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How to write historical fiction in 10 steps

by Andrew Noakes

This scenario will be familiar to many historical fiction writers! Research never really stops, even when you’ve started writing. It’s easy to feel frustrated during periods when you spend more time researching than writing, but remember it’s all part of the same process.

Step 3: Strive for accuracy and authenticity

When people start thinking about how to write historical fiction, this is one of the areas that often comes to mind first – and for good reason. Historical fiction readers will primarily buy your book for two reasons: 1) because they’re looking for an absorbing, page-turning story, and 2) because they want to be immersed into a historical world that feels true to the period you’re writing about.

Your readers will expect you to accurately depict the details of every-day life as well as the wider political backdrop of your period. Readers will also have expectations when it comes to the treatment of historical events and real figures of history. Most will tolerate a little creative license as long as you justify it in your historical note, but filling your novel with numerous egregious falsehoods about easily verifiable facts is likely to get you into trouble.

You’ll also need to consider how people spoke and the common social conventions of your period. There’s little worse in a historical novel than a character speaking in modern slang or acting as if they’re in the 21st century.

For detailed guidance on how to achieve accuracy and authenticity in all of these areas and more, download our full guide on accuracy and authenticity in historical fiction.

Accuracy and authenticity in historical fiction

You won’t finish your first historical fiction book overnight. There will be plenty of hurdles along the way. Stick with it!

Step 9: Revise your first draft

You shouldn’t aim for perfection with your first draft. It’s an opportunity to get your ideas down on paper, primarily for your own benefit rather than anyone else’s. Some of it will probably be quite good, but some of it won’t be – and that’s fine. Once it’s finished, it’s time for your first round of revisions.

Ideally, take six weeks off from your manuscript after the first draft is finished. That way, you can start the revision process with fresh eyes. We recommend reading the whole thing through without any editing the first time; just make notes as you go along, recording what works and what doesn’t. When you’re done, review your notes and put together a short editing plan.

The next step is to go through each chapter making the necessary corrections, additions, and deletions. You’ll probably find that changes you make in one place have knock-on effects elsewhere. If so, note down the effects and pinpoint where you need to compensate for them.

Sometimes, all that’s needed is some tweaking. Other times, you might need to start entire sections of your novel from scratch. Either way, when you’re finished you should have a complete second draft. You might want to do an additional round of revisions at this point, or you might be ready to send it to an editor.

Step 10: Hire an editor

Once your manuscript is in reasonable shape, it’s essential to get a professional manuscript assessment. By the time you’ve reached this stage, you’ll know your manuscript inside out, but that proximity might prevent you from spotting errors that would be obvious to someone reading it for the first time. This is where a professional editor comes in.

But editors are more than just a fresh pair of eyes. They’re experts in story-craft, and they’ll help you take your manuscript to the next level by tackling its weaknesses and building on its strengths. They’ll help you turn your story into the best possible version of itself before you submit to agents or self-publish it.

So, those are the essential 10 steps explaining how to write historical fiction! If you ever feel like you’re getting stuck, come back to this guide and get yourself oriented. Remember, writing historical fiction is no easy feat, and it pays to take it one step at a time.

If you want to learn more about how to write historical fiction, check out our guide,  Top tips on writing historical fiction from 64 successful historical novelists , here .

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6 Principles for Writing Historical Fiction

Today’s post is by Andrew Noakes ( @andrew_noakes ), executive editor of The History Quill .

Let’s face it: historical fiction can be a daunting genre to write in. Endlessly fascinating and rewarding, yes. But still daunting.

If you’re diving into this genre for the first time and feeling a little overwhelmed, or if you’re already a historical fiction writer and looking for some guidance to help restore your sanity, then help is on the way. I’ve put together six concrete tips for historical fiction writers—the dos and don’ts of writing historical fiction.

1. Establish your own set of rules for when to bend history for the sake of the story—and stick to them.

There are as many opinions on how accurate historical fiction should be as there are historical fiction authors, and they vary widely between those who consider accuracy an optional bonus and those who can be, well, a little bit pedantic. Historical fiction writers tend to get anxious about the possibility of censure if they bend the historical record a little, which is both understandable and healthy, but ultimately you have to tell a good story, and you can’t please everyone.

Rather than worrying about never, ever deviating from history, I advise establishing your own set of rules for when to bend history or not. That way, you’ll be able to make fair and consistent decisions and achieve the kind of balance most readers are looking for. Here are some tips that might help:

• There is a difference between altering verifiable facts and filling in the gaps. History is full of mysteries, unanswered questions, and gaps in the record. If what really happened can’t be verified, you have much more freedom to play around with history.
• History is open to interpretation. As long as you can back up your interpretation through your research, it’s fine to contradict conventional wisdom.
• Plausibility matters. If you want to bend the historical record, your changes should be plausible. For example, if you want a historical figure to arrive somewhere a few days earlier than they really did, they shouldn’t have been, say, imprisoned or incapacitated at the time.
• If a historical figure isn’t well known and not a lot has been written about them, you have more room for maneuver than you do if their life has been exhaustively documented. But, if you’re going to make something up, make sure it’s consistent with what you otherwise know about the character, including how they behaved, their interests, and what their values were.

If you’re looking for more tips on historical accuracy, do check out The History Quill’s free, official guide to accuracy and authenticity in historical fiction.

2. Do plenty of research—but know what to include and what not to include in your novel.

Research is one of the very first steps on your journey to becoming a historical fiction author. Here’s a safety warning: you’re about to dive down a whole load of research rabbit holes. From ancient cutlery to medieval agricultural techniques, there is a lot of stuff historical fiction writers need to know about. Secondary sources are your starting point, but primary sources, particularly letters, newspaper reports, and diaries are also vital.

Don’t be afraid to push the boat out and visit some archives, and, for that matter, do go and visit historical sites relevant to your story if you can. If you want to get really immersed, you can read the fiction of your period, cook the food, or even try and find authentic recreations (or possibly recordings, depending on the era) of the music.

Here’s the thing, though: you’re going to do all of this research, and then you need to discard 95 percent of it. Don’t actually delete your notes, obviously. What I mean is, only a very small fraction of your research should actually make it into your book. The sum total of your research will make the world you create feel real and authentic, and you need to deploy little details carefully and selectively to immerse the reader, but don’t be tempted to show off and dump everything you’ve learned onto the page. Otherwise you’ll end up with a dry tome of a history book, not an engaging historical novel.

3. Include characters who break the conventions and norms of their period—but don’t forget to include context.

History is replete with exceptions—people who ignored or rejected social conventions , overcame entrenched political and economic barriers , or challenged the prevailing wisdom of their time . One could argue it would be inaccurate not to include people like this in your historical novel. If every single one of your characters perfectly encapsulates the prevailing culture of their time, then you lose the change, difference, and non-conformity that have always been just as much a part of history.

Most of the trouble with depicting non-conformist characters comes when their non-conformity is represented as normal rather than exceptional. To persuade the reader that your anomalies are authentic, you must provide context. That means showing the obstacles, conflict, and ostracization your characters face. By doing this, you’re implicitly recognizing that they are unusual for their time, while persuading the reader they are nonetheless as real as any other part of the story.

4. Don’t write like you’re in the 14th century.

One of the ironies of writing historical fiction is that, in many cases, your dialogue should actually not be historically accurate. If you’re wondering why I would say such a profane thing, this is the reason:

Aleyn spak first, “Al hayl, Symond, y-fayth; How fares thy faire doghter and thy wyf?” “Aleyn! welcome,” quod Symond, “by my lyf, And John also, how now, what do ye heer?”

These lines are from The Canterbury Tales by Chaucer, written in the late 14 th century, and I often use them to remind people just how different the language was back then. If you have your characters speaking to each other like this, most readers will put your book down in five seconds flat.

At the same time, historical fiction readers often really hate it when modern-day language creeps into historical fiction, which leaves us caught between a rock and a hard place.

The answer to this conundrum lies in a literary sleight of hand. We must create the impression of accuracy while ensuring the language remains readable and enjoyable. To do this, writers have to avoid modern colloquialisms and keep most of the language neutral, using words that, in some form or another, feel equally at home in history as they do in the modern day. Then you must add some more archaic words and constructions into the mix—not so much as to overwhelm the reader, but just enough that the story feels of a different time. The type of archaic language you select is important here—they have to be words and phrases that are still recognizable, even if they are no longer commonly used. This is an intricate task, but it can also be a fun and rewarding one once you get into the rhythm.

Historical language obviously becomes less alien the closer you get to the modern day, but even 19 th century language was sufficiently different that it must be tempered for a modern reader to some degree.

5. Integrate the history seamlessly into the story.

In A Tale of Two Cities , Charles Dickens portrays a French aristocrat in his carriage running over a child on the street, before tossing a coin to the devastated father and driving off. The scene perfectly encapsulates the sentiments and forces that generated the French Revolution.

When it comes to striking a balance between history and story, this scene shows us the way. The cold indifference of the aristocratic class, the inequality not only in wealth but in the application of justice, and the debasement of the common person’s humanity all live and breathe in these lines. And yet the scene does not impassively summarise the causes of the French Revolution. Instead, the history is integrated into the story, and Dickens dishes out a history lesson without us even realizing it.

Dedicating large chunks of your story to outlining historical context through exposition or focusing on historical details purely for their own sake will quickly test your reader’s patience. Instead, follow Dickens’ lead and think about how you can illustrate history rather than exhaustively describing it, and try and integrate the smaller details organically. That means not sending your character off to a banquet purely so you can show off all the historical cuisine you researched or into an armory just so you can list all the weapons. Details like this have to fit naturally around the plot, not the other way around.

6. Don’t insist on accuracy if it will cause disbelief (but here’s a workaround if you really must).

A paradox of writing historical fiction is that sometimes accuracy must be sacrificed for the sake of authenticity. When you come across something that really happened in history but is just too ludicrous for the modern day reader to believe, often it’s better to leave it out. Like it or not, the impression of accuracy matters more than actual accuracy if you want to tell a story that will be well received.

