Crafting Authentic and Dynamic Female Characters in Historical Fiction

Crafting Authentic and Dynamic Female Characters in Historical Fiction

Crafting Authentic and Dynamic Female Characters in Historical Fiction

Character development

In the world of historical fiction, the portrayal of characters is a captivating art form. Historical figures, just like people today. So based on the condition that this holds true for both men and women, authors need to build intricate layers of complexity, encompassing their thoughts, emotions, desires, and beliefs.

However, the first thing to remember when it comes to creating strong and compelling female characters in historical fiction is that writers, regardless of their gender, often find it difficult to depict characters of the opposite sex with authenticity and nuance. But, don’t let this put you off. Men can write with authenticity about women and women can write authentically about men. To truly bring historical female characters to life, it is essential to delve deep into their psyche and imbue them with the richness and depth they deserve. This blog post aims to explore effective techniques for developing multidimensional and well-rounded female characters within the historical fiction genre.

One crucial aspect of character development is ensuring that your characters possess the same level of complexity as people in contemporary society. They should think, feel, and possess a compelling backstory, desires, and beliefs. By doing so, readers can relate to them on a profound and genuine level, transcending the barriers of time and culture.

The Big Five – Writing Strong Female Characters

Category:Big five personality traits - Wikimedia Commons

As you embark on the journey of crafting authentic female characters, consider examining where they stand on the Big Five Personality Traits – a model widely used in psychology to assess human personality. These traits include:

  1. Openness: How receptive is your character to new experiences, ideas, and perspectives? Are they curious and intellectually adventurous? Weaving these traits into their narrative can make them relatable and engaging.
  2. Conscientiousness: Does your character display traits of being organized, responsible, and self-disciplined? Are they meticulous in their actions and possess a strong sense of duty? Exploring the impact of conscientiousness on their decisions and interactions can add depth to their portrayal.
  3. Extraversion: Is your character outgoing, sociable, and energized by social interactions? Or do they lean towards introversion, finding solace in introspection and personal reflection? By understanding their position on this spectrum, you can create realistic dynamics within their relationships and social environments.
  4. Agreeableness: How compassionate, cooperative, and empathetic is your character? Are they inclined towards altruism and forming harmonious connections with others? Delving into their agreeableness can reveal their motivations, conflicts, and potential for growth.
  5. Neuroticism: Does your character experience emotional instability, anxiety, or mood swings? Alternatively, are they characterized by emotional stability and resilience? Exploring their emotional landscape can provide a profound insight into their reactions to adversity and their overall character development.

By thoughtfully considering these personality traits, you can infuse your historical female characters with authenticity, allowing them to resonate with readers on a deep and meaningful level. Remember, just as people today, historical figures deserve to be portrayed as complex individuals with their own hopes, fears, and aspirations.

On the whole, it must be said that writing historical fiction is an opportunity to breathe life into the past, bridging the gap between eras and cultures. By creating compelling and well-rounded female characters, you can offer readers a captivating journey through time while showcasing the strength, resilience, and complexity of women throughout history. So, embrace the challenge, dive into research, and let your characters shine as vibrant testaments to the enduring spirit of humanity.

Where would your characters fit in the Myres Briggs range of personality types?

Authenticity in Fiction & Realistic Portrayals

As an author venturing into the realm of historical fiction, my goal is to create believable characters that resonate with readers. To achieve this, I strive to develop multi-dimensional and well-rounded individuals who undergo significant growth and transformation throughout the course of the narrative. The challenges they face shape their reactions, choices, and dialogue, ultimately driving the story forward. See also: 10 Things That Turn Characters Bad.

True Essence

To effectively portray characters, it is essential to reveal their true essence to the reader. This requires a deep understanding of the characters themselves, as well as the dynamics at play within their relationships. While the characters may be unaware of certain aspects of their own personalities, the people around them often possess insights that shed light on these hidden traits. As the story unfolds, the characters embark on a journey of self-discovery, unearthing new aspects of themselves that influence their actions and words.

Self-Awareness

To truly show the reader who the characters are, it is crucial for the actors (the characters themselves) to possess self-awareness. They must grapple with their own strengths, weaknesses, desires, and fears, allowing these elements to shape their behaviour and decision-making. By delving into the depths of their psyches, I can present characters that feel authentic and relatable.

Character Arcs

In order to bring these multi-dimensional characters to life, I believe in the power of character arcs. Over the course of the story, the obstacles I place before them serve as catalysts for change. As they confront and overcome these challenges, they evolve and grow, ultimately transforming into individuals with newfound wisdom and resilience. These arcs allow readers to witness the characters’ development and connect with their journey on a profound level.

By staying true to their personalities and giving them room to grow organically, I can craft narratives that resonate with readers, offering a compelling and immersive experience.

Bring the Past to Life

In the realm of historical fiction, the characters become conduits through which the past comes alive. By revealing their complexities, vulnerabilities, and self-discovery, I hope to captivate readers and provide them with a window into the human condition. The journey of self-understanding, both for the characters and the readers, becomes an enthralling exploration of the intricate web of humanity.


