How to Write Historical Fiction

So I'll admit it, my count for published historical fiction is zero, BUT I would like to someday in the future! Several of my friends have noticed within our classes, how hard it is to get decent feedback for written historical fiction. We're taught not to use overly complicated metaphors or archaic language, yet these are common for books written during most historical periods. There is also the added difficulty of historical accuracy, very few people in any writer's workshop can often claim to have a large amount of historical knowledge. But there are a few guidelines and practices that I have found useful, when practicing my writing of historical fiction.

• Read up on the time period you are writing in - This can be both historical fact and fiction, often I've found the best ways are through good fiction writers, but non-fiction has its uses and you won't learn everything from fictional accounts. I recommend Philippa Gregory, Hilary Mantel, Eva Ibbotson, Adeline Yen Mah, John Boyne and Markus Zusak.
  
• Research about a normal day - If you have some characters in your mind, find out what would have been a normal day for them. Shocking political upheavals and plagues aside, learn what they would have done in the morning, how their family would have spent their time, what they would have eaten, what would they have talked about. The key with historical fiction is in subtle details, interwoven into the plotline. There will be all sorts of things you haven't ever thought about, but do so when just describing their day and it's a good way to kick start your research.
  
• Don't just rely on firsthand testimonies - This is mostly for 20th Century historical fiction (unless you happen to know someone who was alive during the battle of Hastings)! While firsthand accounts are useful, whoever you're gaining the information from won't be omnipresent. So make sure you have knowledge of both the period and events going on. The invented character can be naive or, like many people, not entirely aware of everything going on, BUT you should be. Your informant may have forgotten certain parts of what happened and you may want to change the story in some way. Remember the key is in subtle details and if you don't know something it will show.
  
• Don't rely on films - As fun as films are, they have a perchance to take a few liberties with historical details. Some are perfectly reasonable, but most of us would draw the line at landing craft, that weren't even invented until 1920, in a medieval film *coughRobinHoodcough*. Also, most films and TV shows use modern phrases to make their characters more appealing or to market it better to the public; and it's unlikely anyone was as gorgeous as...

Or: 

Or: 

However, drooling over the above men is perfectly acceptable!

• Having said that... - Don't bawl your eyes out if you don't know something and can't find it out. Sometimes what you want to know is so obscure and bizarre, you won't even be able to find it in any books, articles or online journals. Take a good guess or move onto the next bullet point...
  
• Historians are your friends - Sometimes this won't even be a professional historian, just a person who bloody loves whatever era you're writing about. If you give this person you work to critique, don't get pissy if they leave little historical notes all over your work. Run to them, kiss them and seek their advice. Take this opportunity to learn more from someone who's already done a load of research for you! They're not criticising you, just your work.
  
• Historical criticism is just as useful as writing criticism - I don't understand why this divides some people, apparently you're only meant to look at the writing itself, but if you had made an error with a Sci-fi book (say a particular piece of science) or a murder mystery (say police organisations) then people would point it out as a flaw in your writing. Getting things badly wrong in a historical novel is not something you want a publisher or agent to see. As I've said, sometimes you can take liberties, but it's better to know what you're talking about when it gets to that stage.
  
• Immerse yourself in the world - Visit castles, visit museums, visit churches, visit wherever your character toddles off to; within reason obviously, but find pictures and written pieces about the place. If your character likes certain places, e.g a woods or lake, try to find one near you and picture your character there. See if you can make a dinner they would have eaten or spend some time doing the activities they would have done.
  
• Get to know the Bible - Yes this sounds weird, I'm not trying to convert anyone I promise! But generally, if you're writing about a time in European history, then the Christian faith was a big part of everyone's life for thousands of years. Catholic, Church of England, Protestant, Quakers, learn how religion influenced every day life and huge political goings on. Naturally, if you're writing about China in the 12th Century, you don't have to worry so much about this!
  
• Get to know stories - Arthur and the Knights of the Round Table, Greek Myths and Legends, Shakespeare's work, etc.
  
• Enjoy doing what you do best - Writing a great story and getting to research your favourite historical period.

Good Luck!

Sexism within the Historical (Historically Inspired) Genre

This is an issue that makes me grit my teeth with annoyance, whenever an author uses a historical basis for a novel or sets it during a particular period, they are often accused of sexism because of the way women are represented. It seems all too easy for people to forget that the women, although they can be identifiable and sympathetic characters, that they are part of a time where women do not have the same rights as we do.

Truthfully, I'm sometimes amazed by how much authors can get away with making their characters more modern and independent than they probably were during the times. Philippa Gregory's infamous The Other Boleyn Girl, showed a balance between two different women; Mary Boleyn, who obeyed her male family members and did her duty, but was able to escape and find love. And Anne Boleyn, who uses her wiles and intelligence to gain power, although it leads to her downfall. People could argue this is sexist, that a woman using her charms and sexual power is anti-feminist, but during Tudor times this was basically all a woman had to gain power.






