{"id":2371835,"date":"2016-10-20T19:18:52","date_gmt":"2016-10-21T00:18:52","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371835"},"modified":"2023-01-06T22:16:11","modified_gmt":"2023-01-07T04:16:11","slug":"respecting-past-philosophy-historical-fiction","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/respecting-past-philosophy-historical-fiction\/","title":{"rendered":"Respecting the Past: A Philosophy for Historical Fiction"},"content":{"rendered":"

\"oyan-blog-historian-03-pinterest\"<\/a>By Rachel Garner, Staff Writer<\/strong><\/p>\n

This blog post is the third in a series. You may want to read the other two first: <\/em><\/p>\n

Part 1:\u00a0A Secret to Historical Fiction that Won’t Make Historians Cry<\/a><\/em><\/p>\n

Part 2:\u00a0Research for Historical Fiction: How to Meet the Challenge<\/a><\/em><\/p>\n

I\u2019m going to put it out there: lots of historical fiction set in the Middle Ages makes me\u00a0angry.<\/strong><\/p>\n

If people ask me about nonfiction resources, I\u2019m happy to oblige, cheerfully pelting\u00a0England Under the Norman and Angevin Kings<\/em> and other books or articles at them,\u00a0forgetting that titles like that don\u2019t sound exciting to most people.<\/p>\n

But when asked for fiction suggestions, I find myself in a sudden quandary.<\/p>\n

In this final post on \u201ckickstarting\u201d your historical fiction, I want to shed light on why. My\u00a0misgivings have roots deep in my past disappointments. In spite of that, I remain\u00a0hopeful about the potential of historical fiction<\/strong>\u2014yes, even historical fiction set in\u00a0\u201cmedieval times.\u201d This is where story and history meet in a complicated but beautiful\u00a0way.<\/strong><\/p>\n

I want to discuss something writers and readers of historical fiction don\u2019t bring up a\u00a0whole lot: I\u2019ve decided to call it a philosophy of writing historical fiction<\/strong>. It\u2019s worth noting\u00a0that this is my<\/em> philosophy, and there are probably people who would disagree\u2014and are\u00a0definitely allowed to. Nonetheless, whether you agree with me or not, these issues\u00a0should be on your mind<\/strong>.<\/p>\n

To begin, I want to reiterate that you don\u2019t have to be an expert in your period before\u00a0you start writing. First, because you can\u2019t be. Second, because your story is the priority<\/em>.<\/p>\n

You need something to work with first. It\u2019s fine to free yourself to be historically wrong\u00a0as you write a rough draft.<\/strong> There\u2019s no shame in reserving most of your research for a\u00a0later draft. In my experience, editing for accuracy in subsequent drafts actually helps my\u00a0story editing, because it forces me to think outside of my preconceived story boxes.<\/p>\n

But I also need to issue a warning, so I can show you why you need not only a strong\u00a0story but a strong ethic for how you will present the past<\/strong>. There are two major pitfalls\u00a0authors face when writing about times past:<\/p>\n

1) Openly mocking \u201cbackwards\u201d views through ironic voice and plotting<\/p>\n

2) Giving the hero a modern mind which allows him\/her to rise above the\u00a0\u201cbackwards\u201d people around him\/her.<\/p>\n

In medieval fiction, the first problem can result in what I call \u201cdirty Middle Ages\u201d\u00a0narratives. These kinds of books pass themselves off as being more accurate, but zoom\u00a0in on everything the twenty-first century finds gross and make those parts of the story as\u00a0visceral as possible. Their focus isn\u2019t the people<\/em> behind the living conditions, but the\u00a0conditions themselves.<\/strong><\/p>\n

The second problem frequently manifests as \u201cgirl in an arranged marriage (which is\u00a0CRUEL and HEARTLESS) runs away to be an Independent Woman and\/or marry her\u00a0True Love.\u201d Only our brave and fearless heroine realizes that marrying for love is better\u00a0than marrying along social customs. Everyone in her backwards world is trying to stop\u00a0her.<\/p>\n

Beyond being clich\u00e9, this premise is based on extremely modern ideas and ideals<\/strong>. It\u2019s\u00a0not that people in the Middle Ages didn\u2019t want love in their lives or sometimes wanted to\u00a0pick whom they married\u2014a glance at their literature shows that they did, and in fact\u00a0peasants were pretty much free to marry whomever they liked. The problem here is not\u00a0misunderstanding the human desire for love, but misunderstanding the role marriage\u00a0played, or worse, simply disliking the historical role and changing it.<\/p>\n

Marriage among the nobility was<\/em> frequently about making familial connections (so that\u00a0members of the class that defined itself by war were less likely to kill one another) and\u00a0about maintaining property and support, the latter especially for women. (The unique\u00a0situation and surprising power of widows in this period is quite fascinating.) Another\u00a0thing we have trouble wrapping our modern minds around is that we have happy and\u00a0successful arranged marriages documented.<\/p>\n

Speaking of modernity, \u201ctolerance\u201d is a buzzword of the past couple decades, and yet\u00a0we extend astonishingly little to past peoples and cultures<\/strong>. Arranged marriages, blood-letting, divine rights of kings, and the huge influence of the mostly-united Catholic\u00a0Church (which was just the<\/em> Church in the Middle Ages) all make us a bit squeamish,\u00a0and so we tend to filter out such unsavory ideas from our own characters. We end up\u00a0with characters who are Ahead of their Times and decidedly un-medieval (or perhaps\u00a0un-Civil War or un-Roman Empire).<\/p>\n