Using a Johari Window – Nuanced Character Development

Writing Multidimensional Characters

When it comes to developing authentic and relatable characters in historical fiction, the Johari Window can serve as a valuable tool. This psychological concept illustrates the different aspects of self-awareness and knowledge that characters possess throughout their journey. By understanding this framework, we can effectively showcase character growth and create engaging narratives.

The Open Pane

In the open pane of the Johari Window, we find the aspects known to both the character and others. These elements are the foundation of the character’s personality and are typically evident in their actions, thoughts, and interactions. By establishing this shared knowledge, we provide readers with a clear understanding of the character’s motivations, strengths, and weaknesses.

The Closed Panes

However, there are also aspects known only to the character themselves. These hidden traits, desires, and fears shape the character’s internal world. Exploring these facets of their personality allows for deeper character development and creates opportunities for self-discovery as the story progresses.

Conversely, there are elements known by others but not yet realized by the character. These insights held by secondary characters or even the reader can add depth and complexity to the narrative. They can act as mirrors, reflecting aspects of the character’s personality that they may be blind to, thereby facilitating growth and self-awareness.

Lastly, there are aspects that remain unknown to both the character and others. These represent the mysteries and revelations that the character will encounter on their journey. As they strive to achieve their desires and confront obstacles, they will unravel these hidden aspects, creating a compelling arc of self-discovery and transformation.

Establishing a Profound Desire or Goal

Mystery Man on Film: Character Goals

To give the character a strong starting point, it is essential to establish a profound desire or goal. This driving force will shape their actions and decisions throughout the story. Whether it’s Jane seeking love or Belle yearning for freedom, the character’s pursuit of their heart’s desires becomes a central focus. However, the path they choose and the choices they make are heavily influenced by the groundwork set in their characterization.

Moral Complexity & Personal Growth

Morally Grey Characters in Books // Why do they make such interesting characters+ book recommendations with such characters – BOOKATHON

It is true that contemporary women’s fiction, including historical and modern literary fiction, often features morally complex characters. These complex characters provide an avenue for extraordinary and unexpected actions, adding depth and intrigue to the narrative. However, it is important to remember that moral complexity should be balanced with authenticity and genuine character development. Your character’s choices should stem from their unique motivations and experiences, rather than being contrived for shock value alone.

That doesn’t mean you can’t develop a morally ‘grey’ character. Morally grey or morally ambiguous characters are those who are not like traditional heroes. They do or have done some morally questionable things whose consequences can make for fascinating reading.

By utilizing the Johari Window and understanding the character’s known and unknown aspects, we can delve into their psyche, emotions, and desires. This framework enables us to create characters who undergo transformative journeys, evolving in response to their challenges and self-discovery. Through thoughtful and nuanced storytelling, we can breathe life into historical figures, allowing readers to connect with their struggles, triumphs, and personal growth.


Memorable Female Characters

What sets apart beloved female characters in literature is their ability to overcome the hurdles society and their families place in their paths. By establishing clear goals and presenting formidable opposition, authors can create compelling narratives that resonate with readers. It is important to note that an attractive female character does not necessarily require a “bad-ass” attitude towards the law, but rather a tenacious spirit and the strength to face adversity head-on.

Strong Female Characters

Elizabeth Bennett

Take Elizabeth Bennett from Jane Austen’s Pride and Prejudice as an example. Her goal is to secure a marriage with the richest and most handsome man in town. However, her journey is packed with societal expectations, familial pressures, and her own personal biases. To achieve her goal, Elizabeth must challenge her own preconceived notions and navigate the complexities of relationships, ultimately finding love and happiness on her own terms.

Emma Harte

In Barbara Taylor Bradford’s A Woman of Substance, Emma Harte is driven by the ambition to build a business empire and achieve financial independence. Throughout her romantic ups and downs, she encounters numerous obstacles, including gender bias, societal norms, and personal sacrifices. Emma’s determination and resilience allow her to triumph over adversity, establishing a legacy that transcends societal expectations.

Jo March

Similarly, Louisa May Alcott’s Jo March in Little Women aspires to become a teacher and fulfil her writing ambitions. Jo faces challenges such as societal expectations for women, financial constraints, and personal growth. Through her perseverance and determination, Jo not only becomes a successful writer but also finds fulfilment in her personal life.

What makes these characters so well-loved?

What makes these characters so well-loved is their ability to confront and conquer the obstacles placed before them. Their goals are not easily achieved, requiring them to challenge societal norms, familial expectations, and their own limitations. These characters exhibit resilience, adaptability, and the courage to pursue their dreams despite the barriers they encounter.

In creating attractive female characters, it is important to develop well-defined goals that resonate with readers. These goals should be significant, reflecting the character’s desires, passions, or ambitions. By providing strong opposition, whether from society, family, or internal conflicts, authors can generate tension and engage readers in the character’s journey.

Rebel Without a Cause?