Yet even with novels that take inspiration from historical periods, rather than basing their story within one, often lead to criticism of female characters. Possibly more so when the book is not written by a woman. George R R Martin's series of novels, A Song of Ice and Fire (made notably famous by HBO's adaptation Game of Thrones) has received such criticism for the portrayal of women and sexual relationship within it. It would be impossible to deny the relationship between ASoIaF and the Cousin's War (or the War of the Roses - fought between the houses of York and Lancaster during 1455 to 1487). I came across many people who said about any and all female characters, 'Why did she obey her father when she didn't want to? Why doesn't she just leave? Why can't she make her own decisions?' Likewise, with Philippa Gregory's The White Queen, The Red Queen and The Kingmaker's Daughter, people keep forgetting these women don't have the luxury of choice. They have to maneuver themselves into the best position possible, all the while thinking about their family, their ties with friends and those in power. Many people dismiss Sansa in ASoIaF as weak and idiotic (the book portrays her better, giving us more insight into her thoughts and feelings); but even in the TV show she attempts to use her skills of manipulation to get what she wants.

Joffrey (after having Sansa kiss his sword - not a metaphor): You'll kiss it again when I return and taste my Uncle's blood. 

Sansa: Will you slay him yourself?

Joffrey: If Stannis is fool enough to come near me. 

Sansa: So you'll be outside the gates fighting in the vanguard...? 

Joffrey: A King doesn't discuss battle plans with stupid girls. 

Sansa: I'm sorry, your Grace, you're right, I'm stupid. Of course, you'll be in the vanguard. They say my brother Robb always goes where the fighting is thickest...and he's only a pretender.

Strangely, most people seem to ignore this attempt. Perhaps because it is almost too obvious. But what she does is clever, pushing Joffrey to endanger his life by comparing him with her brother, triggering his sense of masculine pride and urging him to fight where it is most dangerous. Sansa is not like Arya, her sister, nor ever will be. It is futile to compare the two as both are very different. But she's learning within the world of the court, what it is to use people's expectations of her against them. Her strength isn't through physical force, she doesn't have Daenerys' dragons, Arya's skill with a sword or Ygritte's with a bow, but she learns to use her beauty, facade of innocence and her skill with words to slowly begin to gain what she needs.

But let's not forget the ultimate of woman empowerment within the historically inspired genre. Eowyn from Lord of the Rings, written by J R R Tolkien. Eowyn does not even try to manipulate others to gain what she wants. She's frank and honest, surviving in a time of increasing difficulty: her Uncle's loss of power, her cousin's death and her brother's banishment. All the while desiring to fight and defend her country. To not be considered weak, because she is a woman.

“What do you fear, lady?" (Aragorn) asked. 

"A cage," (Éowyn) said. "To stay behind bars, until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire.”

Some have argued that Eowyn is representative of the women who took up male roles within the working environment; I, however, dispute this as simplistic and undermining Tolkien's great use of European myths and legends. Had she remained at home as her brother and Uncle so often remind her, for that is her duty and task, the initial war between Gondor and the forces of Mordor would have never been won. It is a woman who is the first to challenge the chief servant of Sauron, due to her desire to protect her family.

“Hinder me? Thou fool. No living man may hinder me!" (the Witch-king of Angmar). 

Then Merry heard in all sounds of the hour the strangest. It seemed that Dernhelm laughed, and the clear voice was like the ring of steel."But no living man am I! You are looking upon a woman. Eowyn am I, Eomund's daughter. You stand between me and my lord and kin. Begone, if you be not deathless! For living or dark undead, I will smite you, if you touch him."   

The winged creature screamed at her, but then the Ringwraith was silent, as if in sudden doubt. Very amazement for a moment conquered Merry's fear. He opened his eyes and the blackness was lifted from them. There some paces from him sat the great beast, and all seemed dark about it, and above it loomed the Nazgul Lord like a shadow of despair. A little to the left facing them stood whom he had called Dernhelm. But the helm of her secrecy had fallen from her, and and her bright hair, released from its bonds, gleamed with pale gold upon her shoulders. Her eyes grey as the sea were hard and fell, and yet tears gleamed in them. A sword was in her hand, and she raised her shield against the horror of her enemy's eyes.”

So in the end, I would argue that all these women have as much power as reasonably gained. The authors themselves aren't sexist; they are merely applying the rules, morals and politics of the time or of their created time on these characters. Abandoning realism to suit a desire to craft modern women in a historical period, simply reduces a story and the depth of characterisation. It does not make a story better. Readers like to see unlikely and downtrodden characters do well, and having a range of different women means young girls can find something inspiring and personal for them; even if the characters like dresses, lemon cake, roses, swords, get married, have children or remain single. Our ability to like a character should not be based on their gender, but how well written the story and characters are.

References: HBO's Game of Thrones, Lord of the Rings - The Two Towers (J R R Tolkien), Lord of the Rings - Return of the King (J R R Tolkien). The Other Boleyn Girl, The White Queen, The Red Queen and the Kingmaker's Daughter (Philippa Gregory).