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

Princess Anne –  Her Dysfunctional Family and More!

Princess Anne – Her Dysfunctional Family and More!

Discover the compelling life of Princess Anne, Princess Royal, born into a dysfunctional family in 1709. Follow her journey through political feuds, a challenging marriage, and her reign as the Staadholder of the Netherlands. A remarkable woman who defied the odds and laid the foundation for the Dutch royal family.

A Dysfunctional Family

Princess Anne was born into what we would call a dysfunctional family in May 1709. (For more information about her grandmother and the House of Hanover read my blog on 15th November.) Anne was a remarkable woman in many ways; criticised and praised by contemporary chroniclers for her arrogance and her accomplishments in equal measure.

Anne was born at Herrenhausen Palace, Hanover, five years before her paternal grandfather, Elector George Louis, succeeded to the British throne as George I.

Her parent’s relationship with King George I was a troubled one.

Her mother, Caroline of Ansbach, was brought up in the Prussian Court where she was treated as a surrogate daughter and was well educated. It is difficult to know to what extent her experience of life at the boorish and brutal Hanoverian Court influenced her opposition to George I in England.

One cannot help wondering did Caroline suspected her father-in-law of having her mother-in-law’s lover killed? Did she support her husband’s desire to set his mother free from her imprisonment at Ahlden? Whatever the cause,  their relationship was not good and Anne’s parents left Hanover in 1714 and did not return.

Political Differences

Political differences between father and son led to factions in the court in Hanover from the late 1710s.

These disagreements carried over to the British court and came to a head following the birth of George and Caroline’s second son, Prince George William in 1717.

At the baby’s christening, Anne’s father publicly insulted the Duke of Newcastle. This so infuriated George I he banished his son and daughter-in-law from St James’s Palace.

The king kept their children, including Anne under his guardianship at Leicester House.

The family rift was healed, in part at least, in 1720 when Anne’s brothers were returned to the care of her parents but she and the other girls remained the wards of the King.

Princess Anne Ravaged by Smallpox

That year, 1720, Anne’s body was ravaged by smallpox. It is estimated the disease killed an estimated 400,000 Europeans a year during the closing years of the 18th century.

This near-death experience and her parent’s experience of the disease at the beginning of their marriage led Anner to support her mother’s efforts to test the practice of variolation (an early type of immunisation against smallpox). The practice of variolation was witnessed and recorded by Lady Mary Wortley Montagu and Charles Maitland while they were in Constantinople.

 

Ophan Guinea-pigs

At the direction of her mother, Queen Caroline, six prisoners condemned to death were offered the chance to undergo 18th Century Monarchy instead of execution. The prisoners all took the offer and they all survived, as did six orphan children given the same treatment as a further test. (There were no medical ethics committees then). Convinced of variolation’s safety, the Queen had her two younger daughters, Amelia and Caroline, inoculated. Royal patronage practice spread the demand for inoculation amongst the upper classes.

Family Feud Continues

On 22 June 1727, George I died while in Germany, making Princess Anne’s father king.

The following year, her elder brother, Frederick, who had been educated in Germany, returned to England. Father and son had not seen one other in 14 years and when they did the fireworks began. Their relationship was even more tempestuous than the one between George I and George II, especially after 1733 when Frederick purchased Carlton House and set up what George II considered to be a rival court.

Princess Anne’s Marriage Prospects

Anne’s sister, Princess Caroline

Anne’s sisters, Princess Caroline (1713-1757) left,
Princess Amelia (1711-1786), right.

As a daughter of the future British King Anne’s marriage was always going to be a dynastic one. As a princess requiring a Protestant marriage, her options were limited. The government hit on the idea of a marriage with the rather lowly William, Prince of Orange-Nassau to sure up their anti-French alliance.

George II was not enamoured with the proposal and Anne was concerned too because William had a well-known physical deformity. To find out more she dispatched Lord Hervey, a close confidant, to report on its extent.

First Sight of the Hunchback

Hervey reported that although William was no Adonis and his body was as bad as possible; William suffered from a pronounced curvature of the spine, probably the result of sclerosis-like the English King Richard III; he had a pleasing face.

Despite his deformity and the inferiority of his territory, Anne decided she would take him. She was already 25 years old and did not want to end up an old maid surrounded by her warring relatives. When they married in 1734, her mother and sisters wept through the ceremony. Lord Hervey described the marriage as more sacrifice than celebration.

