Guest blog post by Liza Achilles: 3 Lessons I Learned From Writing a Historical Novel

I am delighted to welcome Liza Achilles, a blogger based in Washington DC, USA, who has written a guest post for The Three Hares Blog.

Writing a historical novel was one of the most interesting activities I have done in my life. Unlike many other types of novel writing, historical novel writing requires a large amount of research. That research comes in several forms, as I will explain in this article. Below are 3 lessons I learned about writing a historical novel during my novel-writing journey. Perhaps these tips will help you if you tackle a historical novel project of your own.

#1 The Value of Visiting University Libraries

When I began researching my historical novel, I considered any book on my topic to be relevant. I stocked up on books from local bookstores and libraries. But I quickly discovered that not every book is of the same quality. Some books contain errors, unfair stereotyping, or generalities that gloss over key points. The books available at local bookstores and libraries were good for a cursory introduction to my subject; but to go deeper, I needed a university library.

I was fortunate that my husband (at the time) was affiliated (at the time) with first one university library and then another. Spouses were given, as a perk, a library card. I imagine that for some spouses, that wasn’t much of a boon. For me, it was a golden ticket to the stacks! (Many university libraries allow you to get a library card for a nominal fee if you don’t have a connection to the library.)

The excitement of browsing the stacks – there’s nothing like it. I would look up a subject on a computer and find a few call numbers. I would venture into some dark and crowded corner of some tower, and locate my book. I would then browse all of the nearby books, looking for something new and interesting. Often the book I took home would not be the book whose call number I found, but a book nearby in the stacks.

It was only with the help of these university books that I was able to correct errors, debunk stereotypes, and dig into important nitpicky details. All of this information was essential to crafting a novel that was as faithful as possible to the reality of what happened during my target time period.

#2 The Value of Visiting Historical Sites

No book about a location can replace a visit to that location. Books can and should supplement a visit. But there’s something powerful and special about experiencing a location in person – even if your visit does, of necessity, occur tens or hundreds of years after your target historical time.

Many historical sites have museums, plaques, monuments, grounds, or reenactments whereby you can immerse yourself in the history of the place. You can view some of the actual objects used by people during the historical period and walk on the actual terrain that was walked on back then. You can also talk with historical experts and read the extensive information provided at such sites.

I found immense value in visiting not just the site where my novel takes place, but also nearby and related sites. It’s always instructive to compare and contrast sites, to take in what is the same and consider what is different, and thus to better home in on your target historical location.

I also recommend touring public lands that aren’t part of any museum. Every place has its own flora and fauna, its own terrain and aura. Soak in the feel of the place, while being careful to distinguish between how things were during the historical time and how things are now. For example, invasive species might now inhabit the area, while other species might have gone extinct. Water levels and the climate might be different. (You can find this information through books and the Internet.)

#3 The Value of Using Primary and Secondary Sources

When researching a historical period, it’s important to distinguish between primary and secondary sources. Primary sources are writings done by people during the target time period. Secondary sources are writings done by people who came later, who wrote about the primary sources (or about other secondary sources).

Primary sources are a must-read because these are the people who were present when the action was happening. They are closest to your targeted time period and thus can be considered, in a way, most reliable. However, in another way, their reliability must be evaluated carefully, since being close to the action can result in all-too-human biases, mistakes, and sometimes even lies. This is where secondary sources come in.

Secondary sources are a must-read because these are the people who have carefully evaluated the quality of the primary sources and drawn conclusions not obvious in the primary sources. When well written, secondary sources are extremely reliable, and they may correct any factual errors, biases, or lies in the primary sources. However, when not well written, they may perpetuate errors, biases, or lies, or introduce new ones.

The bottom line is, dig into both primary and secondary sources, but read them critically and evaluate their reliability.

Conclusion

Research for a historical novel comes in several different forms. You might spend time visiting university libraries, touring historical sites, and consulting primary and secondary source materials. These activities helped me immensely while crafting my historical novel.

Are you working on a historical novel? What lessons are you learning from the experience?

Liza Achilles is a writer, editor, poet, and coach based in the Washington, D.C., area of the USA. She blogs about seeking wisdom through books and elsewhere at lizaachilles.com.

Guest blog post for Liza Achilles (lizaachilles.com)

It’s always a great pleasure to be invited to be a guest blogger, and today’s post is for fellow-blogger Liza Achilles. She asked me to reflect on a book that has influenced my life, and my response is a piece called Words, Words, Words – The Book That Made Me a Writer (the picture might just give you a clue about which book that is!). Head on over to lizaachilles.com to have a read – and while you’re there, do have a look at her posts on seeking wisdom through books and elsewhere.

Don’t go there – imagination, the weird, and why I haven’t written fiction

Recently, I have tentatively started writing short fiction again.  Apart from occasional poetry, most of what I write is nonfiction, often around history and place.  This is partly because nonfiction is my preferred genre (both as a reader and as a writer) but also because of something that happened when I was seventeen.

I have written before on this blog about the creative writing A level I did in the 1980s, which included both poetry and short fiction.  The poetry element was fine – I enjoyed it, was good at it (so much so that my work was published in a volume of examples by the examinations board) and I got a lot out of workshops with poets including Gillian Clarke.  Fiction, however, was another matter altogether.