However, it is crucial to note that an attractive female character does not necessarily require a rebellious or “bad-ass” attitude towards the law. What truly captivates readers is a character’s depth, authenticity, and relatability. Their strength lies not only in their defiance of societal norms but also in their vulnerability, growth, and the complexity of their emotions.

So, as writers, let us craft female characters with compelling goals and formidable opposition. Let us explore the depths of their resilience, determination, and inner strength as they navigate a world that seeks to confine them. By depicting their journeys with authenticity and nuance, we can create memorable characters that inspire and resonate with readers for generations to come.


Angels are for heaven, not this earthly realm.

Embracing the Flaws: Crafting Complex and Human Characters

In the realm of storytelling, it is the imperfections and flaws that truly make characters come alive. Whether they are angelic or mortal, male or female, the strengths and weaknesses inherent in being human are what shape their narratives and make them intriguingly flawed. It is through these imperfections that characters find their relatability, growth, and ultimately, their memorable qualities.

While angels may symbolize purity and perfection in the heavenly realm, it is the flaws and complexities of human characters that captivate readers on this earthly plane. By embracing and exploring these imperfections, we breathe authenticity and depth into our characters, making them relatable and compelling.

Balancing Flaws and Strengths

Every human, regardless of gender, possesses a unique blend of strengths and weaknesses. These attributes define their character and shape their actions and decisions. However, it is important to remember that relying too heavily on strengths can lead to downfall, just as weaknesses can be a source of growth and resilience.

Crafting interestingly flawed characters involves balancing their strengths and weaknesses, allowing both to shape their journey. Characters who solely rely on their strengths may encounter situations that expose their vulnerabilities, forcing them to confront their limitations and reevaluate their choices. Conversely, characters who begin with apparent weaknesses can find unexpected reserves of strength and overcome seemingly insurmountable obstacles.

Opportunities for Growth

Flawed characters offer opportunities for growth, transformation, and compelling storylines. Their imperfections create internal and external conflicts, driving the narrative forward and providing readers with a genuine and relatable experience. As writers, we can explore the intricate interplay between strengths and weaknesses, showcasing the complexities of the human condition.

By giving our characters space to evolve and learn from their mistakes, we create narratives that reflect the real-world journey of self-discovery. Characters who acknowledge and address their flaws can experience profound growth, connecting with readers who see aspects of themselves within these struggles and triumphs.

So, as we embark on the task of crafting engaging characters, let us embrace their imperfections. Let us delve into their strengths and weaknesses, exploring the intricate dance between these qualities. By presenting characters who are flawed, yet compelling, we offer readers a mirror to their own human experiences, encouraging empathy, introspection, and an enduring connection to the story being told.

Fears and Weaknesses

Overcoming weaknesses could be the making of a remarkable historical character, so don’t think to create a sassy heroine she has to be macho or fearless.

The most common fears for women are pretty much the same as they have always been. Which of these fears are you going to challenge your female historical characters with?

  • not getting married or finding a life partner,
  • not having kids or losing a child,
  • getting old, maimed, or scarred,
  • being killed or raped,
  • being trapped in a loveless relationship,
  • being abandoned
  • ending up in poverty or dying alone.

Unveiling the Stakes: Empowering Historical Heroines

In the realm of historical fiction, the fate that awaits our heroines adds an element of intrigue and urgency to their narratives. As skilled writers, we have the power to create mesmerizing characters who utilize their strengths, weaknesses, and ingenuity to save themselves from their impending and often dire destinies.

It’s a High Stakes Game

One crucial aspect of storytelling is ensuring that the reader is aware of the high stakes faced by our historical heroines. By clearly communicating the potential consequences of failure, we heighten the tension and engage the reader on a profound emotional level. Whether it is the threat of societal ruin, loss of loved ones, or personal tragedy, the weight of their fate hangs in the balance.

Mesmerizing historical characters understand the gravity of their situations and use every tool at their disposal to overcome the challenges they encounter. They tap into their strengths, leveraging their unique abilities, talents, and resilience to navigate treacherous paths. Simultaneously, they acknowledge their weaknesses, recognizing areas where they must grow or seek assistance.

Ingenuity becomes a valuable ally in their journey.

Ingenuity becomes a valuable ally in their journey. These characters think creatively, seeking unconventional solutions to seemingly insurmountable obstacles. Their resourcefulness, adaptability, and strategic thinking enable them to outmanoeuvre their adversaries and alter their destinies.

By portraying heroines who actively shape their own narratives, we empower readers with a sense of agency and inspire them to face their own challenges with determination and courage. Witnessing the transformation of historical heroines as they defy their horrible fates instils hope and fuels a deep connection between the reader and the character.

Getting the Balance Right

However, it is essential to strike a delicate balance in portraying their struggles. While the stakes may be high, it is equally important to depict moments of vulnerability and emotional resonance. Readers are captivated by the multifaceted nature of characters who showcase a range of emotions, as it mirrors their own humanity. These authentic portrayals add depth and relatability, fostering a stronger connection between the reader and the heroine.