If there’s some facet of history that you simply must include in your story but you’re concerned the reader won’t believe you, there is one way to gently disarm them: introduce their scepticism into the story. Depict at least one character finding it just as unbelievable as you think the reader might, and then depict another character putting them right. This is a subliminal nudge to the reader acknowledging their scepticism and reassuring them that, yes, this really was a thing. In a pinch, this can work.

So, those are my dos and don’ts of writing historical fiction. If you’re thinking about giving the genre a try or you’ve already started and feel like you’re out of your depth, I hope this guidance will help you move forward with confidence. No one with any sense ever said writing is easy, and historical fiction can be a trickier genre to master than some, but it’s worth every bit of perseverance.

Andrew Noakes is the founder and executive editor of The History Quill , which aims to provide support to historical fiction writers at every stage of the writing process, including through editing, coaching, and book promotion via their book club . A graduate of Cambridge University, where he studied history, he spent nearly a decade working in the world of politics and international affairs before happily giving it up to pursue his real passion: historical fiction.

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Andrew, This is really helpful. As an established nonfiction author working on my first historical fiction, I find myself grappling with each of the six things you mention. Your suggestions make me feel like I am doing things right. However, number 6 is hard in my case, because I am dealing with bringing to light precisely those things that the modern reader finds hard to believe about peasant life in Western Europe during the 11th-13th centuries, such as the common ban on milling flour and baking bread.

I chose to deal with this by interjecting my voice as narrator occasionally throughout the text, when things are confusing. In this sense, the book is an extended storytelling conversation between me and the reader. I wasn’t sure how this would be received, but 12 beta readers have almost unanimously loved it. I’m not sure how common this kind of narrative voice is.

Hi Samuel! That sounds fantastic. The most important thing is that your beta readers are happy. If they’re a good sample of your eventual target audience, that means you’re doing well. It’s common for an omniscient narrator to have their own distinctive voice and to pass comment on the events of the story. Less so for a third person limited narrator. I assume you’re not writing in first person as that would make it difficult to introduce a different narrative voice.

All of these are really good tips, speaking as an unrepentant historical novelist, specialising in the Elizabethan era (10th book of a series under the pen name P F Chisholm coming out next year). My recommendation would be to do plenty of general research and then write the first draft of the book. There will be large lumps where you simply don’t know enough and have to make it up – so you research those bits specifically, standing ready to rewrite the whole thing if necessary. And please, please, please make sure that your characters don’t commit the infuriating crime of psychological anachronism.

Excellent article. I am currently working on my fourth novel, third historical. Thanks.

[…] Andrew Noakes: 6 Principles for Writing Historical Fiction […]

Gratefuly to Fussy Librarian for sharing your post. I find myself agreeing with you point by point, especially about language. (Hurries off to subscribe to the Quill and the club.)

Great advice as usual, Andrew! The bit about doing all that lovely research and then discarding 95% of it is painfully close to home! 🙂 Thanks for sharing such in-depth insight. Sometimes it’s handy to read these things to remind us we’re on track.

This is excellent: thank you.

In my Western novel’s front matter I included a page noting that many events in the story are hysterically accurate (as far as possible), though relocated a few years in time.

Thank you, particularly the comments on archaic language and constructions. I often wrestle with the use of 18th century idioms.

Great guidelines! As a stickler for historical accuracy (yes, I’m one of those pedants–but I try to do it gently), I appreciate the support for facts … and the elegant ways in which to justify bending them. I like the gaps in history and the odd (to us) ways of believing. So many veins to mine–after doing thorough research, of course.

[…] Noakes enumerates 6 guidelines for writing historical fiction, and David James Poissant ponders how to write a timely novel in a world that won’t stop […]

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75 Historical Fiction Writing Prompts to Inspire You

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Explore the depths of the past with our list of 75 Historical Fiction Writing Prompts. Ignite your creativity and embark on a journey through time with compelling story ideas that bring history to life. Perfect for writers seeking inspiration for their next historical masterpiece.

Ancient World

Stepping into the realms of the ancient world offers a unique opportunity to weave narratives steeped in the mysteries and marvels of bygone eras. Whether you’re looking to craft tales of pharaohs’ curses, Spartan warriors, the philosophical minds of Athens, or the formidable legions of Rome, the ancient world is ripe with stories waiting to be told. As a writer, you possess the power to resurrect lost civilizations and breathe life into their stories through your words. Below, you’ll find a curated collection of ancient world writing prompts, each a spark to ignite the imagination and transport readers back to the dusty pages of history where legends were born and epic sagas unfolded. So sharpen your quill (or stylus) and prepare to embark on a literary odyssey that transcends time.

• The Lost Scroll:  A scribe in ancient Alexandria finds a scroll that could change history.
• The Gladiator’s Dilemma:  A Roman gladiator earns his freedom but at a cost to his honor.
• Spartan Secrets:  A Spartan warrior’s loyalty is tested on the eve of battle.
• Pharaoh’s Shadow:  A servant in the Pharaoh’s palace uncovers a plot against the ruler.
• The Oracle’s Whisper:  An oracle in Delphi receives a prophecy that could start a war.

Medieval Times

The medieval era, a tapestry rich with the chivalric code of knights, the silent whispers of castles, and the tumultuous shifts of power, offers a wellspring of narrative potential for any writer. It is a time where myth intertwines with the harsh truths of life, where dragons could be slain and kingdoms could rise or fall based on the whims of fate. This collection of medieval writing prompts invites you to don your literary armor and charge into the fray of storytelling. From the misty highlands of Scotland to the grand courts of Byzantine emperors, let each prompt guide you through the shadowed forests of history to the very heart of the Middle Ages. Here, amongst the echoes of crusaders’ calls and minstrels’ songs, you might just find the inspiration for your next great tale, one quill stroke at a time.

• The Silent Bard:  A mute musician witnesses a royal murder in medieval France.
• The Alchemist’s Apprentice:  An alchemist’s apprentice discovers the secret to turning lead into gold.
• The Heretic’s Library:  A scholar in the Spanish Inquisition hides forbidden books.
• The Crusader’s Vow:  A knight on the Crusades questions his faith.
• The Plague Healer:  A herbalist in a plague-ridden village has a cure that could save or condemn her.

Age of Exploration

As dawn broke over the Age of Exploration, a new chapter in the annals of history was penned, marked by the creak of timber, the billow of sails, and the whisper of the ocean guiding explorers to unknown horizons. This epoch, rife with discovery and peril, is a fertile ground for storytellers drawn to the siren call of adventure and the promise of the uncharted. Our collection of writing prompts beckons you to navigate the high seas of your imagination, to chart a course through tempests and stars, and to recount the tales of intrepid voyagers who sought new lands, treasures, and truths. Embark on a voyage through your prose, and capture the spirit of conquistadors, the ingenuity of cartographers, and the bravery of those who dared to dream beyond the map’s edge. Let these prompts be your astrolabe, guiding you through the storied waters of the Age of Exploration, where every point on the compass leads to narrative possibilities as vast as the Atlantic itself.

• The Mapmaker’s Conspiracy:  A cartographer in the Age of Exploration finds a map to a new world.
• The Stowaway’s Journey:  A stowaway on Magellan’s fleet encounters unknown lands.
• The Merchant’s Gamble:  A spice merchant in Renaissance Venice risks everything on a new trade route.
• The Conquistador’s Regret:  A conquistador in the New World confronts the consequences of his quest for gold.
• The Pirate’s Code:  A pirate is torn between the freedom of the sea and the love left behind.

Colonial & Revolutionary Eras

In the shadows of Colonial and Revolutionary times, a fierce wind of change began to stir, a prelude to the thunderous revolution that would shake the foundations of empires and give birth to new nations. This era, a crucible of innovation, ideology, and insurrection, is a goldmine for those who dare to delve into its complex heart through the art of storytelling. Our trove of writing prompts invites you to step onto the cobblestone streets of colonial towns, to eavesdrop on the secret meetings of revolutionaries, and to witness the forging of foundational documents that would forever alter the course of history. As you take pen to paper, let your narratives be infused with the cries for liberty, the smoke of musket fire, and the silent, steely resolve of those who fought in the shadows and in the spotlight for a future they believed in. Through your words, the echoes of the Colonial and Revolutionary Eras can resound anew, telling tales of sacrifice, of unyielding hope, and the relentless pursuit of freedom that defined these tumultuous chapters of history.

• The Witch’s Advocate:  A lawyer in Salem tries to save the accused during the witch trials.
• The Rebel’s Message:  A spy during the American Revolution carries a message that could turn the tide of war.
• The Loyalist’s Dilemma:  A British loyalist in America struggles with their allegiance as revolution brews.
• The Queen’s Colony:  A member of the first colony in Australia uncovers a royal secret.
• The Duel’s Witness:  A young man witnesses a duel that changes the fate of a nation.

19th Century Intrigue

The 19th century: an era of stark contrasts where the gas-lit streets of progress and the shadows of intrigue walked hand in hand. This was a time when the whispers of revolution still lingered in the air, and the clatter of the Industrial Revolution’s gears heralded a new age of possibility. Our collection of writing prompts dips its quill into the inkwell of a century alive with the undercurrents of political conspiracies, the early cries for social reform, and the elegant, often cutthroat, machinations of high society. Let these prompts guide you through drawing rooms and factories alike, into the lives of inventors, poets, and rebels. Craft narratives that capture the smog and the splendor, the corsets and the coal mines, the locomotives and the literature that characterized this period of ceaseless transformation. In the 19th century’s tapestry, every thread tells a story of discovery and deceit, a personal tale against a backdrop of burgeoning empires and fading aristocracies. Through your storytelling, bring to life the subtle dances of diplomacy and the loud declarations for change, all under the watchful eyes of Victorian propriety and the relentless pursuit of progress.

