t always recognised as a great historical fiction author is Charles Dickens; A Tale of Two Cities set partly in the revolutionary Paris of the late 1770’s and Barnaby Rudge which tells of the London George Gordon riots of 1780 both evoke the period brilliantly, so much so that when I think of these historical events I still imagine the bloodthirsty Tricoteuse, Madame Defarge, who knits her liberty caps as noble heads fall to the guillotine, or the horrific King Mob described so vividly by Dickens.

Q – Are famous people essential to successful historical fiction?

A – To answer this we need to explore the difference between historic and historical fiction; if we suggest a definition of Historic as referring to an event or person that was historically important, as opposed to Historical, meaning something that took place in the past, irrespective of whether it was significant, then strictly speaking, historical fiction doesn’t need to feature famous people (or events) to be judged successful, and fiction that DID feature significant figures should be termed “historic fiction”.

But again I’d suggest these are not hard and fast rules; for me, historical events are only interesting in the context of the conflicts, developments and characters of that time period. A novel that described the way of life in 1st century AD Britain might interest me, but if it features historic figures such as Queen Boudicca and the emperor Nero, I can then place in context the events and their importance in the subsequent history of Britain. History is concerned primarily with conflicts, winners and losers, and what historical fiction adds to a dry retelling of history is where it imbues the events of the past with characters that reach back in time to make it happen again for me, the reader.

Q – Does successful historical fiction have to say something relevant to today’s conditions?

A – I think that all quality fiction has to have something to say about the human condition, and we as readers will always relate that to the world of today; historical fiction is no different and I believe that the genre offers a unique opportunity to its readers to present the events of the past for consideration; if we don’t learn from the mistakes of the past we are doomed to repeat them, and I think this is a powerful tool in the arsenal of historical fiction authors, to comment on contemporary issues. A very topical issue might be the rise of nationalism in Western Europe, which for many has worrying parallels with international events leading up to World War II. The themes and tropes that interest, inspire or worry us are timeless; although historical fiction may offer them for our consideration from a less enlightened time period, the challenges for humanity remain fairly constant.

Q – What role does research play in successful historical fiction?

A – Research is absolutely key to ensure your story has an intellectual and emotional sense of its time and place, that there are no jarring anachronisms in plot or language, but also that your story doesn’t wear its research too heavily. “Research” can be a daunting word for the would-be writer of historical fiction, and at times it can be a slog; I’ve had seven or eight internet tabs and a pile of physical books open to fact check one minor detail, but research isn’t just reading up on a subject. For my novel The Battle of Watling Street, I visited the Verulamium Museum in Saint Albans, the Museum of London, and the Chiltern Open Air Museum in Buckinghamshire; all three were invaluable in helping me not just with historical facts, but with the costumes, buildings and décor, sights, sounds and tastes of 1st century AD Roman Britain. I undertook some research on Celtic names for those characters in my story whose names weren’t passed down to history, such as the daughters of Boudicca, and discovered a database of Celtic name elements maintained by The University of Cambridge. It was important to me that every character, from Boudicca’s (fictional) chief advisor, to the protagonist’s mule, had name that was historically accurate!

In addition, there is a wealth of near-contemporary, public domain material for the period I was writing about in the annals of Tacitus, and of course my love of Roman historical fiction as written by such stars of the genre as Robert Graves and Robert Harris were an enormous inspiration, and helped me prepare and perfect my writing voice for the novel.

My aim was to accurately capture the events and flavour of the period I was writing in, but also to give an authentic voice to my non-famous (fictional) characters, as they represented ordinary people caught up in very momentous times and events. One other thing I did was to get out and about; I walked the routes and regions I was writing about, and tried to imbue my writing with these real places, the only concrete things left to me here in the 21st century that I could lay my hands and feet on, and reconnect with that distant past.

Q – Do you judge historical fiction differently from contemporary fiction?

A – Ultimately, historical fiction faces the same challenges as contemporary fiction; to entertain, inform, engage the reader, and to say something about an aspect of the human condition, all within the structure of a narrative that holds our attention and provides a satisfactory reading experience. Historical fiction must meet additional criteria as noted above; the research must be meticulous, and the writing must take us to that time, but these are merely temporal differences. My favourite authors display the same skills; they bring a story alive for me, using place, events and mostly, characters that I may adore or despise, but that I can understand, and believe in. Successful fiction gets under the skin of its readers and lodges there, hopefully to bloom in an increased awareness of our world; the successful historical fiction author offers a glimpse into the past, and has something to say about the ever-present.

Many thanks, Margaret, for adding to the discussion. You’ve given us lots to think about particularly the challenge as to what constitutes historical fiction!

The Battle of Watling Street: A historical science fiction mystery set in 1st century AD Roman-occupied Britain.

Britannia, AD61. Following her disgrace at the hands of the occupying Roman forces, the Iceni Queen Boudicca rouses her own and neighbouring tribes against the Romans, laying waste to Londinium and slaughtering tens of thousands.

Boudicca’s forces clash with the legionary might of the Roman governor at the decisive Battle of Watling Street. Her Iceni warriors utterly defeated, Boudicca flees with the tattered survivors of her bodyguard.

Historians still dispute the end of Boudicca and the Iceni; did they escape to Wales or Ireland? Or did they stumble across a very different kind of deadly foreign occupier of their native lands?

Margaret McGoverne blogs about writing at www.margaretmcgoverne.com. You can connect with her on Facebook or Twitter.