In the realm of historical fiction, we have the power to breathe life into captivating heroines who defy their predetermined fates. By clearly establishing the stakes, showcasing their strengths and weaknesses, and highlighting their ingenuity, we create narratives that grip readers and transport them to the past. These heroines inspire, empower, and ignite the imagination, leaving an indelible mark on the hearts and minds of those who embark on their extraordinary journeys.


Not the Prettiest Girl in Town

Characters we come to love are not the prettiest girls in town or the girls who never lose their temper.

Embracing Imperfections:

Complex and Resilient Historical Heroines

A point often overlooked is that the most beloved characters in literature are not always the prettiest or the ones who never lose their temper. Instead, it is their complexity, unique traits, and relatable flaws that captivate readers and make them truly unforgettable.

Take J.K. Rowling’s Hermione Granger, for example. She is a know-it-all, fiercely intelligent, and unafraid to showcase her vast knowledge. Rowling said the character of Hermione has several autobiographical influences: “I did not set out to make Hermione like me but she is a bit like me. She is an exaggeration of how I was when I was younger.” She recalled being called a “little know-it-all” in her youth. And she says that not unlike herself, “there is a lot of insecurity and a great fear of failure” beneath Hermione’s swottiness. Finally, according to Rowling, next to Albus Dumbledore, Hermione is the perfect expository character; because of her encyclopedic knowledge, she can always be used as a plot dump to explain the Harry Potter universe. Rowling also states that her feminist conscience is rescued by Hermione, “who’s the brightest witch of her age” and a “very strong female character.”

Dorothy L. Sayers’ Harriet Vane, a gawky and unorthodox bluestocking, faces false accusations of murder, demonstrating her resilience and determination. Vane, a mystery writer, initially meets Lord Peter Wimsey while she is on trial for poisoning her lover (Strong Poison).

Louisa May Alcott’s Jo March possesses a fearful temper. Second oldest of the four sisters, Jo is boy-like, the smartest, most creative one in the family; her father has referred to her as his “son Jo,” and her best friend and neighbour, Theodore “Laurie” Laurence, sometimes calls her “my dear fellow.”

On balance, historical women, much like their fictional counterparts, were multifaceted individuals with their own pride, intellect, ambitions, and flaws. They experienced pain, harboured hatred towards certain individuals, and were susceptible to the wounds inflicted upon them by society.

Incorporating these authentic emotions and qualities into your historical female characters brings them to life. They become relatable, tangible figures who bleed when pricked, figuratively speaking. These heroines, despite their imperfections, possess strength, resilience, and an indomitable spirit that allow them to navigate the challenges of their time.

Getting the Right Male Protagonist

If your historical female character finds herself as the sidekick to an all-conquering male protagonist, it is entirely valid for her to feel peeved and occasionally disrupt the narrative. These moments of rebellion and disruption can add depth to her character, highlighting her desires for autonomy and recognition.

By embracing the complexities of historical heroines, we pay homage to the diverse experiences and struggles faced by women throughout history. We acknowledge their desires, dreams, and ambitions, while also recognizing the obstacles and limitations imposed upon them.

So, as writers, let us celebrate the imperfections and complexities of our historical heroines. Let us create multidimensional characters who embody pride, intellect, and ambition, while also allowing them to experience a range of emotions and confront the injustices of their time. By doing so, we empower these characters and offer readers a rich tapestry of resilience, determination, and the indomitable spirit of women throughout history.


Unleashing the Unexpected: Surprising Character Journeys

As writers, one of the joys of storytelling is allowing our characters to surprise us and, in turn, surprise themselves. By turning the tables, flipping expectations, and making the seemingly impossible possible, we create narratives that captivate and engage readers.

In the creative process, it is essential to give our characters the space to grow, evolve, and challenge their own limits. We can achieve this by presenting them with unexpected situations, encouraging them to step outside their comfort zones and explore uncharted territory.

By letting our characters find their courage, they can overcome obstacles they never thought possible. This growth may emerge from fortuitous mistakes or taking advice that seems questionable at first. These moments of experimentation and risk-taking can lead to new perspectives, personal growth, and surprising triumphs.

However, on the negative side, growth often comes hand in hand with painful lessons. Our characters may be confronted by their own hypocrisy or face the consequences of their own actions. These moments of reckoning provide opportunities for introspection, self-reflection, and character development.

As the narrative unfolds, characters may stumble upon secrets that grant them power over others. This newfound knowledge can test their morality, leading them into temptation and challenging their integrity. How they handle these temptations reveals aspects of their character and provides rich opportunities for exploration.

By allowing our characters to surprise themselves, we create a sense of authenticity and depth. Just like real people, they are complex beings who navigate their own journeys of self-discovery. Through their choices and actions, they reveal their true nature and uncover hidden strengths and vulnerabilities.

As writers, we are guides and witnesses to these character transformations. We set the stage, present the challenges, and watch as our characters navigate their paths. By relinquishing control to some extent and allowing the characters to surprise us, we create narratives that are dynamic, unpredictable, and resonate deeply with readers.