Occasionally we also chance across a situation where the entire period has undergone\u00a0this scrubbing (thank you, Victorians), and we end up with an idyllic, pure, Christian,\u00a0pastoral, and delightfully childlike Europe that never existed.<\/p>\n

But what am I driving at here?<\/p>\n

The point is this: Your historical fiction must respect the people of the past, or it is no\u00a0longer \u201chistorical.\u201d<\/strong> It\u2019s just fiction + your opinions.<\/p>\n

My philosophy for writing historical fiction\u2014all my (many!) thoughts and my own\u00a0efforts\u2014boils down to this concept of respect<\/strong>.<\/p>\n

Understanding and admiration are required for any kind of respect, and this respect will\u00a0come from digging deep into the consciousness of your period<\/strong>. One of my favorite\u00a0books I\u2019ve read in college is called From Memory to Written Record<\/em> by M.T. Clanchy. I\u00a0love the way that Clanchy works hard to throw out our preconceived, modern idea that\u00a0literacy = civilization. We live in a world where the written is king, and speaks to us with\u00a0great authority\u2014think of textbooks, contracts, news articles, etc. Clanchy makes you\u00a0really consider how medieval people thought, not what you think they should have\u00a0thought.<\/p>\n

Part of living in a culture\u2014any culture\u2014is an underlying bias that our culture is correct\u00a0and most reasonable, and deviants from it are not.<\/strong> I\u2019m spending my semester reading\u00a0loads of land disputes, watching for the very few mentions of written records used as\u00a0proof of land ownership\u2014versus the large number of sources where a group of local\u00a0men testify to the accuracy of an account. Frequently the records make no mention of\u00a0proof at all, but simply say that the two claimants both argued and the jury decided. This\u00a0may seem baffling at first, but when you study a society in which few people can read,\u00a0documents are easily forged, and community ties are incredibly close and important\u00a0(magnifying the consequences of lying), it begins to make more sense.<\/p>\n

There\u2019s almost always a reason for something. It may not be a good reason, or a moral\u00a0reason, or an accurate reason (abysmal medical practices were usually the result of\u00a0ignorance, not malicious intent), but you should always seek out the reason. Do not just\u00a0strip your characters of views that make you uncomfortable or seem impossibly stupid.<\/strong><\/p>\n

We need more people writing historical fiction with honesty and gentleness.<\/p>\n

My final suggestion has to do with what I call \u201cthe flexible moments.\u201d I mean the points\u00a0where, when you get right down to it, there\u2019s no way of really<\/em> knowing how a situation\u00a0would play out in \u201creal life\u201d\u2014or there\u2019s possibly a precedent, but it seems likely that\u00a0there were exceptions, as there are almost always exceptions where humanity is\u00a0concerned.<\/p>\n

My main projects are set in 1191 and 1192, and one of the major characters struggles\u00a0with post-traumatic stress disorder. Virtually all of my research on this has been modern.\u00a0While it is possible to scrape together a little bit about the situation of the mentally\u00a0unwell in the Middle Ages, the truth is that there isn\u2019t enough information for the kind of\u00a0detail and time that my story needs<\/strong>. In writing this character, I have to combine what I\u00a0know of the Middle Ages, what I know of the condition, what I know about the\u00a0characters involved, what I know about human nature, and my artistic vision. Historical\u00a0fiction is frequently caught in this balancing act\u2014examining critically what information\u00a0you have, looking at what you need, and deciding how to allow them to affect each\u00a0other<\/strong>.<\/p>\n

As a creative writer, it\u2019s important to remember that even when dealing with the weight\u00a0of history, people are still people, and story is still king<\/strong>. Be careful and intentional in the\u00a0decisions you make, but don\u2019t be so afraid of \u201cmessing up history\u201d that you don\u2019t let your\u00a0characters and plot breathe. As long as you\u2019re striving to show them respect and doing everything we’ve discussed in the past two posts, I\u2019m sure\u00a0medieval people will forgive you\u2014after they\u2019ve made fun of some of the woefully\u00a0inaccurate conclusions historians like me have come to.<\/p>\n

…<\/p>\n

\"\"<\/a>About Rachel<\/strong><\/p>\n

Rachel was one of the seven students\u2014or self-labeled \u201cguinea pigs\u201d\u2014who took part in the pilot class for The One Year Adventure Novel<\/em>. Known as \u201cNairam\u201d in the extended OYAN community, Rachel is an example of dedication to her craft and a gifted editor. She is also a kind and forthright writing mentor to students at every level of the program, and a Story Coach<\/a>. A homeschool graduate, she is now in college studying history. When not hiding out in the medieval England section of her school library, she edits her Robin Hood retelling and pretends that ten years is definitely not too long to spend on a single writing project.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Rachel Garner, Staff Writer<\/strong>
\nIf people ask me about nonfiction resources, I\u2019m happy to oblige, cheerfully pelting England Under the Norman and Angevin Kings<\/em> and other books or articles at them, forgetting that titles like that don\u2019t sound exciting to most people. 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