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Accuracy Vs Authenticity: 5 Tips For Writing Immersive Historical Fiction

September 26, 2018 by Joanna Penn 28 Comments

I do a lot of research for my J.F.Penn thrillers and strive for historical accuracy in all my books, but historical fiction writers definitely have far more of a challenge!

5 Tips For Writing Immersive Historical FictionHistorical fiction readers are devoted to the genre and may know even more than the author about the period.

So how do you balance accuracy with authenticity of story? In today's article, historical fiction editor, Andrew Noakes, gives some tips.

“This is the worst book I’ve read in my life. It’s full of historical inaccuracies. If you’re looking for an author who knows something about their period, don’t bother.”

This is the review that all historical fiction authors dread. No matter how many hours of research you’ve done, no matter how much effort you’ve put into ensuring every detail is historically accurate, there’s always the niggling fear that you’re going to be blindsided by embarrassing mistakes and oversights.

Historical fiction readers aren’t just looking for a great story. They’re looking for a story that immerses them into a historically authentic world – a world imbued with the conventions, language, and practices of an earlier time.

So how do you make sure you give them that?

Simple, surely? You do your research, stick to the facts, and make sure you depict everything accurately.

Right?

Wrong.

In truth, it’s more complicated than that.

  • How can you accurately produce historical dialogue when people used to speak in Middle English…or Latin?
  • What about when people from the past actually defied the established conventions and stereotypes of their time?
  • How will your reader know what to believe?

The trick is to understand the distinction between authenticity and accuracy. Yes – historical fiction readers want to be immersed into an authentic world. In other words, a world that feels accurate.

Very often, this means creating a historically accurate depiction. But, when accuracy becomes alienating or confusing – or when it counterintuitively detracts from the feeling of authenticity – you’ll have no choice but to fictionalise the past.

Figuring out how to do this and where the boundaries lie can be challenging, so I’ve put together five top tips for helping you achieve authenticity when it conflicts with accuracy.

1. Don’t write dialogue like you’re Chaucer

“Sir,” quod this Somnour, “hayl! and wel a-take!”
“Wel-come,” quod this yeoman, “and every good felawe!
Wher rydestow under this grene shawe?”
Seyde this yeoman, “wiltow fer to day?”

Canterbury CathedralIf you’re striving for true historical accuracy in your 14th-century novel, your dialogue should look something like this (although probably without the poetic meter and rhyme!). These lines from the Canterbury Tales are written in Middle English.

If you opt to write your dialogue like this, your readers will find it impressive for all of about 10 seconds before moving onto something more comprehensible.

Never write your dialogue in Middle English. Or Old English. Or Latin.

But don’t write it in entirely modern English either.

Here’s a modern translation of Chaucer’s lines above:
“Alright fella,” said the bailiff. “Pleasure.”
“Pleasure’s mine mate,” replied the yeoman. “Where you off to, then? Going far?”

This doesn’t really strike the right tone. While it would work fine in contemporary fiction, the modern colloquialisms will grate in a historical novel.

Here’s an alternative:
“Good morning,” said the bailiff, “Well met.”
“Well met,” replied the yeoman. “To where do you ride? Is it far?”

This works a lot better. We’ve taken out the modern colloquialisms and replaced them with formulations that were either genuinely used in some form in the late 14th century (“Good morning”) or that sound archaic or neutral enough (“Well met”) to be inoffensive to the historically conscious reader.

We’ve also used some phrasing that sounds slightly archaic but is perfectly intelligible (“To where do you ride?”). At the same time, all of the unintelligible or jarring words and phrases from Chaucer’s version are gone. No “quods”, no “seydes”, no “wiltow fer to days”.

If you can learn to navigate these compromises and strive for authenticity rather than pure accuracy in your dialogue, you’ll have one important element of writing immersive historical fiction nailed down.

2. Stay away from anachronistic words…even when they’re not anachronistic

Here’s a little test: which one of these terms of endearment was not used prior to 1600?

  • Sweetheart
  • Darling
  • Baby
  • Honey

What? Surely none of them were, right? Wrong.

Couple in historical costumesOnly “baby” was not used as a term of endearment prior to 1600 (it was first used in this way in the 19th century). The others go way back – “sweetheart” to the 13th century, “honey” to the 14th, and “darling” – well that goes back all the way to the 9th century!

The point is this – word origins can be counterintuitive. You could use “honey” in your 14th century novel, but your readers may well refuse to believe it was really used in that context back then.

They may even leave a review accusing you of using historically inaccurate language. How annoying is that?

The reality is that, if the word feels wrong for your time period, your readers are probably going to object.

As perverse as it may sound, you’re better off staying away from words that could be jarring in this way. Something like “my love” is always going to be a safer option than “honey”.

Other words can catch you out in the opposite way.

The word “sadistic” sounds neutral enough that it might go back a few hundred years in one form or another, but, actually, its first recorded use was in 1892. The word “boycott” also goes back to only 1880. “Silhouette” was used in its broad sense only from 1843.