So, let us embrace the unexpected in our storytelling. Lead our characters into uncharted territory, challenge their beliefs, and watch as they evolve and surprise themselves. By doing so, we create narratives that are vibrant, authentic, and reflect the rich tapestry of the human experience.


About the Author

Julia Herdman’s historical fiction novel, Sinclair is a captivating story set in the late 18th century, with strong female leads and themes of love, loss, redemption, and personal growth. The backdrop of 18th-century London, with its stark contrasts between the rich and the poor, adds depth and richness to the narrative. The book immerses readers in a world where compassion and kindness coexist with ambition, conflict, and temptation.

Through the experiences of the prodigal son, James Sinclair, who undergoes a transformative journey after a shipwreck, the novel explores themes of remorse, restitution, and recovery. The twists and tragedies encountered by the characters further enhance the depth of the story.

Sinclair offers readers a glimpse into the society and challenges of the 18th century while leaving them with a sense of fulfilment and positivity. It is a testament to the human spirit and the possibilities for growth and redemption that exist within us all.

Sinclair by Julia Herdman is available on Amazon.

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For more tips on writing see:

Six Rules for Writing Historical Fiction

The Present Past – Writing History

10 Things That Turn a Character Bad

About

How to Write Historical Fiction

Against the Grain – 18th Century British Art

Against the Grain – 18th Century British Art

British art has always been slightly different from that of mainstream Europe. Perhaps it’s because we’re an island. European painting in the eighteenth century is generally conceived as radiating from Paris. There was a strong move during the course of the 18th century towards the development of a national school – a desire for academies of art where the latent English genius could be nurtured.

French Rococo portraits and decorative mythologies invaded Germany, the Scandinavian countries, and Russia and the French influence was powerful in Rome and Spain but as the French Revolution approached, France, in the person of Jacques Louis David, took over the leadership of the emerging Neoclassical style (which perhaps originated in Rome) and established its primacy killing the age of Rococo and the Baroque.

The two great centres of resistance to Neoclassicalism are generally held to be Britain and Venice. During the 18th and 19th centuries, young members of the British upper classes broadened their education with the Grand Tour of continental Europe. They encountered a sophisticated level of artistic achievement that influenced their tastes as art patrons. To ensure similarly high standards in Britain, the Royal Academy was founded in London in 1769. Its first president was Sir Joshua Reynolds, a brilliant painter as well as an influential teacher and author whose Discourses authoritatively addressed many aesthetic topics—including the preeminence of history painting.

Landscape and romanticism were two key themes of two masters, John Constable and J.M.W. Turner. Constable’s true-to-life views of the verdant English countryside emphasized the essential harmony and purity of nature. Turner, on the other hand, was a romantic who expressively dissolved forms in terms of light and atmosphere. With their fresh vision and powerfully original styles, Constable and Turner profoundly influenced the work not only of many subsequent British painters but of countless other American and European artists as well.

The death of court painter Sir Godfrey Kneller in 1723 brought to an end the long dynasty of foreign artists who had dominated English painting for two hundred years. Kneller’s pupils and followers were conventional ‘portrait manufacturers’, whose work had neither life nor charm. It was left to his pupil and son-in-law, William Hogarth, to restore English fine art painting to dignity and honour.

The young artist William Hogarth broke the mould of Britsh art in the 1730s when he began his series of moral fables in paint. Hogarth’s earlier style, although strongly personal, is an English variation on the style of the French Rocco painter Watteau and his contemporaries but Hogarth’s moral fables fit in exactly with that climate of Enlightenment thought which was to produce Diderot and the Encyclopedists. William Hogarth dominates English art in the first half of the century. Scornful of portraiture, he single-handedly created a new genre, the ‘Modern Moral Subject’, and introduced the original practice of paintings and engravings in series, and of telling a visual story.

Hogarth is called a moralist and a genius and is acknowledged as the first great English painter of modern times, but in his own lifetime, he waged a perpetual struggle for recognition and patronage in a society indifferent to native talent. He was the son of a schoolmaster and literary hack and born at Ship Court, Old Bailey in 1697. About 1712 his father apprenticed him to Ellis Gamble, a silversmith in Cranbourne Alley, Leicester Fields, from whom he learned something of the processes of engraving. He took to drawing, it is said because he wished to record the humours of London life as he saw them. He devised a system of drawing from memory so that he could record in the evening the things he had seen during the day. This, he believed, was the only way ‘living art’ could be produced.

In 1733 Hogarth settled in Leicester Fields, where he remained for the rest of his life with the exception of a brief trip to France in 1748. His trip resulted in the picture of “Calais Gate”, now in the National Gallery but while making a sketch of the old gateway Hogarth was arrested on a charge of espionage and, though subsequently released, the incident had the effect of confirming his truculent insularity which finds full expression in this picture.

Towards the end of his life, Hogarth contrived to produce satirical engravings and paintings. He also painted a fairly large number of portraits, and a few pictures in the “grand historical style”, which are not on a level with his other work. Late in life, he published his “Analysis of Beauty”, in which he expressed his own aesthetic ideals, and endeavored to establish a definite canon of taste. In 1757 he received some official recognition in his appointment as serjeant-painter to the king, but he died on 26th October 1764, four years too early to become one of the foundation members of the Royal Academy.