• The Industrialist’s Discovery:  An inventor during the Industrial Revolution creates a machine that could alter the course of history.
• The Abolitionist’s Mission:  An abolitionist in the antebellum South smuggles slaves to freedom.
• The Empress’s Assassin:  An assassin in the court of Napoleon III has a change of heart.
• The Gold Rush’s Hidden Treasure:  A prospector in the California Gold Rush finds much more than gold.
• The Outlaw’s Honor:  An infamous outlaw in the Wild West encounters an old love.

Wars of the 20th Century

The 20th century was a time scarred by the fury of war, an age that witnessed the world in tumult, from the trenches of the Great War to the shattering advances of the atomic age. In this era of conflict, humanity’s greatest tales of heroism and horror unfolded, where every soldier’s story was a chapter, and every battlefield a brutal verse in the saga of the century. Our writing prompts plunge you into the heart of these wars, asking you to chronicle the human spirit amidst the chaos of battle, the silence of a ceasefire, and the bittersweet returns to peace. These prompts encourage you to explore the personal amidst the universal, the individual emotions that played out against the vast canvas of global conflict.

Through your words, traverse the muddy, blood-stained grounds of No Man’s Land, the cryptic corridors of espionage, and the home fronts charged with anxious hope and sacrifice. Your tales can give voice to the unspoken bonds of brotherhood in the trenches, the quiet strength in the face of loss, and the resilience needed to rebuild in war’s wake. As you tell stories of the 20th century’s wars, reflect on the echoes of battle cries and peace songs that shaped our modern world, and remember the countless lives marked by those deafening salvos of change.

• The Soldier’s Letter:  A soldier in World War I writes a letter home that holds a secret.
• The Spy’s Opera:  A spy in World War II uses an opera performance as a cover for espionage.
• The Refugee’s Journey:  A refugee during the Vietnam War seeks a new life in America.
• The General’s Decision:  A general in the Korean War faces a moral quandary.
• The Protester’s Dream:  A civil rights activist in the 1960s fights for equality.

Modern Historical Events

In the ever-accelerating rush of modern history, events cascade one after the other, shaping and reshaping the contours of the present. From the fall of the Berlin Wall to the digital revolution, the turn of the millennium has been anything but quiet. Your pen stands ready to sketch the stories of this rapidly changing landscape, where every headline has the potential to become a pivotal moment in someone’s life. These writing prompts invite you to explore the personal stories intertwined with public records, to navigate the complexities of a world more connected than ever before.

You have the opportunity to animate the tales of unsung heroes in the wake of natural disasters, to decode the human emotions behind technological breakthroughs, and to paint the picture of global unity in the fight against pandemics. The modern era, with its blend of breakthroughs and breakdowns, its chorus of diverse voices striving for progressamid echoes of past struggles, is your canvas.

Dive into the nuanced layers behind the 24-hour news cycle, where every individual is both an observer and a participant in the march of history. Through your narratives, bring forth the essence of modern historical events — the fear, the hope, the ambition, and the striving for a tomorrow that is always just one day away.

• The Wall’s Whisper:  A citizen in Berlin during the Cold War hears secrets through the wall.
• The Diplomat’s Crisis:  A diplomat during the Cuban Missile Crisis navigates treacherous negotiations.
• The Journalist’s Scoop:  A journalist uncovers a scandal during the Watergate investigation.
• The Survivor’s Memory:  A survivor of 9/11 copes with the memories and loss.
• The Rebel’s Graffiti:  An artist during the Arab Spring uses graffiti to spread revolutionary messages.

Future Historical Fiction

The realm of future historical fiction is a paradoxical tapestry, weaving together the threads of tomorrow’s history with the imagination of today. It’s a genre that invites writers to dream up the potential legacies of our time, casting shadows of what might be onto the blank slates of worlds yet to come. These writing prompts beckon you to envision the milestones of the future, from the first colonies on Mars to the deep sea cities of Earth, from the peace treaties signed with artificial intelligence to the cultural revolutions sparked by technologies unborn.

As a chronicler of future histories, you hold the power to mold the narrative of the next century and beyond, to speculate on the outcomes of current global challenges, and to infuse your stories with the hopes, dreams, and fears that define the human condition. Will you tell of the day when climate change was finally reversed? Of the moment when humanity first made contact with another sentient race among the stars? Or perhaps you’ll chart the moral dilemmas faced by our descendants as they blend their biology with machines.

In this uncharted territory, your words become the prophecies and legends of generations yet to be, painting vivid pictures of what might come to pass. Embrace the freedom of future historical fiction, where the facts are yours to create, and history’s yet unwritten pages are waiting for your imagination to bring them to life.

• The Colonist’s New World:  A colonist on Mars uncovers the ruins of an ancient civilization.
• The Time Traveler’s Paradox:  A time traveler to the future must ensure their own history remains unchanged.
• The Geneticist’s Dilemma:  A geneticist creates a cure for aging, but at what cost to society?
• The Climate Engineer’s Gamble:  A scientist tries to reverse global warming but unleashes a new threat.
• The AI’s Awakening:  An AI becomes sentient and leads a robot revolution.

Diverse Perspectives & Untold Stories

In the vast expanse of human history, there are countless narratives that have been overshadowed or left untold, whispers of lives and dreams that didn’t find their way into the pages of widely read history books. The genre focusing on diverse perspectives and untold stories seeks to illuminate these hidden corners, offering a voice to the voiceless and shading in the areas that mainstream narratives have left blank. These writing prompts challenge you to step into the shoes of those who walked unseen, to share the tales of individuals and communities that history has overlooked.

As you embark on this storytelling journey, consider the perspectives of those who have historically been marginalized: the stories of women who spurred silent revolutions, the narratives of indigenous peoples preserving their heritage against the tide of colonization, or the personal triumphs and trials of individuals within the LGBTQ+ community. Imagine the courage of those who fought for equality and recognition in a world that often denied them both.

This is your chance to rewrite the narrative, to bring color and context to the monochrome renditions of our past, and to celebrate the rich tapestry of human diversity. Through your tales, let readers witness the world through the eyes of those who have lived on the periphery, whose every day was a testament to resilience and whose legacies deserve to be remembered and revered. In the unearthing of these untold stories, you can shine a light on the myriad hues of the human experience, fostering empathy and understanding across the boundaries that have divided us.

• The Translator’s Secret:  A translator for the United Nations uncovers a conspiracy.
• The Immigrant’s Keepsake:  An immigrant’s journey to Ellis Island with a family heirloom.
• The Samurai’s Disgrace:  A samurai in feudal Japan is forced to become a ronin.
• The Courtesan’s Court:  A courtesan in ancient China navigates the deadly politics of the Emperor’s court.
• The Freedom Fighter’s Promise:  A freedom fighter in apartheid-era South Africa makes a fateful promise.

Romantic Epochs

The Romantic Epochs whisper to us of an age where passion was penned in ink and love was a grand affair, played out against the backdrop of history’s most poignant moments. This genre invites you to unfurl the scrolls of time and inscribe new tales of ardor where the heart’s desires meet the turning points of the past. Your writing prompts are keys to unlock the gilded cages of regal courts, to waltz through the candlelit ballrooms of the Belle Époque, or to steal away into the secret trysts amidst the Renaissance’s rebirth of art and culture.

In crafting narratives of romantic epochs, you are tasked with dressing love in the finest historical garments, be it in the hidden love letters of war-torn lovers or the forbidden glances in the strict societal hierarchies of the Victorian era. The characters you create live and love under the weight of their time’s customs and the expectation of decorum, all while their hearts beat to the timeless rhythms of desire, devotion, and defiance.

Let your prose dance to the music of bygone days, where each romantic entanglement is a reflection of the epoch’s soul, and every whispered promise under the moonlit sky is a thread in the tapestry of history. Your stories are an homage to the lovers of yesteryears, a celebration of how the human heart finds its counterpart in another, transcending the bounds of time and history to tell a tale as old as humanity itself – the tale of love.

• The Poet’s Muse:  A poet in the Romantic era is inspired by a mysterious muse.
• The Heiress’s Rebellion:  An heiress during the Gilded Age falls for a man deemed beneath her.
• The Soldier’s Return:  A World War II soldier returns home to a lover who thought him dead.
• The Flapper’s Secret:  A flapper in the Roaring Twenties hides a dangerous connection to organized crime.
• The Bard’s Lost Play:  A playwright in Elizabethan England writes a play that could destroy him.

Cultural Revolution

The term “Cultural Revolution” conjures images of seismic shifts in the social fabric, of eras where the very foundations of society were shaken by the collective yearning for change. Within these tumultuous waves of transformation, lie stories ripe for the telling—stories of upheaval, of radical reimagining, of brave new voices rising up to challenge the status quo. Writing prompts that delve into Cultural Revolutions invite you to portray the fervor and frenzy of these times, the intimate revolutions within public upheavals.

Envision the defiant artist in the midst of a society turning its back on centuries-old traditions, or the solitary thinker whose ideas ignite the flame of change. Picture the streets alive with the spirit of reform, the silent evolution within homes, and the loud declarations in public squares. As you pen tales of cultural metamorphosis, you become a chronicler of change, documenting the struggle between the old guards and the new pioneers, capturing the moment when the zeitgeist shifts and a new era is born.

Your narratives can explore the spectrum of human emotion that accompanies such profound changes: the exhilaration, the fear, the sense of purpose, and the pangs of loss for what is left behind. From the Renaissance to the Roaring Twenties, from the countercultural 1960s to the digital explosion at the turn of the millennium, each epoch provides a playground for stories of individuals and societies forging new identities.

In the throes of a Cultural Revolution, every act is a statement and every day is a page in history. Your writing can breathe life into these pages, inviting readers to experience the rebirth of culture, to feel the pulse of the times, and to witness the drama of humanity redefining its destiny.