What do these words all have in common? They were named after people.

Whether or not you use them in stories set earlier than their true origins depends on your risk appetite. A word like silhouette, for example, is very unlikely to attract objections or to detract from the sense of authenticity in your novel, but the lesson is to never assume!

3. When the truth is stranger than fiction, make use of perspective

In history, the truth can be stranger than fiction. Often, this makes for great stories. Other times, it’s a recipe for confusion and disbelief.

Did you know, for example, that in the late 1700s it was thought that a man could avoid taking on the debts of a woman he married if she were to be naked (or almost naked) during their wedding ceremony?

Woman in costumeWould a general reader really believe this if you included it in your historical fiction novel? Perhaps. Perhaps not.

That doesn’t mean you can’t include things like this, though. If you think a reader might find something strange or unbelievable, then acknowledge it as such and provide an explanation.

How do you do this?

Simple. Make use of perspective.

Going back to the example of naked weddings (or smock weddings, as they were called), if you depict one or refer to one in your novel, then also depict one of your characters finding it strange and hard to believe.

Perhaps you have a character of a sensitive and sheltered disposition who thought such things were a myth and is horrified that they really happen. This then gives you an opportunity to acknowledge your readers’ disbelief while reinforcing the truthfulness of the depiction – for example, by having another character explain that they’re real and have been going on for years.

4. Acknowledge stereotypes even if you want to defy them

Historical facts can go the other way, too. Take the following stereotypes:

  • Upper-class men never used to attend childbirth. Wrong! Though certainly uncommon, there are examples of it happening.
  • Women didn’t fight. Wrong! There are hundreds of examples of women leading armies into battle or fighting alongside men, sometimes in disguise.
  • Women didn’t inherit property. Wrong! It could happen, even under the system of primogeniture (right of succession of the first-born child). Unless an ‘entail’ specifically forbade it, daughters could inherit land and property if there were no sons.

The problem is that these stereotypes are so well entrenched that a reader might not believe you if you depict one of your characters defying them.

As above, if you want to defy them, you’re going to have to at least acknowledge them.

Want to portray your Regency hero rushing to his wife’s side during childbirth? Fine, but have another character acknowledge that he’s deviating from a custom.

Want to depict your medieval heroine going into battle? Alright, but be prepared to show what tricks, political power, or unusual circumstances allowed her to do so.

5. Not everyone used to play by the rules

It’s worth considering that historical conventions were observed in the same way that modern conventions are observed – imperfectly. People used to ignore the rules. People used to misunderstand them. People weren’t aware of them.

carriageBefore you make every single character in your novel a devout rule-follower, consider that this might make for a less interesting story.

Sure, it was a social faux pas during the Regency era for a gentleman to initiate a conversation with a lady he did not know, but that doesn’t mean it didn’t happen, and it certainly doesn’t mean you can’t put it in your novel.

Just make sure you don’t portray everyone doing it, and use the other characters’ reactions to show that it was considered a breach of etiquette.

Likewise, you can portray a Regency-era woman breaking through gender conventions. Just make sure you make it clear what obstacles she faces, what the limitations are, and how much conflict it causes.

Don’t live in fear of a bad review

Bonus tip – don’t live in fear of a bad review. It might happen to you even if you follow all the rules. It might not. Do your research. Check your facts. Use these tips to mitigate the risks. And then move forward.

Historical fiction authors can become buried in the search for accuracy, so much so that they’re too afraid to publish. So much so that the story takes second place to the history. This doesn’t need to be you.

Make sure your novel feels authentic, but don’t lose sight of writing the story you want to write.

Do you write historical fiction? What aspects of accuracy vs. authenticity do you wrestle with? Please leave your thoughts below and join the conversation.

andrew noakesAndrew Noakes is a specialist historical fiction editor. You can get a free copy of his complete guide to accuracy and authenticity in historical fiction here, including a 3 step plan for ensuring historical authenticity in your novel, advice on how to balance historical accuracy with creative license, and useful research tips to help you avoid historical howlers. You can also visit his website and blog at TheHistoryQuill.com.

[Costumed woman photo courtesy Nick Karvounis and Unsplash.]

Tips For A Long Term Writing Career And Writing Historical Fiction With Colin Falconer

February 10, 2014 by Joanna Penn 3 Comments

OLD POST ALERT! This is an older post and although you might find some useful tips, any technical or publishing information is likely to be out of date. Please click on Start Here on the menu bar above to find links to my most useful articles, videos and podcast. Thanks and happy writing! – Joanna Penn

https://media.blubrry.com/thecreativepenn/p/s3.amazonaws.com/CreativePennPodcasts/Podcast_ColinFalconer.mp3

Podcast: Download (Duration: 43:05 — 20.3MB)

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long term writing career colin falconerIt's always fantastic to speak to authors who have been writing professionally for a long time, as the perspective they bring comes with the weight of a lot more experience of the publishing industry. In today's podcast interview, Colin Falconer speaks frankly about his own experiences and lessons learned, and I think you'll be fascinated by his point of view.