Princess Anne Marries William, Prince of Orange-Nassau

As an outsider and British, Anne was not popular in the Netherlands. Her life must have been a lonely one as she did not get along with her mother-in-law and her husband was frequently on campaign protecting the states of the Dutch Republic from its enemies. In these lonely years, Anne concentrated her efforts on literature and playing the harpsichord; she was an accomplished artist, musician, and lifelong friend of her music teacher George Frederic Handel.

 

Willem Karel Hendrik Friso van Oranje-Nassau, 1751

Willem Karel Hendrik
Friso van Oranje-Nassau, 1751.

Princess Anne’s Stillborn Baby

Producing the required heir was problematic too. In 1736, Anne gave birth to a stillborn daughter and then another in 1739. Her first live birth came in 1743 with the arrival of Princess Carolina of Orange-Nassau who was followed by another daughter, Princess Anna two years later. Her only son arrived in 1748 when she was 39 years old.

When her husband died three years later in 1751 at the age of 40, Anne was appointed regent for her 3-year-old son, Prince William V.

 

 

 

Princess Anne is Widowed

Anne was given all prerogatives normally given a hereditary Stadtholder of the Netherlands, with the exception of the military duties of the office, which were entrusted to Duke Louis Ernest of Brunswick-Lüneburg.

The Princess Takes the Tiler of Government

To say that she took to the role like a duck to water would not be an exaggeration. Finally free to exercise some power, in true Hanoverian style, Anne used her wit and her determination to secure her personal power base and with it the dominance of her family and the Orange dynasty.

Anne was hard-working but remained unpopular. The commercial rivalry between the Dutch and the British East India Companies was part of the cause. Another reason was the constitution of the United Provinces. But what made her most unpopular was that she seized the opportunity to centralise power in the office of the hereditary Stadtholder over the traditional rights of the Dutch states particularly the State of Haarlem. Her foreign policy was also a source of vexation for the Dutch as she favoured a British-German alliance over an alliance with the French.

All a Woman Could Do

Ultimately, as a woman, she was reliant on the men around her and it is fair to say that her husband and her son were fighting a losing battle against the tide of history at the end of the 18th century and Anne with all her skills could not realise the ambitions of the House of Orange on her own. She ruled the Netherlands for eight years dying of dropsy in 1759 when her son was 12. She was replaced as regent by her mother-in-law, Marie Louise of Hesse-Kassel and when she died in 1765,  Anne’s daughter, Carolina, was made regent until William V turned 18 in 1766.

The Remarkable Princess Anne

Anne was a remarkable woman. With her beauty shredded by smallpox, she took on the world and won. (I am sure she took the opportunity to show herself in the best light in her self-portrait above.) Anne accepted and made a success of her marriage which on the face of it held little prospect for personal happiness. An intelligent if haughty woman she endured many years of loneliness, the pain of 2 stillborn children and widowhood. As Stadholder (chief executive of the Dutch Republic) she was as effective as any man and laid the foundations of the Dutch royal family. Her grandson, William I became the first king of the Netherlands in 1815.

Sources:

George II: King and Elector By Andrew C. Thompson, 2011, Yale University Press.

https://en.wikipedia.org/wiki/Anne,_Princess_Royal_and_Princess_of_Orange

Photo credits.

Princess Dorothea von Lieven and Metternich – The Prince and the Swan

Princess Dorothea von Lieven and Metternich – The Prince and the Swan

Princess Dorothea von Lieven (1785 – 1857) was the lover of Klemens von Metternich. She was the wife of Prince Khristofor Andreyevich Lieven, Russian ambassador to London from 1812 to 1834.

Considered cold and snobbish by London Society Dorothea was not an instant success when she arrived fresh from the Russian court. Her destiny was however to become the lover of one of greatest men in European history.

Her long elegant neck earned her the nickname, “the swan” by those who loved. She was called“the giraffe” by those who did not. Reputation did not bother her. Dorothea was not after friendship she was after power and she used all her intelligence, charisma, and social skills to get it. Her aim was to influence others to support the Tsar and the Holy Alliance. She was passionate about defeating Napoleon and reestablishment of absolutist monarchy in Europe. Not only did she become the Austrian Chancellor, Prince Metternich’s lover she was also reputed to have had affairs or at least very close friendships with Lord Palmerston, Lord Castlereagh and Lord Grey while she was in London.