 

Illustration: The Ladies Waldegrave. Reynolds was particularly skilled at choosing poses and actions which suggested a sitter’s character and which also created a strong composition. Here, three sisters, the daughters of the 2nd Earl Waldegrave, are shown collaboratively working on a piece of needlework. The joint activity links the girls together. On the left, the eldest, Lady Charlotte, holds a skein of silk, which the middle sister, Lady Elizabeth, winds onto a card. On the right, the youngest, Lady Anna, works a tambour frame, using a hook to make lace on a taut net.

Sources: Ellis Waterhouse, Tate Gallery, London  National Gallery Scotland.

http://www.visual-arts-cork.com/famous-artists/william-hogarth.htm

 

 

The Present Past – Writing History

The Present Past – Writing History

Using the Present Tense to Write About the Past

Writing about the past in the present tense is hot with publishers but does it work for readers?

In writing and rhetoric, the historical present or narrative present is the employment of the present tense when narrating past events.

Dickens – David Copperfield

Dickens used it to give immediacy: ‘If the funeral had been yesterday, I could not recollect it better. The very air of the best parlour, when I went in at the door, the bright condition of the fire, the shining of the wine in the decanters, the patterns of the glasses and plates, the faint sweet smell of cake, the odour of Miss Murdstone’s dress, and our black clothes. Mr. Chillip is in the room and comes to speak to me.

“And how is Master David?” he says, kindly.

I cannot tell him very well. I give him my hand, which he holds in his.

— Charles Dickens, David Copperfield, Chapter IX

Recent Writing

Sarah Dunant

More recently, analysts of its use in conversation have argued that it functions by foregrounding events that is, signaling that one event is particularly important than others. Historical novelist Sarah Dunant is one of the ace exponents of this style of writing. She uses the present tense to bring the past to life. The elegance of her prose can be seen in this quote from her latest book, In the Name of the Family, Virago, 2017.

“He leaves for work each day at dawn. In the beginning, she had hoped that her nest-ripe body might tempt him to linger awhile. Florence is rife with stories of married men who use early risings of excuses to visit their mistresses, and he had come with a reputation for enjoying life. That even if that were the case, there’s nothing she can do about it, not least because where ever he is going, this husband of hers has already gone from her long before he gets out of the door.

In fact, Niccolo Machiavelli doesn’t leave the warmth of his marriage bed for any other woman (he can do that easily enough on his way home), but because the days dispatches arrived at the Pallazzo della Signoria early and it is his greatest pleasure as well as his duty to be among the first to read them.

His journey takes him down the street on the south side of the city and across the river Arno via the Ponte Vecchio. A maverick winter snowfall has turned into grimy frost and the ground cracks like small animal bones under his feet. On the bridge, fresh carcasses are being unloaded into the butcher’s shops. Through the open shutters, he catches glimpses of the river, its surface a silvery apricot under the rising sun. A feral dog streaks across his path, going for a goblet of offal near the wheel of a cart. It earns him a kick in the ribs of his daring but his jaws remain firmly clenched over the prize. Scavenging opportunist Niccolo thinks, not without a certain admiration.”

Dunant describes her inspiration in an interview with Meredith K. Ray.

She said, “I became interested in a very simple idea, which was, “What would it have been like to be in the middle of the cauldron [Florence] of the shock of the new that they must have felt when it was happening around them?”
I just kept thinking “Dear God, everywhere you go in this city, it must have been vibrating!” I wondered whether or not it would be possible to write a book that would capture that sense of exploding modernity within the past.

Then of course what happened is when I went back to look at the history, I realized that there had been a quiet but persuasive revolution going on within the discipline. When I was doing history [at Cambridge] . . . people studying [gender and race] had yet to move into doing their post-graduate work and become professors and start producing the literature which was starting to fill in the missing spaces or at least make a gesture towards the colour.

I really often think of [history] as a pointillist painting, which is made up of a thousand dots. It’s just bits of paint, but as you walk away, each one of them gives you more of a sense of internal life and dynamic. I really began to feel that that was true about some of the history that I’d studied: blocks of primary colour, but there was stuff missing and it was very important stuff. It was like, “What was it like to be half the population?”

Dunnant’s story proceeds through a succession of tremendous set pieces, including a sea storm, a plague, the delivery of a child and various skirmishes as the pope and his children seek to tighten the “Borgia belt” around Italy. The focus is on the immediacy of the experience in a similar way to Hilary Mantel’s Tudor novels. Like Mantel Dunant’s project is a sympathetic presentation. The villains are human beings with families and needs – power being the first among many. Dunant has made the Borgia’s completely her own in this way. How the use of the present tense fits this aim is unclear as it used in all her writing.