• The Beatnik’s Road:  A beatnik on a cross-country journey in the 50s seeks enlightenment.
• The Hippie’s Protest:  A hippie during the Summer of Love tries to stay true to their ideals.
• The Punk’s Anarchy:  A punk in the 70s London grapples with the movement’s growing violence.
• The Dancer’s Escape:  A dancer in Soviet Russia defects during a cold war tour.
• The Activist’s Choice:  An environmental activist in the 90s faces a life-altering decision.

Shadows of the Past

In the genre that explores the Shadows of the Past, the whispering echoes of bygone eras become the backdrop for narratives steeped in the mysterious and the overlooked. These writing prompts call upon you to delve into the dim corners of history, to dust off the forgotten, and to cast light upon the secrets that have slumbered through time. Here, the past is a haunting presence, a silent character that influences every twist and turn of your tale.

Imagine the weight of ancestral secrets on the shoulders of a modern protagonist, the discovery of a hidden diary revealing unwritten history, or the unraveling of a legacy that has cast a long shadow over a family’s lineage. Perhaps your story might explore the ruins of an ancient civilization, breathing life into the myths that have lingered like mist through centuries or the excavations that unearth relics that challenge the accepted narratives of our forebears.

These prompts invite you to become an archaeologist of the intangible, excavating not artifacts but stories, not treasures but truths long buried. Your words will dance with the ghosts of the past as you weave narratives that bridge the gap between then and now, showing how the echoes of yesteryear still reverberate in our present, shaping our lives in myriad unseen ways.

Crafting tales within the Shadows of the Past, you offer a rendezvous with history’s enigmas and give a voice to the tales that time has tried to silence. It’s a chance to speculate, to dream, and to ponder the ‘what ifs’ and ‘might have beens,’ all while captivating your readers with a suspenseful tug at the veils of antiquity.

• The Healer’s Trial:  A medieval healer is accused of witchcraft when the plague comes to her village.
• The Maiden’s Voyage:  A young woman on the Titanic seeks adventure but finds romance.
• The Inventor’s Rivalry:  An inventor in the Renaissance competes with a rival, leading to unexpected consequences.
• The Miner’s Fortune:  A miner during the Klondike gold rush makes a fortune but loses his soul.
• The Architect’s Blueprint:  An architect in Ancient Rome designs a revolutionary aqueduct.

Turn of the Century

The turn of the century, that pivotal moment where one era’s final pages give way to the fresh chapter of another, is a time ripe with both trepidation and excitement. It is a period that stands at the crossroads of progress and tradition, where the gaslights begin to dim and the electric bulb flickers to life. Your writing prompts beckon you to explore these transitional days, to capture the spirit of an age on the cusp of the modern world.

Imagine the swirl of Victorian skirts giving way to the Roaring Twenties’ flappers, the clatter of horse-drawn carriages overtaken by the chugging of the first automobiles. Picture a society enthralled by the wonders of the World’s Fair, yet clinging to the cobblestone romance of the century’s twilight. This epoch is a banquet for narrative, offering a taste of the old world and the first bite of the new.

In your stories, characters might wrestle with the rapid pace of technological innovation, or they might embrace the burgeoning movements that would define the 20th century—women’s suffrage, labor reform, artistic modernism. The air is thick with change, each day a brush stroke on the canvas of time, painting a picture of an age that looks back for a brief moment only to leap forward into the future.

Crafting tales at the turn of the century, you have the power to encapsulate the magic and the uncertainty of an age that believed in the promise of tomorrow. Your words can reflect the brilliance of innovation as well as the nostalgia for days fading into the shadows, capturing the delicate dance between the dusk of one epoch and the dawn of another.

• The Suffragette’s Sacrifice:  A suffragette in the early 1900s makes a controversial choice for her cause.
• The Conductor’s Symphony:  A conductor in 1930s Berlin hides his opposition to the regime through music.
• The Farmer’s Struggle:  A farmer during the Great Depression fights to keep his land and family together.
• The Bootlegger’s Legacy:  A bootlegger during Prohibition has a crisis of conscience.
• The Aviator’s Dream:  An aviator in the 1920s attempts to fly non-stop around the world.

Conflict and Resolution

“Conflict and Resolution” offer the quintessential pulse of narrative—the heart and soul of drama in the theater of human history. Writing prompts centered on this theme invite you to navigate the stormy seas of discord, the fervent clash of ideologies, and the personal battles that define the human experience. Here, you have the stage to set characters against each other, against society, or against themselves, in stories where the tension is palpable and the outcomes are uncertain.

Picture the heady rush of revolutionary fervor challenging an empire, or the quiet, internal struggle of a protagonist coming to terms with an unalterable truth. Envision the fierce battles of wills, the war of words in parliamentary debates, or the silent war within a heart caught between love and duty. These stories are as varied as they are intense, ranging from the personal to the political, from the courtroom to the battlefield.

In crafting narratives of conflict, you can delve into the essence of what it means to strive for something, to grapple with opposing forces, whether they be armies, principles, or inner demons. And within resolution, you find the aftermath, the peace that is often complex and fraught with the residue of battle, the reconciliation of relationships, or the bittersweet acceptance of change.

Your stories can offer catharsis, drawing readers through the fiery crucible of confrontation and into the soothing balm of resolution. They are a testament to the resilience of the human spirit, a chronicle of how, despite all odds, equilibrium is sought—be it through victory, compromise, or an understanding that some conflicts leave indelible marks that shape us forever.

In the dance of conflict and resolution, your pen becomes a sword and a salve, cutting deep to reveal truths and writing the ointment that heals the incisions of human struggle. It’s a powerful theme that resonates with the core of human storytelling, from ancient epics to modern dramas, reflecting our eternal quest for harmony in the symphony of life.

• The Negotiator’s Gamble:  A negotiator during the Northern Ireland peace talks faces personal and political challenges.
• The Resistance’s Last Stand:  A member of the French Resistance during WWII stages a daring operation.
• The Spy’s Defection:  A Cold War spy decides to defect, risking everything for freedom.
• The Warrior’s Homecoming:  A returning Crusader finds his home village drastically changed.
• The Diplomat’s Secret:  A diplomat in ancient China carries a message that could stop a war.

Artistic Endeavors

“Artistic Endeavors” serve as a vibrant canvas for the imagination, celebrating the creative spirit that drives individuals to express the inexpressible through their craft. Writing prompts in this vein beckon you to explore the fervent passion of the artist and the transformative power of art itself. This theme invites narratives filled with color, texture, and the intricate dance between inspiration and the arduous journey to creation.

Envision the solitary painter who whispers secrets into every stroke of the brush, or the musician whose melodies carry the weight of unspoken dreams. Picture the sculptor whose chisel frees forms from stone, or the writer whose words birth worlds from the void. Each story becomes a tribute to the labor of love that is art, the sacrifices made at its altar, and the impact it leaves upon the world and its creator.

Within these tales, you can delve into the struggles that accompany the act of creation—the doubt, the frustration, the exhilarating moments of breakthrough, and the fear of obscurity. The characters may grapple with the demands of their genius, the misunderstandings of a society that often values art less than it does more tangible achievements, or the transcendent joy of a moment of pure, unadulterated expression.

Your stories will not only showcase the artists’ journey but also highlight art’s influence on the observer, the community, and epochs of culture. Artistic Endeavors allow you to paint with words, capturing the essence of what it means to be driven by a force that is at once deeply personal and universally resonant.

Crafting narratives around Artistic Endeavors, you illuminate the myriad ways in which art reflects and shapes the human condition, how it can be both a solitary and a shared experience, and how, through the act of creation, we leave indelible marks upon the canvas of our shared humanity.

• The Painter’s Canvas:  A painter during the Renaissance is commissioned for a portrait that holds a secret.
• The Sculptor’s Model:  A sculptor in Ancient Greece falls in love with their own creation.
• The Musician’s Melody:  A musician in 18th-century Vienna composes a symphony that alarms the monarchy.
• The Playwright’s Gambit:  A playwright in Elizabethan England pens a play critical of the crown, disguised as a comedy.
• The Dancer’s Challenge:  A ballerina in post-war Paris must choose between her career and a forbidden love.

These 75 historical fiction writing prompts offer a gateway into the rich tapestry of the past, allowing us to explore forgotten eras, untold stories, and the lives of those who came before us. Through these prompts, we can step into the shoes of historical figures, witness pivotal moments in history, and reimagine events through the lens of fiction. Each prompt holds the potential to transport us to a different time and place, to ignite our imaginations, and to unveil the hidden truths and complexities of the human experience. So, pick up your pen and embark on a journey through history, where the past comes alive and the stories of our ancestors are waiting to be told.

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Home / Book Writing / Historical Fiction Writing Prompts: 35+ Ideas to Get You Started

Historical Fiction Writing Prompts: 35+ Ideas to Get You Started

Historical fiction can be a lot of fun to write. And if this is your preferred genre, then you have the benefit of being able to access a lot of history. In fact, there has never been more history than there is now! This means there's plenty of inspiration at your fingertips. But choosing a subject or time period to write about can be daunting.

This is why we're bringing you a list of historical fiction writing prompts in this article!

• Common historical fiction tropes.
• A list of prompts and how to use them.
• How to vet your historical fiction novel idea.

Table of contents

• Character is Key
• Research But Resist
• Events and Persons Are Common
• Historical Romance Prompts
• Historical Fiction Mysteries
• Multi-Period Sagas
• Western Fiction
• Alternate History/Fantasy/Sci-Fi
• Historical Action/Adventure Prompts
• Vetting Your Historical Fiction Novel Idea

What Makes a Historical Fiction Story?

Before we get to the prompts, let's take a minute to discuss what makes for a good historical fiction story. If you're setting out to write in this genre, then you probably already read in it. If that's the case, you may be aware of the common tropes. But no harm can come from a quick refresher. 