Like most children, I had always written stories.  I was also an avid reader, often of books well beyond my age group.  The town where I was at school at the time also housed the county library, and I spent a lot of time browsing the shelves, often discovering books which had not seen the light of day for many years.  One particular find was a volume of ghost stories by M.R. James, which according to the date stamp had last been issued in the 1950s.  James was a revelation – obviously, I’d come across ghost stories before, but what I particularly liked about his work was the ambiguity.  His stories did not have tidy endings, they did not provide explanations for what the characters had experienced, they left possibilities open for the mind of the reader to pursue.

Fresh from reading M.R. James, then, I took on the challenge to write a short story for my portfolio.  My English class had recently gone on a field trip to the graveyard of a local chapel, which had resulted in my writing a poem (‘Churchyard on the Hill at Salem’).  It also gave me an idea for the end of my story.

I no longer have the manuscript, but the story went something like this.  Told in the first person, it concerns a teenage girl who is gradually losing her ability to judge what is reality and what is her imagination.  Strange things appear to happen to her in her ordinary life of home and school.  She thinks that a procession of men visit her mother when her father is away on business, but as she becomes increasingly detached from her own life, she wonders how much she can trust her own judgment.  She plays truant, and find herself wandering through the churchyard.  Finding herself drawn to one particular headstone, she brushes away the ivy with her hand to reveal the inscription.  It is her own name, and the date of death is the following day.

Black and white photograph of an old headstone, carved with a winged skull at Felbrigg Hall (National Trust) Norfolk. Copyright Lisa Tulfer 2020
Headstone at Felbrigg Hall (National Trust), Norfolk. Copyright Lisa Tulfer 2020

I was rather pleased with this story.  I felt I had managed to evoke a mood of dreamy unreality, create an unreliable narrator, and write an ending with supernatural overtones but with, to me, pleasing ambiguity.  I submitted it to my English teacher for comment.

Two days later, my teacher kept me behind after the lesson.  She had ‘concerns’, she said.  She had spoken to the deputy head with responsibility for student welfare, and they had decided to speak to me before referring the matter to the Social Services department of the County Council.   Was the story, she wanted to know, in any way autobiographical?  Was I having suicidal thoughts?  Was I living in a household that was, effectively, a brothel?

After a few seconds of stunned silence, my first reaction was to laugh – the idea was hilarious.  My mother had always made it quite clear that she didn’t like sex, that it was a necessary evil which had to be endured to have children, and that once the menopause precluded me having any siblings, sex was something she was relieved no longer to have to do.  The idea that she would have more sex than was essential for procreation was, frankly, hysterically funny.  I tried to explain this to my teacher, as delicately as possible.  She looked doubtful, but accepted my response.  My second reaction, though, was bewilderment.  The assignment was to write a short work of fiction.  I was using my imagination – both in terms of the home scenario, so different from my own, and also the supernatural element.  I was juxtaposing the mundane contexts of home and school, and weaving a story from the results of letting my brain freewheel.  Surely that was the nature of fiction – that it wasn’t a true story?  So why were they – the teachers – assuming that it was autobiographical?  Why did they think that my brain wouldn’t be capable of making that jump from what is to what might be?  Why was I getting into trouble for doing what I had been asked to do – using my imagination to create a fictional world with fictional characters and events?

Evidently what I said reassured the teachers, because Social Services were not brought in.  But the remaining short fiction I wrote for my portfolio was anodyne, tame, safe.  I made sure I didn’t give any cause for concern about my safety or my mental health.  A family goes on a daytrip to the beach, eats sandwiches, plays ball, swims, comes home.  Someone goes for a walk in the woods, sees some animal tracks and wonders what has made them.  The stories I wanted to write were very different – a family goes on a daytrip to the beach, and play with a lone child in an old-fashioned style swimming costume.  When the family swim, the child disappears.  They summon the lifeguard, there is a search.  The child isn’t found.  Cut to an Edwardian newspaper report of a drowned child on that very beach.  Or, someone goes for a walk in the woods.  They see animal tracks, and follow them.  Gradually the tracks morph into human footprints.  In a clearing, they come face to face with the creature they have been following.  But I didn’t write those stories – I played it safe.  Got a good grade.  The teachers stopped watching me.  I had learned that to write fiction that explored the possible, the unexplained, the dark places where the mundane meets the unthinkable, was a Bad Idea and would Get Me Into Trouble.  I never wrote fiction again.

Until this year.  Perhaps because I have felt unable to read fiction in the dystopian reality of Covid 19, I have started to think about writing it again.  I am dipping my toe into the dark pool of my imagination and am writing short stories set in the everyday, about the past, death, the unexplained, with supernatural elements and enigmatic endings.  What I didn’t know, aged seventeen in my provincial small-town school, was that an entire genre of weird writing has been around since the Victorian era – there is even a ‘thing’ called women’s weird – which nowadays is celebrated.  Three decades and more later, I know that having an imagination that enables me to dream up weird writing doesn’t make me weird, and this time round I hope that exploring my imagination will not Get Me Into Trouble.