 

Hilary Mantel

Mantel’s prose is sparse and more visceral by comparison;”The blood from the gash on his head – which is his father’s first effort – is trickling across his face. Add to this, his left eye is blinded, but if he squints sideways with his right eye he can see that the stitching of his father’s boot is unravelling. The twine has sprung loose from the leather, and a hard knot in it has caught his eyebrow and opened another cut.“So now get up!” Walter is roaring down at him, working out where to kick him next. He lifts his head an inch or two, and moves forward, on his belly, trying to do it without exposing his hands, on which Walter enjoys stamping. “What are you an eel?” his parent asks. He trots backwards, and aims another kick.” Woolf Hall, Harper Collins, 2009.

Mantel said, “My concern as a writer is with memory, personal and collective: with the restless dead asserting their claim.” Perhaps that is why she uses the present tense in her work.

She goes on to say that when we memorialise the dead we are sometimes desperate for the truth or for a comforting illusion. As a nation, we need to reach into the past for foundation myths of our tribe. We find them in past glories and past grievance, but we seldom find them in cold facts. Nations she says are built on wishful versions of their origins: stories in which our ancestors were giants, of one kind or another.

According to Mantel, we live in a world of romance. Once the romance was about aristocratic connections and secret status, the fantasy of being part of an elite. Now the romance is about deprivation, dislocation, about the distance covered between there and here. The facts have less traction, less influence on what we are and what we do, than the self-built fictions.

Novelists she says are interested in driving new ideas but readers are touchingly loyal to the first history they learn. However, if you’re looking for safety and authority, history is the wrong place to look say Mantel. Any worthwhile history is in a constant state of self-questioning, just as any worthwhile fiction is. If the reader asks the writer, “Have you evidence to back your story?” the answer should be yes: but you hope the reader will be wise to the many kinds of evidence there are, and how they can be used.”

Does writing about the past in the present tense work?  As much as I admire both writers I shall be sticking to the past tense in my writing with a bit of present tense thrown in for immediacy when required. As a reader, I find it much easier to read and hold onto the story when it’s written that way. Too much present tense, in my opinion, can end up like listening to the audio-description while you’re watching TV even if the prose is elegant.

Julia Herdman’s debut novel ‘Sinclair‘ is available on Amazon worldwide.

 

Julia Herdman

How to Write a Good Love Letter

How to Write a Good Love Letter

How to Write a Good Love Letter

Benjamin Franklin wrote a good love letter. In 1779, Benjamin Franklin fell in love with Anne Catherine Helvétius, the widow of the Swiss-French philosopher, Claude-Adrien Helvétius. He was serving as the U.S. envoy to France at the time.

Nicknamed “Minette”, Anne maintained a renowned salon in Paris using her dead husband’s accumulated wealth. Among its habitués were France’s leading politicians, philosophers, writers, and artists.

Courting her attention, Franklin sent her many letters expressing his love, admiration, and passion. In one, he claimed that he had dreamed that their dead spouses had married in heaven and that they should avenge their union by doing the same on earth!

He wrote In another passionate plea: “If that Lady likes to pass her Days with him, he, in turn, would like to pass his Nights with her; and as he has already given her many of his days…she appears ungrateful never to have given him a single one of her nights.”

Boris Pasternak gives his character Dr. Zhivago so pretty racy lines in his letters to his lover Lara.

Don’t be upset. Don’t listen to me. I only meant that I am jealous of a dark, unconscious element, something irrational, unfathomable. I am jealous of your toilet articles, of the drops of sweat on your skin, of the germs in the air you breathe which could get into your blood and poison you. And I am jealous of Komarovsky, as if he were an infectious disease. Someday he will take you away, just as certainly as death will someday separate us. I know this must seem obscure and confused, but I can’t say it more clearly. I love you madly, irrationally, infinitely.

I think you’ll agree that’s powerful stuff but how would you feel if you got a letter like that? Would it please you or make you run a mile? I think I’d make a run for it. So what should you write to your love? Well if want to woo your love successfully science has some tips for you.

Yale psychologist Robert Sternberg’s theory of love, suggests that the ideal love letter should include the following components—intimacy, passion, and commitment. To test this hypothesis Donelson Forsyth and Kelli Taylor constructed a number of letters and asked people what they thought of them.

They discovered that, when it comes to love letters, commitment conquered all. The letter that proclaimed, “I know we will be happy together for the rest of our lives” and “I couldn’t imagine a world without you in it,” was rated much higher, in terms of expressing love, than one that made no mention of commitment.

Adding language that spoke of closeness and caring increased the letter’s good impression with readers, but it was a commitment that left readers feeling loved and in love.

As to expressing passion in a letter; frisky letters, which went on for too long about the sender’s sexual passions, were viewed generally negatively by both genders; perhaps because they were more about lust than love.

They also discovered that a message of commitment need not be delivered in a traditional love letter or a card; a simple email will do which is lucky as so many of us have lost the art of putting pen to paper. However, research shows that people think that letters are more trustworthy, and a handwritten letter shows effort and care too.

Therefore, if you want your love letter to get results you need to write it yourself, show your commitment to the relationship and put it in an envelope. Call me old-fashioned but a bunch of flowers wouldn’t go amiss either.