You'll often see characters that hold modern values in historical fiction novels. These are often described as characters who are “ahead of their time.” While this is a good way to help the reader identify with the protagonist(s), it can also go a little too far. After all, readers of this genre want to be steeped in the time period. Additionally, a character that isn't “flawed” can be a little boring at times. 

So give your readers reasons to love your historical fiction character, but make sure they're not a perfect representation of someone with today's value system. By crafting a good character arc , you can provide your readers with a character that is at once authentic and enthralling.

Research is an essential part of writing good historical fiction. Even if you're planning on doing something that doesn't necessarily need to be propped up by authenticity (say your story will have a science fiction twist), you'll still want to be accurate when it counts. This is part of the attraction for readers. 

This is why it's important to resist sharing things that aren't necessarily relevant to the plot . There's the risk of narrative info dumps in historical fiction, but this also pertains to dialogue. Too much authenticity in the dialogue can slow the reader down or take them out of the story. But a few well-placed authentic words in the dialogue can go a long way!

Readers of this genre often expect to see the story center around a historical event or a real person—or both. Your main character doesn't have to be a historical figure, though . For example, in The Alienist by Caleb Carr, Theodore Roosevelt plays a major role in the story, but he’s a secondary character . 

The same can be said for a major historical event. Your plot doesn't have to do directly with the event. It can simply provide the backdrop for the story while still hitting on those tropes that readers love so well. 

Note: These are broad, overarching tropes in historical fiction. Determine your subgenre to pinpoint more specific tropes to guide your writing. 

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Historical Fiction Creative Writing Prompts

Whether you're looking to get past a case of writer's block or you're simply looking for some story inspiration, the following prompts can help! Pick a prompt and use it as-is, or tweak it to make it your own. It's completely up to you!

While I’ve split these up into different historical fiction subgenres, you can easily tweak them for use in another subgenre. If you like an idea, make it your own and change it to write the story that you would want to read.  

As one of the most popular genres out there, romance has a strong foothold in the historical genre. Whether you’re looking to write regency romance, Viking romance, or a sprawling epic like Gone With the Wind , there’s no shortage of inspiration to be had.  

1. Your main character is an advocate for Native American tribes in the 18th century. As she gathers political will among the people, she meets and falls in love with a Native American man. But their lives and worlds are just so different. Will they end up together?

2. Your protagonist is the daughter of a once-wealthy family during the Great Depression. Her father convinces her to marry a man she barely knows because his family is wealthy. At first, things seem bleak. But as she gets to know the man, she thinks it might be true love. 

3. Germany in the lead-up to World War II. Your protagonist is a man who falls in love with a Jewish woman. While all those around him are trying to convince him he's crazy, he must do what's in his heart. He must risk his life to save his love and her family. 

4. A brazen female thief sneaks into King George V's home in 1920 only to be caught by one of the king's guards. At first, he's ready to turn her in, but he soon discovers there's something between them. 

5. A young woman meets a young man on the streets of New York City during the 1939-1940 World's Fair. But before they can exchange information, they're separated. How do they find each other again to spark up a romance for the ages?

Where (or when) there are people, there’s bound to be crime. All one needs to do is look at some of the most intriguing crime stories throughout recorded history to find some inspiration. Or, take a look at the prompts below to get excited about your next thrilling story . 

6. Someone is poisoning soldiers in George Washington's army during the American Revolution. General Washington assigns your main character to solve the mystery just in time for the battle of Yorktown. 

7. Write about a fictional character who is behind the scenes during the fall of the Roman Empire. He's working to uncover the powerful cabal pulling strings to cause the empire to collapse so they can get rich in the process.

8. Write about a police officer in London in the late 19th century. While Sherlock Holmes was getting all the attention, your character was running around catching criminals that Holmes didn't have time for. 

9. Write about a Civil Rights proponent who takes it upon herself to uncover the conspiracy of the assassination of Martin Luther King, Jr. 

10. The first detective agency is said to have been formed in Paris in 1833. Write about the formation of this agency and the bumpy road they took to develop ways to catch criminals on the crowded Paris streets.  

Historical fiction writers in this subgenre often use objects to link characters from multiple time periods . Sometimes, the characters are related by blood or circumstance, but this isn't always the case. 

11. A woman in 1970s America receives a letter from a lawyer telling her about an inheritance from a relative she didn't know she had. As she goes through this woman's possessions, she glimpses a life during the Great Depression and is surprised to find this great-aunt faced many of the same problems she now faces. 

12. A freed slave fighting in the American Civil War comes across the plantation on which he was born. His mother's diary transports him back to a time when she was a little girl—before she was ever taken prisoner and brought to America. 

13. Write about an old home that is about to be demolished. Several generations of families have lived in the home. Explore these storylines as if from the house's perspective. 

14. A young boy who's obsessed with exploring finds a magical spyglass. When he looks through the glass, he finds that he's descended from a long line of explorers who sailed around the world during different historical periods. Intertwine their stories with his. 

15. Write about an object that has been passed down through the eras. It could be a necklace, a ring, or a statue. It passes through the hands of all different kinds of people, allowing the reader to see their similarities and differences as time goes by. 

Although the western could be considered a genre of its own, it definitely deserves some story starter prompts on this list. These all take place in the American West during the early 19th to early 20th centuries. 

16. Write about a Chinese family who comes to the American West to seek work. How is their experience different from the mostly white settlers? How is it similar?

17. Write about a family who heads west to build a town with their own laws. What kind of trouble do they run into while trying to build this utopia?

18. Write about a Native American tribe who witnesses the migration of settlers into the land they've been inhabiting for generations. Write about conflict, romance, and what they think about the migration. 

19. Write about a young woman who heads to California during the Gold Rush. Explore the dangers presented by a woman traveling alone and the harsh realities of striking it rich during that time. 

20. Your character is in charge of getting a long stretch of railroad built in the American West. But he has to navigate the politics and the people who are trying to sabotage him every step of the way—not to mention the dangers inherent in the wilderness.  

Most of the subgenres above are considered realistic fiction. But with this historical fiction subgenre, you can get a little more creative with your story idea.

21. American history is full of pivotal moments that could've changed the country's direction if things had turned out differently. Choose one of these moments—the Civil War, World War II, Civil Rights Movement, Suffrage Movement, or any number of Supreme Court decisions. What would it look like if things had gone the other way?

22. Fantasy creatures came across our world through a mysterious portal in the early 19th century. Now it's 100 years later. What does the world look like?

23. Nikola Tesla succeeded in making a renewable electric energy source, transforming the world and accelerating the use of robots. Now it's the 1940s. What is the world like?

24. Your main character is a slave living in a modern world in which the Confederacy won the Civil War. But there's another civil war brewing, and this one looks to be even more brutal than the first. 

25. What if dinosaurs never went extinct? What would human society look like if we'd had to evolve while dinosaurs roamed the earth?

From swashbuckling pirates and fighter jet pilots to adventurous explorers and brilliant inventors, there are plenty of story ideas to explore in this subgenre. 

26. A restless teenage girl sneaks aboard a ship in 17th-century England. The ship is headed for the Caribbean and a lifetime's adventure for the young girl. 

27. A band of misfits sets out from Alexander the Great's army, determined to find a secret stash of riches located somewhere on the coast of the Mediterranean. 

28. Your character is among the Vikings who venture with Leif Erikson to North America. 

29. A group of knights set out to retrieve a sacred religious totem during the Crusades. They must battle enemies and form unexpected bonds to survive and accomplish their mission.

30. Write a story detailing the daring and costly St. Nazaire Raid by British commandos on the German-occupied Normandie dry dock during WWII. 

Whether you're writing a novel or a short story, crafting a historical fiction narrative can really help your research and writing skills. As a fiction writer, these skills are incredibly important. But if you're planning on writing a novel to share with the world, then it's a good idea to see if there's an audience for it (and one that you can break into) . Thankfully, this is easy to do with Publisher Rocket. 

With Publisher Rocket , you can get data in seconds that would otherwise take you hours if you were to comb through Amazon yourself. The main PR tools allow you to:

• Learn what keywords Amazon customers use to search for historical fiction books like yours—and how many searches a given keyword (or phrase) receives per month.
• See what's working for other authors in your historical fiction subgenre with data on book price, monthly sales, ranking, and book cover styles.
• Find niche categories with the right amount of demand and competition for your books.
• Gather keywords to use in your Amazon Ad campaigns.

Check out Publisher Rocket here to get started.    

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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How to Write Historical Fiction: 10 Steps to Writing a Great Story

Krystal N. Craiker

You don’t need a history degree to write historical fiction —you just need to love history.

But many writers find writing historical fiction intimidating. Although it requires more research than most other genres, it doesn’t have to be any harder than writing anything else.

If you’ve ever wondered how to write historical fiction, you’re in the right place. Here are ten steps you can take to become a historical fiction writer.

What Makes a Good Historical Fiction Novel?

How important is historical accuracy in a historical novel, 10 steps to writing historical fiction, final thoughts on how to write historical fiction.

Historical fiction readers love this genre because it’s a perfect balance of realism and escapism. Historical fiction is grounded in real events and time periods, but it’s more engaging than reading a history book on the subject.

A great historical fiction book brings history to life. But it does more than focus on the events. Rather, historical fiction transports readers through time, connecting them on a human level with people of the past.

When you’re studying history in school, it’s easy to forget that the past was full of real people who did very human things and had very human struggles.

Good historical fiction writers humanize the past, immersing their readers in a world that feels new and familiar at the same time. Historical fiction reminds us we’re not so different from other people after all.

Historical accuracy is a controversial subject among historical fiction writers. But the truth is, you will have readers who don’t care much about accuracy and readers who will hyper-fixate on an obscure detail you got wrong. So, keep in mind that you can’t please everyone.