In the intro, I talk about The Twelve and the forthcoming Deadly Dozen ebook box-set with 12 bestselling thriller novels on sale for just 99c. I'll be doing a promotional competition on 24 Feb so keep an eye out for that. I also mention that I am interviewed on the Self Publishing Podcast this week, on 13 Feb, episode 93, about speaking for authors and foreign rights exploitation.

The podcast is usually sponsored by Kobo Writing Life, but today I'm introducing ‘Shadows at Moonrise Bay‘ by Jack Shadows at moonrise bayDunigan.

A tale of one man's exploitation of power and his desperate acts to hide the secrets that could destroy him and the organization he has built, Shadows at Moonrise Bay is a page-turning mystery you won’t be able to put down.

Available now on the Kindle as well as Nook, Kobo, and in paperback. Visit Jack’s website at JackDunigan.com

colin falconerColin Falconer is the international bestselling author of over 40 books translated into 23 languages, described as similar to Ken Follett – books with romance and high adventure, drawn from many periods of history.

  • How Colin started out in advertising as a copywriter because his early manuscripts didn't get published. He moved into scriptwriting for TV and other freelance work for magazines. After one article helped him get an agent, he started writing novels.

Does writing get easier after 40 books?

  • Colin it has got easier but he has only thought ‘he knows what he is doing about 3 years ago. So it was faking it while you make it for about 25 years! [ I think this makes all writers feel better.] You can only learn so much from books and classes, and in the end, you just have to do it.

On writing historical fiction

  • Isabella, Braveheart of France, Colin's latest book, is based on a story he found fascinating. Isabella was married to a king who was actually gay, and loved another man. This is a very contemporary predicament in the 13th century.
  • How much of historical fiction needs to be ‘true' and how much is fictional story. Colin's writing speculates on real history, and in the end, he cares about the story first.
  • On writing religion and walking the line, for example, in Colin's Jerusalem series.
  • On gender issues with writing romance – or love stories – as a man.

How travel is a key part of Colin's life … and his books

  • On deciding to write books based on places he wanted to travel to. [I do this as well!]
  • About ‘The Year We Seized The Day,' which is more of a moving travel memoir, written under the pen name Colin Bowles

On the publishing industry and the future …

  • Colin is a hybrid author, working with Cool Gus (indie idol Bob Mayer's imprint) as well as working on contracts with big publishing. Colin talks about some of his books that have failed miserably under print publishers but have succeeded spectacularly as ebooks. He talks about the anger and frustration of authors treated shabbily by large publishers, even to the point of having to change his author name due to the vagaries of the Bookscan system.
  • The positive side of the ebook revolution and the way the internet connects authors directly with authors. It enables readers to discover new writers, as many are sick of the same authors and same stories delivered over and over again in the bookstores. Instant gratification is also fantastic! Readers also have a stronger voice now, which is a mixed blessing in terms of reviews. But hearing from readers and talking to them directly is a much more symbiotic relationship.
  • On marketing. The blog as a connection with readers, but you don't know what will happen in the future, so you need to make sure you have your own site, and email list … just in case. We are still in the early stages of the revolution!
  • On global markets. We talk a little bit about the Australian market and Colin sees a change in the year he has been gone, because ebooks seem to have gone mainstream, as opposed to being ‘that American thing.' Colin has always sold well in Eastern Europe and he's like a rock star in some of those countries, even recognized in airports. Harem sold 180,000+ in Germany, but didn't do anything in the UK, Australia or USA. It just goes to show that we can never know where our readers are.

Colin's lessons learned from 25 years in the publishing game

  • Don't diversify your genre. The really top authors have not diversified. Being a one trick pony is not a bad choice. Learning about author branding is critical. Be more cautious about rights. Publishers may seem like your friend when they make an offer, but Colin has done a lot better with many books of his through ebooks than print. It's worth taking a good look at the contract as opposed to being seduced by the dream.

If you have any comments or questions for Colin, please leave them below.

isabella queen of franceYou can find Colin at his site, ColinFalconer.org and on twitter @colin_falconer.

His latest book is ‘Isabella, Queen of France.'

She was taught to obey. Now she has learned to rebel.

12 year old Isabella, a French princess marries the King of England – only to discover he has a terrible secret. Ten long years later she is in utter despair – does she submit to a lifetime of solitude and a spiritual death – or seize her destiny and take the throne of England for herself?

Isabella is just twelve years old when she marries Edward II of England. For the young princess it is love at first sight – but Edward has a terrible secret that threatens to tear their marriage – and England apart.

This is the story of Isabella, the only woman ever to invade England – and win.

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Most of the information on this site is free for you to read, watch or listen to, but The Creative Penn is also a business and my livelihood. So please expect hyperlinks to be affiliate links in many cases, when I receive a small percentage of sales if you wish to purchase. I only recommend tools, books and services that I either use or people I know personally. Integrity and authenticity continue to be of the highest importance to me. Read the privacy policy here. Read the Cookie policy here. I hope you find the site useful! Thanks - Joanna

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