Her hard work paid off and soon invitations to Dorothea’s home became the most sought after in capital. She was the first foreigner to be elected a patroness of Almack’s where she is said to have introduced the waltz in 1814. The waltz was a dance considered riotous and indecent. It was first danced when Tsar Alexander came to town in 1814. This was when Dorothea first met Metternich. It seems they took an instant dislike to one another. She thought he was cold and intimidating and far too self- important. He dismissed her as just a pretty woman travelling in the Tsar’s wake and treated her with complete indifference.

Some four years later, the pair met again at the Dutch Ambassador’s party at Aix-La-Chappelle. Sitting next to each other they found they had much in common – they both hated Napoleon. Their notorious liaison began a few days later when Dorothea entered the Prince’s apartment incognito.

Metternich

Prince of Metternich-Winneburg-Beilstein; (1773 – 1859)

In Metternich, Dorothea had found her equal. The Prince was a man who could satisfy her physically, emotionally and intellectually. She wrote, “Good God! My love, I know how to rejoice in so few things, do you understand what makes me feel true happiness, it is you, only you! My Clement, if you cease to love me what will become of me? … My dear friend promise to love me as much as I love you; our lives are pledged in this promise.”

In Dorothea, Metternich had met the woman of his dreams; she could match his intellect and his passion. He wrote, “My happiness today is you. Your soul is full of common sense your heart is full of warmth … You are as a woman what I am as a man.”

Their heated, clandestine affair soon succumbed to the requirements state. They met occasionally but corresponded frequently. Like many illicit lovers, they were tortured by their separation and the knowledge they could never be together.

Dorothea was well aware of Metternich’s reputation as a libertine seducer. She knew he had a string of women following him and in his bed. She continued the relationship for eight years. Finally, she heard that he had thrown her over for a younger woman. Desolate, she broke off their relationship in 1826. By the end, references to Metternich in her letters were cold and spiteful. Time did not heal her broken heart. She had nothing good to say about him or his third wife when she saw him in Brighton in 1849. she describes him as “slow and tedious” and his wife as “stout and well-mannered.”

She ended her days in Paris as the ‘wife’ of the French politician Guizot. It was said that although she was a widow she refused to marry Guizot because it would mean giving up her title ‘Serene Highness’. This was something the proud and regal woman was never going to do. Like her former lover, she was ancient regime through and through.

Dorothea died peacefully at her home in Paris, aged 71, in January 1857. She is a recurring minor figure in many historical novels, notably those of Georgette Heyer. Heyer portrays her as a haughty, formidable, and unapproachable leader of society. In The Grand Sophy she is described as “clever and amusing”, and there is a passing reference in that book to her role in political intrigues. Metternich died in Vienna two years later aged 86. He was the last guardian of the ancient regime, which had long since passed into history.

Dorothea

Princess Dorothea von Lieven (1785 – 1857)

Sources:
Dorothea Lieven: A Russian Princess in London and Paris, 1785-1857 By Judith Lissauer Cromwell
The Congress of Vienna: Power and Politics After Napoleon By Brian E. Vick
1815: The Roads to Waterloo By Gregor Dallas
https://en.wikipedia.org/wiki/Klemens_von_Metternich
http://www.eurozine.com/articles/2015-01-28-sluga-en.html

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 Make a Character Stand Out in a Novel

How to Make a Character Stand Out in a Novel

The profession or the jobs of your character does plays a major role in making your novel a hit.

That’s because a character’s profession affects the entire story.

A job or profession gives an indication of personality, class, wealth and motivation. You can use it as a stereotype or as a short-hand description or develop the character with it.

Just think for a moment. What character attributes would you give to a teacher?

Perhaps the teacher in your imagination is a dotty old professor. A man dressed in tweed with patches on his elbows, a mop of thick grey hair and horn-rimmed spectacles. He teaches classics and quotes passages from Cesar’s Gallic Wars.
Alternatively, the teacher of your imagination may be a young ambitious woman of Anglo-Caribbean descent who teaches physics. She wears a smart white lab coat and red, five-inch heel stilettos. She’s sassy. She drives a sports car and the boys in the class don’t know where to look when she comes into the lab.

Muriel Spark’s character Jean Brodie from the novel The Prime of Miss Jean Brodie is a highly idealistic character with an exaggerated romantic view of the world. The phrases Spark gives her character are now clichés in the English language. “Give me a girl at an impressionable age and she is mine for life.” “These years are still the years of my prime. It is important to recognise the years of one’s prime, always remember that.” ‘I am a teacher! First, last, always!’  Spark gives the character the name of the historical Jean Brodie the common law wife or mistress of Deacon Willie Brodie.  Brodie was an Edinburgh cabinet maker and thief hanged from a gallows of his own design. The fictional Jean is doomed like her namesake whose husband was the was the inspiration for the gothic novel, The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. 