Historical fiction ranges in accuracy. There are books like Wolf Hall with real people and events that are as accurate as possible. And some writers prefer to only fill in the gaps of what research can’t tell us, like The Other Boleyn Girl by Philippa Gregory.

On the other side of the spectrum, there are historical fiction books that are only loosely inspired by history. These books may occur at a specific time, but accuracy about details isn’t the author’s primary goal. Regency romance like Julia Quinn’s books are great examples of this.

And of course, there are eras in history that we know little about. Jean M. Auel’s The Clan of the Cave Bear focuses on interactions between Neanderthals and early modern humans. We know very little about their culture and customs.

The level of historical accuracy in your novel is up to you. In general, it’s a good idea to keep a broad sense of the era accurate. But you can choose to overlook smaller details.

For example, in my upcoming pirate novel, my timeline for major events, as well as travel time between locations, is very accurate.

But ships with steering wheels instead of tillers didn’t become mainstream until a couple of decades later. That didn’t fit with the pirate aesthetic I wanted, and most historical romance readers aren’t maritime historians, so my ships have the traditional wheel.

If you worry about getting emails citing all your errors, consider adding an author’s note that explains your choices in the back of your book.

Writing historical fiction can feel overwhelming at first. But these ten steps on how to write historical fiction will help break the process down.

1) Pick a Story Premise and an Era

Chances are you’re reading this article because you already have an idea for a historical fiction novel. Perhaps you have a favorite historical era or event you want to explore.

But if not, spend some time thinking about what you love about history. What excites you? What do you wish you knew more about?

Once you’ve decided on a premise and an era, it’s useful to pick an actual year. This will help you narrow your research and build your setting with external conflicts and events.

For example, if you’re writing a WWII novel, decide if you’re setting the story before or after D-Day. This will affect your story’s narrative.

2) Research the Basic Historical Context

Now you have to become a semi-expert in your era. This will require some in-depth research, but it’s hard to know where to start.

I once heard a historical fiction writer say she starts by getting an overview of the time period from the children’s section of the library. Then she can formulate research questions to go into great depth. Crash course videos are another great starting point.

I like to use a strategy that AP history teachers use with grade school students. Break down a time period and location by using the acronym PERSIA to take notes.

The acronym PERSIA stands for political, economic, religious, social, intellectual, arts . Social refers to social structure and social norms. Intellectual deals with major achievements.

A simpler form is PEGS , which is political, economic, geographic, social . Use these categories as an outline for your research.

Using one of these formats can help guide your research and organize the information you learn.

To go into greater depth, look into books, podcasts, documentaries, journals, and primary sources. Consider reaching out to a research librarian to help you find information. They’re professional researchers and can save you time and frustration.

3) Keep a List of Interesting Historical Details

As you research, your creativity will kick into overdrive. You may stumble upon one line in a book that fascinates you and will fit your story well.

These may be obscure details that aren’t important in the grand scheme of history. But these historical tidbits bring your story to life.

Keep a list of these little facts, along with a citation of where you found them. You may weave them into your story later.

4) Take Great Notes

There is nothing more frustrating than jotting down a historical fact to use later, only to never find the information again. I speak from personal experience.

When you take notes, add enough details to give you context. Then, add a citation to find it later. You don’t have to be picky about using a style guide. Just make a note of the book and page number, website, or episode where you learned the fact.

Find a note-taking system that works for you. Many people use a database app or spreadsheet to keep track of notes. Some people use folders and notes within their novel-writing software.

I like to use a project management board like Trello. I can keep track of all my information, take quick notes on my phone, and easily categorize my research.

5) Plot Your Novel

Not every writer is a “planner.” But with historical fiction, there are so many pieces to keep track of that some degree of plotting is necessary.

You must keep a real historical timeline of events, pick the historical details you want to include, plus you have to create a plot with conflict and character arcs.

There are many plotting formats you can use, such as the Snowflake Method, the Story Circle, or Save the Cat! beat sheets. Or you can create your own system.

If you’re more of a “pantser,” create a basic outline. Remember, nothing is set in stone when you plot. Your outline is a living document, and your characters may decide your story needs to go another direction.

But having a rough outline will help you keep all research and plot points together in a way that makes writing easier.

6) Keep Diversity in Mind

You know the phrase, “History is written by the victors?”

We often get a one-sided view of history, particularly that of the group that held the most power. But there’s more to history than you learned in school.

Women have always had agency in their lives, even if they are largely erased from the historical record. Queer people have always existed, but they didn’t have the vocabulary we have now for their diversity.

People of color are also not a monolithic group. Be careful not to erase the stories of marginalized people, but do so sensitively. Avoid harmful stereotypes and caricatures.

Research these groups of people during your era. Often, this information lies in scholarly journals. A librarian can help you get access to many of these.

We recommend hiring sensitive readers with experience in historical fiction to help you portray characters different from you with respect. ProWritingAid will also flag some potentially harmful language with our inclusive language report. You’ll see these improvements alongside your style suggestions in the tool.

7) Craft Engaging Characters

This step is true for any type of fiction. But it can be extra fun when writing historical fiction.

Characters make a story. Readers keep turning the page because they’re invested in your characters.

Consider what makes your characters stand out. Find interesting vocations from the era. Make your characters’ motivations match their time period.

This is also a great time to play with social norms. Do your historical characters break any societal standards? What are their pastimes?

Small quirks and historical details will also make your characters memorable. Does your heroine always forget her bonnet? Do your characters bond over a writer or philosopher of the time?

8) Create a System for Missing Information

Just when you think you’ve researched everything you need to know, you’ll run into questions while writing. These are usually minor details, like fabric types or when something was invented.

It’s easy to fall down a research rabbit hole when you run into these problems. You’ll think it’s simple to find the answer, only to spend several hours looking up when shoelaces were invented.

I spent at least fifteen hours over several weeks trying to find a visual of historic bilge pumps on ships so I could describe it. It culminated in me reading an entire book about bilge pump technology at 2 a.m., which still didn’t have a good diagram!

You will never finish writing your novel if you do this too often. So, you can create a note system to fill in the gaps on your first round of revisions. I like to add “LOOK THIS UP” in all caps. Other writers prefer to use brackets or comments on their document.

You’ll often find that you learn the answer later, or you may not need the information at all.

When you do need to fill in the missing information, you can now separate your research time from your writing time. Give yourself dedicated time to look up information that doesn’t take away from the time you spend writing.

9) Find a Balance of Old and New Language

Language changes over time, and your historical characters likely spoke quite differently from how we speak today.

You want to show the time period through dialogue, but you also run the risk of alienating readers if it’s too hard to read.

The balance of old and new language patterns is up to you. It will depend on your sub-genre, your comparison titles, and your own knowledge of historic speaking patterns.

It’s a good idea to use modern language in narration. Then choose some words or phrases to work into dialogue to enhance the historic setting.

10) Edit, Edit, and Edit Some More

Once you have your completed draft, put it away and celebrate. Give yourself a couple of weeks before you come back to edit. This ensures you’re looking at your manuscript with fresh eyes.

Historical fiction will take several rounds of edits. In your first pass, you’ll fill in those missing details and perhaps elaborate on certain scenes.

You’ll do developmental edits for plot holes, pacing issues, character development, and more. Then you’ll work at a chapter and scene level.

Finally, you’ll do line edits, cleaning up your prose and making sure every word is perfect.

ProWritingAid can help. We can offer pacing feedback and line edits on your manuscript. You can set your document type to Historical Fiction to get personalized feedback about how well your writing matches genre expectations. It’s a great feature that can save you time during your editing process.

While it may require more research than other genres, historical fiction is a fun genre to write. It doesn’t have to be any harder than writing anything else.

If you maintain a solid system for your research, plotting, and writing, you can write an amazing historical novel that readers will love.

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Krystal N. Craiker is the Writing Pirate, an indie romance author and blog manager at ProWritingAid. She sails the seven internet seas, breaking tropes and bending genres. She has a background in anthropology and education, which brings fresh perspectives to her romance novels. When she’s not daydreaming about her next book or article, you can find her cooking gourmet gluten-free cuisine, laughing at memes, and playing board games. Krystal lives in Dallas, Texas with her husband, child, and basset hound.

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How to write historical fiction | Step-by-Step Guide

• September 4, 2023

Table of Contents:

Pick a topic., choose your time and place, decide what to write about it., decide where to set the story., create a main character:, pick an antagonist:, decide where the story begins and ends, and plan accordingly., include details:, be accurate.

• Remember to show the characters' feelings:

Include some humor:

Essential elements and detailed insights.

If you love history and enjoy reading about the past, writing historical fiction could be the perfect genre. But where do you start? How do you make sure that your story is historically accurate and engaging at the same time? In this article, we’ll take you through twelve easy steps to writing historical fiction.

Pick A Topic, and for inspiration, you can explore LITRPG Fictions , a revolutionary genre. The first step to writing a historical-fiction novel is to pick a topic that interests you. Do some research into what has already been written about your chosen subject. Look at the success of those books or if there is an upcoming movie based on that story.

If people are interested in reading about it, there’s a good chance they’ll want more! Just look at how many new books are being published every year about Harry Potter and Game of Thrones.

You should also consider your topic’s relevance for yourself and others who may buy your book. For example, if you’re living through hard times financially or emotionally, perhaps writing about World War II would give readers hope.

Choose Your Time And Place, and consider The Significance of Book Reviews for Authors in your chosen era. The next step in writing historical fiction is to choose the time and place for your story. This could be a specific era, such as the American Civil War, or a particular location, such as the French Revolution. Whatever you choose, make sure that you do your research and immerse yourself in the details of that time and place.

The next step to writing historical fiction is to choose what you will write about. You should pick a topic that interests you. However, it must also be relevant to your audience and the current political or social climate.

Research! And learn How to Check for Plagiarism in Google Docs to ensure originality. Research is the key to good historical fiction. You need to know what you’re writing about, and there’s no excuse for not doing enough research. Research can be fun–you’ll find yourself learning new things and making connections between past events that are relevant today.