 

For more see:
The Science of Love Letters
Boris Pasternak, Doctor Zhivago

 

Six Rules for Writing Historical Fiction

Six Rules for Writing Historical Fiction

Six Rules for Writing Historical Fiction

Historical fiction is a literary genre in which the plot takes place in a setting located in the past. Historical fiction is an umbrella term; though it is commonly used as a synonym for describing the historical novel. Historical fiction also occurs in other narrative formats – the performing and visual arts like theatre, opera, cinema, and television, as well as video games and graphic novels.

An essential element of historical fiction is that it is set in the past and pays attention to the manners, social conditions and other details of the period depicted. Historical fiction writers frequently choose to explore notable historical figures in these settings, allowing readers to better understand how these individuals might have responded to their environments. Some subgenres such as alternate history and historical fantasy insert speculative or ahistorical elements into a novel.

Works of historical fiction are sometimes criticized for lack of authenticity because of readerly or genre expectations for accurate period details. This tension between historical authenticity, or historicity, and fiction frequently becomes a point of comment for readers and popular critics, while scholarly criticism frequently goes beyond this commentary, investigating the genre for its other thematic and critical interests.

When Wolf Hall won the Booker prize some commentators suggested that the term “historical fiction” was itself becoming a thing of the past. So many novels these days are set prior to the author’s lifetime that to label a novel “historical” is almost as meaningless as to call it “literary”.

1. Small details matter more than large ones. 

The art of fiction is, in large part, the art of small-scale illusions. Focus on the things that set the period and the character – the snap of a fan, the recoil of a rifle, the sound of the hurdy-gurdy playing in the street. In this quote from The Mistletoe Bride by Kate Moss we are whisked immediately back to the 15th or 16th century with the mention of the lute, viol, and citole, the title of the story tells us it is set at Christmas and the drinking and goose fat glistening on merry faces lets us know everyone is feasting.

‘It is my wedding day. I should be happy, and I am.

I am happy, yet I confess I am anxious too. My father’s friends of wild. Their cups clashing against one another and goose fat glistening on their cheeks and their voices raised. There has been so much wine drunk they are no longer themselves. There is lawlessness in a glint of their eyes, but they are not so far gone us to forget their breeding and manners. Their good cheer echoes around the old oak hall, so loud I can no longer hear the lute or viol, or citole s set out for our entertainment.’

2. Period characters require more than period clothes. 

Similarly, just as the exterior world requires research to establish believable, small details, the interior world of a character requires research as well. Good historical stories promise to not only transport readers to a historical setting but to reveal the interior life (the mind, heart and aspirations) of a character. For me, some of the large questions here had to do with interior perceptions: You need to find out how people viewed love and romance in your chosen period. What do your characters expect or want from life.

3. Use common names, not technical ones. 

It’s all very well knowing the technical terms for the clothes and accoutrements of the past but if your reader is going to have to Google everything you mention it will spoil the story for them. Remember you’re writing a story to entertain not a history textbook.  Let your characters engage with both historical details and their place in society. Not only have them interact with the politics or religion of the day – but allow them full use of their senses to recreate their environment, the smells, sounds and feel of their surroundings is just as important as having them know who was King at that time.

4. Immerse yourself in the culture. 

To write historical fiction of any kind – short stories or not – you need to be able to close your eyes and have the past blaze up around you. Always remember research takes time. Research is an investment; you draw on it when you need to. Use it like capital and keep most of it in the bank. Historical accuracy is like quicksand. Stay too long in the same place and it will suck you down and there will be no movement, no dynamism to the story. Too much attention to factual detail is undoubtedly an impediment to literary art. Adam Foulds’s The Quickening Maze is described on the Booker prize website as “historically accurate but beautifully imagined”, as if “historically accurate” implied a literary problem. In some respects it does. Ask a historical author: how do you stop that facts getting in the way of the story? And the novelist, driven by his or her imagination, will offer a wealth of answers. The historian will assure you that the facts are the story.

5. Find experts.

Have fun with research, but do your homework. Use reference books, watch films, read novels of the period. Make sure you’re comfortable with all aspects of the time from politics to illnesses, from food to fashion, from local geography to language (even if you choose not to use it.) Hand in hand with double-checking comes evaluating your sources. If something seems a bit improbable or sketchy, it probably is. Look for another source to back it up. Use the internet wisely. We are so blessed nowadays with the amount of information at our fingertips, the access we have to old maps and stats is amazing. But ALWAYS triple check your facts, be aware of false information and never rely solely on Wikipedia! Use a good mix of primary and secondary sources for both perspective and immediacy and double-check everything. Bad mistakes will reflect on your work even if it is the fault of your source.

 6. Historical facts are not the storyline. 

Anyone who has tried to make a story out of historical narrative will know it’s impossible. History is the context out of which fiction grows. Fiction is the examination of the human heart as individual characters move through scenes that test – or perhaps change – their souls. History is just the backdrop. Of course, if you’re writing about a real historical person it is necessary to stick to the facts.