Now think about a taxidermist? Somehow there is always something a bit creepy about this job. Is it the association with dead things, the dismembering of bodies or the macabre nature of the results of their work – an animal that looks alive but is dead? The Taxidermist’s Daughter by Kate Moss is a story in which ghosts and ghoulish patriarchal secrets, estranged female psyches, and tumultuous bird-life. All these elements coexist in a compulsively readable yarn.The novel is a cabinet of curiosities, a tale of sexual predation and female revenge. The protagonist Connie is bright, beautiful, determined, and has a very strong stomach. She’s a victim of traumatic memory loss. The plot involves her mind’s recuperation from obscene events 10 years ago. A crime opens the story. A woman’s corpse is found outside Blackthorn House, where Connie is attempting to stuff a jackdaw. The woman has been garrotted with taxidermist’s wire.

These examples show that giving your character a profession enables you to start building that character and the character, in turn, helps you to build the story. In my novel Sinclair, which is set in the late 18th century, Sinclair is a man of the Enlightenment who has rejected religion. This leaves him isolated from his family and much of society. He is a dedicated doctor who wants to heal people.

Fantasy jobs

If the story is a realistic fiction, it’s best to avoid ridiculous characters and professions that don’t exist in the real world.On the other hand, if you are writing a general fiction story, an absurd and unrealistic profession is perfectly acceptable as long as you stick to the descriptions you have given about that character and his or her profession. For example, if you plan on writing a fantasy fiction, your character will probably include mythical creatures such as goblins, trolls, giants, or unicorns. The main character will possibly possess magical powers again consistency is the key here – what can your character do with magic and what are their limitations? Limitations are often the making of a character.

Sci-fi

Even in Sci-fi, the best characters have jobs: Ship’s captain, the General of an invading army, the pilot or navigator of a space of underwater cruiser. Phillip Dick’s Do Androids Dream of Electric Sheep? is a science fiction novel describing humanity’s struggle for survival in a post-apocalyptic world after a nuclear war has irradiated the Earth, forcing humans to create a separate colony on Mars. Character Rick Deckard is a bounty hunter who is about to have one bad day.

Unlike the bounty hunters of the Wild West, this space age cowboy will, within the space of twenty-four hours, have to kill six state-of-the-art androids, have an inter-galactic corporation mess with his mind, meet a metaphysical god twice, and discover an extinct animal.

Rick clearly lacks empathy for androids, his electric sheep, and for his wife which, in an ironic twist, is the very fault androids are accused of and as a result, they must be killed. Rick is a hypocrite, in a way he represents the hypocrisy of mankind. He punishes androids for lacking empathy when he’s the least empathetic person on the planet.

Ironic Jobs

Some authors and screenwriters choose to write an ironic character that doesn’t match their profession. Other times, a profession can be used to create a twist in the plot. This is usually true for novels with a dramatic theme. A character could be shown doing something they don’t enjoy at all. They are bored of their ordinary life and their ordinary profession.

Take “Fight Club”, a book by Chuck Palahniuk for example; in this novel, his protagonist who is never named is a man who works as a product recall specialist. Our protagonist hates his job and his lifestyle. In this anti-capitalist story, the narrator attempts to treat his depression and insomnia through obsessive consumerism and knowledge of brands.

On a flight home from a business trip, the Narrator meets Tyler Durden, a soap salesman with whom he begins to converse after noticing the two share the same kind of designer briefcase. After the flight, the Narrator returns home to find that his apartment has been destroyed by an explosion.

With no one else to contact, he calls Tyler and Tyler invite the Narrator to stay at his place but requests that the Narrator hit him first, which escalates into a minor fistfight. The Narrator then moves into Tyler’s home, a large dilapidated house in an industrial area of their city and begins assisting with Tyler’s handmade soap business. They have further fights outside the bar on subsequent nights, and these fights attract growing crowds of men.

The fighting eventually moves to the bar’s basement where the men form a structured club (“Fight Club”) which routinely meets to provide an opportunity for disaffected local men to fight safely for recreation. Ultimately, the story degenerates into a stop the bad guy destroying capitalism movie but the initial idea is interesting.

See also: 10 Things that can turn a character bad.

About the author: Julia Herdman writes historical fiction. Her debut novel Sinclair is available worldwide in print or as an Ebook. Go to Amazon to find out more.