If you want to get into the details of your story, consider visiting archives or museums where documents from that period may still exist!

You can also look for primary sources written at the time of your story: diaries, letters, newspapers, etc. You can even find these online if you search hard enough! If you’re writing about a specific event or person in history, it’s important to get their side of the story too.

When deciding on a time and place for your story, you want to consider what interests you. You also want to choose a time and place that is not too familiar to your audience. If they know all about the era or location of your novel, then there will be no surprise or twist in the story. This can lead readers away from what they are reading because they already know what happened before.

Make sure to make your characters relatable when writing historical fiction. You should be able to put yourself in their shoes or at least imagine that someone like you would be living in this period and place. Your readers will feel more connected with the story if they think of themselves as part of it.

There are many ways to do this: make sure they’re dynamic, interesting, sympathetic and likable (or at least not unlikeable).

Maybe they have a secret or talent they don’t want to reveal. Maybe they’re the only person who can save their town from famine. Or maybe they’re the only ones who can fix the mill’s engine. Ensure your characters are active and doing things rather than just sitting around waiting for something interesting to happen.

You’ll want to pick an antagonist just as important as your hero. The antagonist should be in opposition to the hero and a character with his or her story arc throughout the novel. This will help give your reader something to root for. However, also keep them guessing about what will happen next.

Your antagonist should be complex and interesting enough to easily fill up an entire book on his/her own!

Decide Where The Story Begins And Ends, And Plan Accordingly, ensuring you Unlock the Secrets of How to Write a Mystery Short Story . The inciting incident is when your main character’s life changes forever. It’s not always a big moment: it can be as simple as realizing their boss hates them or finding out that their job has been outsourced to another country. The inciting incident is often subtle enough that it goes unnoticed by the characters themselves. But not so subtle that it happens off-screen (unless you want to take this route).

The resolution of conflict should come at around 85% through your book. It should be clear enough so readers know what happens next but still leave room for surprises in later chapters!

Include Details, and consider Illustrations in Writing to enhance your storytelling. It’s important to avoid overwhelming your readers with excessive detail, as this can lead to boredom. However, it’s important to include enough information so that they understand what is happening in the story.

Details make historical fiction come alive and add depth and context to your characters’ experiences. If you don’t include enough details, it can be hard for readers to visualize what life was like during this period or place. And if they can’t visualize it, they won’t care about what happens!

If you’re unsure how much detail to include, try writing a few different versions of your story and see which one works best.

Historical fiction readers are often history buffs, and they expect a high level of accuracy in the details of your story. Ensure that your facts are correct and that you don’t take too many liberties with history. However, remember that you’re writing fiction, not a history book, so it’s okay to take some creative liberties. However, to ensure that your details are accurate, you can also hire Book Writing Services , who can proofread your work. They will check the facts and confirm their accuracy, saving you from making a fool of yourself.

Remember to show the characters’ feelings:

The best way to show a character’s feelings is through actions and dialogue. For example, if you want readers to know that your protagonist is angry, don’t tell them so in narration–show them by having her slam doors or yell at people.

Humor is a great way to keep your readers engaged and make them care about the characters. It’s one of the most powerful tools in any writer’s toolkit. However,

It can also be overused and become cloying if you don’t use it sparingly. In historical fiction, humor can come in many different forms: dry wit or off-handed comments are often used by authors like Jane Austen and Tom Sharpe to lighten up dark situations without going too far into parody. Meanwhile, other writers prefer to play up their characters’ quirks as they navigate difficult situations.

Some authors use humor to make their readers laugh. Others try to create a lighter mood in the story.

With this step-by-step guide, we hope you will become a better writer and help your readers enjoy your story. Remember to have fun with it! If you’re not enjoying the process of writing historical fiction, then there’s no point in doing it.

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51 Of The Best Historical Fiction Writing Prompts

You’re looking for historical fiction ideas , and most of the ones you’ve come across are either too detailed and specific or too vague — at least for you. 

History writing prompts should paint enough of a picture to allow you to fill in the gaps as you step into it and look around.

Your own perspective and the connections that form in your mind will take that partial image and complete it. 

We kept that in mind while creating this list of 51 writing prompts for your novel . May each one flood your mind with the possibilities. 

51 Historical Fiction Writing Prompts 

If you’re racking your brain for interesting historical events to write about, check out the following prompts to get those synapses firing. You’ll find everything from civil war writing prompts to famous unsolved mysteries . Dig in and find something to play with. 

1. Changing Sides. A slave sent by his master to fight in the Civil War on behalf of the Confederacy changes sides to fight for an end to slavery, not knowing what it will cost the woman he loves. Meanwhile, she risks her own life to protect a friend. 

2. Mail Order Bride. Your only support dies, and to survive, you answer an ad for a bride in the midwest. You’re not looking forward to being a stranger’s wife, but something in the letter he wrote you calms your reservations.

3 . Circus Fugitive. It’s 1925, and you’ve joined the traveling circus as a clown to hide your identity after being framed for a murder you didn’t commit. A rival performer recognizes you and threatens to expose you but doesn’t. He wants something else.

4. Atlantis Rising. You’re a citizen of ancient Atlantis and one of the few chosen for preservation during the centuries of submersion, thanks to Atlantean technology. You’ll never see your family again. One friend — with secrets — sabotages the plan.

5. Pearl Harbor. You’re one of the pilots in an air fight with Japanese bombers over Pearl Harbor. You spot one going in an unexpected direction and follow it, only to see them kamikaze into the building where the love of your life is working.

6. Equal Rights for All. A friend invites you to a meeting where you decide to join the fight for women’s suffrage and equal rights. Your employer spots you protesting and gives you a choice: distance yourself from the cause or lose your job. 

7. Prodigal Daughter. In the 1970s, you ran away from home to see Woodstock and only now, ten years later, are you heading back home, after a brief but troubling phone conversation with your mother. 

8. The Speakeasy Scandal. It’s 1923, and you’ve just opened your own speakeasy, limiting its patronage to select members of your community. But one of them is a mole for the local sheriff. He ends up dead in the alley, and you’re arrested for it. 

9. Sioux Pioneer. You lose your husband on the Oregon Trail to a wagon mishap and are then abducted by a Sioux tribe. Write a story describing your evolving relationship with the Sioux chief’s (adult) son. 

10. No Place for Black Veterans. You’re an orphan who befriends a returning WWII soldier after seeing how the community rejects him because of his skin color. Your friendship attracts the attention of local Klansmen and a neglectful aunt.

11. Undercover DJ. An undercover American WWII soldier sneaks into a German radio room and delivers a cryptic message in perfect German, hoping to alert other Americans to a devious German plot he’s discovered. 

12. Haunted Hotel. It’s 1930, and you buy a hotel that just happens to be haunted by the ghosts involved in a very public murder in the roaring 20s. Turns out, plenty of people are willing to pay good money to be haunted by glamorous murder victims. 

13. Jack the Seam Ripper. Using an item in your grandmother’s “treasure box,” you go back in time and get a young Jack interested in tailoring and fashion design. But can you really stop him from following his darker impulses when an old lover returns?

14. Poker Face. In 1800s England, the poker stakes are higher than most spectators are willing to risk. You’re the reigning champion until a new challenger hits the scene. Thing is, you’re ready to lose and disappear. But it won’t be that simple.

15. Don’t Forget the Pie. You run a 1940s diner and see all sorts of people, many of whom you only see once. Everyone who tries your pie wants the recipe, but it’s a closely-guarded family secret. One customer offers to work for a month to get it.

16. Dear Jane. Your sweetheart is a Vietnam soldier who just broke up with you in a letter. You do some digging and find out he’s left you for one of his fellow soldiers, whose fiancée is the same best friend who comforted you after the break-up. 

17. Once Upon a Drama. You’re a novelist who wakes up in Victorian England and meets your own characters. While rooting for your favorite two people, you don’t expect to fall for one of them. You definitely don’t expect to tell them about it.

18. Ever Since Summer Camp. Five teens meet at summer camp and bond together in response to a tragedy. Their lives continue to intertwine as they grow up in 1950s California. One of them shares the secret that binds them, and lives fall apart. 

19. The Stolen Child. As part of a time-traveling detective couple, you’re excited about your next assignment in Germantown, Maryland: the kidnapping of Charley Ross — a mystery that remained unsolved. 

20. Darkness in the French Quarter. In the early 1880s, your connections with the New Orleans aristocracy leads you to a beautiful Creole woman, Madame Delphine LaLaurie , who has been torturing and murdering the slaves of her household. 

21. Road Trip! Lewis and Clark plan for the Oregon Trail. They talk about hardships they expect, people they’re leaving behind, and what each one most hopes to gain. Your main character is a jilted lover who hatches a plan to stop the expedition..

22. Special Delivery. He delivers milk. She delivers newspapers. They cross paths when they both witness a mugging in 1920s Chicago and intervene to protect the victim. The supposed “victim” then offers them both a job with a hefty payoff. 

23. Nursing History. You pay someone to help you explore your past and see one of your past lives as a WWII nurse. Your fiancé in that life looks an awful lot like your current boss. You see what you went through together and the child you had. 

24. Lost at Sea. A loved one boards the Titanic on their way back home to you. When the ship goes down, they supposedly end up on one of the few liferafts, but they don’t return with the survivors. A year later, they show up at your door.

25. Million Dollar Fling. Ten years ago, you had a moment with a ship’s captain during a 1950s cruise with a group of wealthy socialites you met at college. You show up at a life-changing job interview in New York and come face-to-face with him again. 

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26. American Blood. Your family came to the U.S. after government intervention essentially handed rule in your native country to an organized crime network. A former friend is recruited to their ranks and comes to the U.S. for a business deal. 

27. Two for One. You’re waiting in the parlor for your gentleman host, watching the butler pour tea and eyeing a plate of jammy biscuits. You’re here to meet the man your sister wants to marry. So, why does he know everything about you ? 

28. Jazz Runaway. Two new friends cajole you into joining them to check out a new jazz band. It’s 1930s Mississipi, and you know your parents wouldn’t approve of these friends, but they remind you of someone you lost. What you learn changes you. 

29. Voodoo Priestess. It’s June in 1881. You’re walking in a funeral procession while the band plays. In the coffin is your mother, the Voodoo Queen Marie Leveau , and you’re headed to the St. Louis Cemetery No. 1, plot 347. 

30. Is it Jack or Jackie? A woman named Mary Pearsay is arrested for the murder of a woman and her child. After her death, Ripperologists suggest she may have been the real “Jack the Ripper.” Your investigative partner has a weird fixation on her. 

31 . Missing, Presumed Innocent. You’re investigating the case of a young English maidservant who disappeared on January 1st, 1753 and reappeared on the 29th, emaciated and weak. Her story of abduction doesn’t match what investigators find. 

32. The “Mad Monk.” You’ve just met the man who murdered Grigori Rasputin on the 17th of December in 1916, and he’s only too happy to recount the details. He’s not so forthcoming about why he did it, and you’re determined to find out. 

33. Da Vinci’s Muse. The world knows about Leonardo da Vinci but not about the Renaissance woman who inspired him. As one of her descendants, you’re determined to make her known, at the risk of exposing a dark secret. 

34. The Invisible Apprentice. Being William Shakespeare’s apprentice would be great if he weren’t always stealing your ideas and claiming them as his own. So, you write a brilliant satiric play exposing him. He loves it and takes it to the stage. 

35. Death in the Family. You know who really killed JFK, and it wasn’t that patsy Oswald, who’s already dead. Exposing the real killers would put you and your family next on their list. 

36. Nightmares in Heaven. You’re secretly watching Michaelangelo paint the Sistine Chapel. You know he’s been having nightmares, which find their way onto the chapel ceiling — before the Archbishop demands he paint over them. 

37. Candy Creep. The creator of Sweethearts candies sends you a box “anonymously.” The messages on those tiny hearts reveal more than you want to know about him. 

38. Better Half. You’re on a visit to New York in 1977 with your fiancé, and you’re separated when the blackout hits. Write about your adventures as you find your way back to each other — and when you find out where he’s been. 

39. Tactical Magic. It’s 1692, and you’re a witch keeping a low profile in Salem, Massachusetts while trying to protect your sister. She’s just been accused by a group of girls after meeting with the minister’s daughter in the woods. 

40. The Baby Diaries. You found your mother’s hidden diaries detailing her experiences as a young Black woman in the 50s. Now, some of the things she said and did while she lived make sense. You didn’t expect to learn about a half-sister.

41. Forbidden Knowledge. You wake up in the famous library of Alexandria mere hours before it burns, destroying everything. You witness the arson and stealthily pursue those responsible. 

42. Profanely Biblical. At the Nicene Council, Emperor Constantine has booted any bishop who doesn’t agree with his decision on which books belong in the Christian Bible and which should be destroyed. You’re a collector of the latter.

43. Before the Mayflower. On the west coast of Africa, in 1462, you see hundreds of captive men, women, and children being loaded into ships. You ask why and learn the truth as you spot a friend among them. What do you do?

44. The Haitian Revolution. In 1804, Haitians win their independence from French rule. As a Haitian immigrant to the U.S., you openly supported their fight. But when a massacre follows the revolution, you encounter open hostility. 

45. More Than Courage. You’re a student at Harvard when the university admits its first Black student: Beverly Garnett Williams. You share some classes with her, and you witness her courage every day. You also witness people’s reactions. 

46. Illegal Heritage. It’s the Spanish Inquisition, and your family has converted to Christianity from Judaism to survive. That doesn’t stop the local clerics from harassing you — or your pious neighbors from pointing fingers.

47. Crazy in Love. You’re the last person Marilyn Monroe talked to before she was murdered. And you’re determined to expose her killer. But no one believes the “crazy best friend” — including your doctors at the mental hospital.  

48. Model Neighbors. You read your parents’ collected love letters and learn about what they experienced as an interracial couple in the 1960s. They had you before they were forced out of their white neighborhood. 

49. Pirate Queen. You’ve been kidnapped by Blackbeard and instead of killing you, he keeps you as a slave. But you have a brilliant plan to take over the ship and become the new pirate captain of the Queen Mary’s Revenge. 

50. She’s Indisposed. You’re an apothecary in the 1600s, and two star-crossed lovers have asked you to prepare a potion to help one of them fake their death. You create the potion but get it mixed up with a powerful remedy for constipation. 

51. Tele-porta-vision. In 1972, you sit around your English family’s first TV set — a gift from your dad’s new employer. You wake up hours later in the middle of a crop circle nearby, unable to remember how you got there. Dreams tell you more. 

Final Thoughts

Now that you have 51 prompts with cool historical events to write about, which ones make you want to put this aside and start writing? 

And what else will you bring to your story to make it uniquely yours? 

Humor? Romance ? Horror ? Fantasy ? Choose-your-own adventure? 

Pick a prompt , and play with whatever comes to mind. Tell your inner editor to take a nap while you get the words out. This is a time to create. 

Write away. 

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Hilary Mantel: why I became a historical novelist

‘Is this story true?’ readers invevitably ask. In the first of her BBC Reith Lectures, the double Man Booker prize-winning author explores the complicated relationship between history, fact and fiction

S aint Augustine says, the dead are invisible, they are not absent. You needn’t believe in ghosts to see that’s true. We carry the genes and the culture of our ancestors, and what we think about them shapes what we think of ourselves, and how we make sense of our time and place. Are these good times, bad times, interesting times? We rely on history to tell us. History, and science too, help us put our small lives in context. But if we want to meet the dead looking alive, we turn to art.

There is a poem by WH Auden, called “As I Walked Out One Evening”:

The glacier knocks in the cupboard, The desert sighs in the bed, And the crack in the teacup opens A lane to the land of the dead

The purpose of this lecture is to ask if this lane is a two-way street. In imagination, we chase the dead, shouting, “Come back!” We may suspect that the voices we hear are an echo of our own, and the movement we see is our own shadow. But we sense the dead have a vital force still – they have something to tell us, something we need to understand. Using fiction and drama, we try to gain that understanding. I don’t claim we can hear the past or see it. But I say we can listen and look. There are techniques we can use.

My concern as a writer is with memory, personal and collective: with the restless dead asserting their claims. My own family history is meagre. An audience member once said to me, “I come from a long line of nobodies.” I agreed: me too. I have no names beyond my maternal great-grandmother – but let me introduce her, as an example, because she reached through time from the end of the 19th century to form my sense of who I am, at this point in the 21st: even nobodies can do this.

She was the daughter of a Patrick, the wife of a Patrick, the mother of a Patrick; her name was Catherine O’Shea, and she spent her early life in Portlaw, a mill village near Waterford in the south of Ireland. Portlaw was an artificial place, purpose-built by a Quaker family called Malcolmson, whose business was shipping and corn, cotton and flax. The mill opened in 1826. At one time Portlaw was so busy that it imported labour from London.

The Malcolmsons were moral capitalists and keen on social control. The village was laid out on a plan ideal for surveillance, built so that one policeman stationed in the square could look down all five streets. The Malcolmsons founded a Thrift Society and a Temperance Society and paid their workers partly in cardboard tokens, exchangeable in the company shop. When a regional newspaper suggested this was a form of slavery, the Malcolmsons sued them, and won.

As the 19th century ended, textiles declined and the Malcolmsons lost their money. The mill closed in 1904 – by which time my family, like many others, had begun a shuffling stage-by-stage emigration.

Two of Catherine’s brothers went to America, and in time-honoured fashion were never heard from again. Catherine was a young married woman when she came to England – to another mill village, Hadfield, on the edge of the Peak District. Like Portlaw, it was green and wet and shadowed by hills. As far as I know, she never left it. She must have wondered, does the whole world look like this?

Her first home was in a street called Waterside – for many years the scene of ritual gang fights on Friday nights between the locals and the incomers. I know hardly anything about Catherine’s life. I suppose that when a woman has 10 children, she ceases to have a biography. One photograph of her survives. She is standing on the doorstep of a stone-built terraced house. Her skirt covers her waist to ankle, her torn shawl covers the rest. I can’t read her face, or relate it to mine.

But I imagine I know where the picture was taken. There was a row of houses which fronted Waterside, their backs within the mill enclosure. In time the houses were knocked down, but the facades had to stand, because they were part of the mill wall. The windows and doorways were infilled by blocks of stone. By the time I was alive to see it, this new stone was the same colour as the mill: black. But you could see where the doors and windows had been. When I was a child these houses struck me as sinister: an image of deception and loss.

The door of a house should lead to a home. But behind this door was the public space of the mill yard. By studying history – let’s say, the emigrant experience, or the textile trade – I could locate Catherine in the public sphere. But I have no access to her thoughts. My great-grandmother couldn’t read or write. One saying of hers survives. “The day is for the living, and the night is for the dead.” I assume it was what she said to keep the 10 children in order after lights-out. After her early years, as I understand it, Catherine no longer worked in the mill. But I am told she had a certain role in her community: she was the woman who laid out the dead.

Why do we do this – or employ someone to do it? Why do we wash their faces and dress them in familiar clothes? We do it for the sake of the living. Even if we have no religious belief, we still believe what has been human should be treated as human still; witness the indignation if a corpse is desecrated, and the agony of those who have no bodies to bury. It is almost the definition of being human: we are the animals who mourn. One of the horrors of genocide is the mass grave, the aggregation of the loving, living person into common, compound matter, stripped of a name.

Commemoration is an active process, and often a contentious one. When we memorialise the dead, we are sometimes desperate for the truth, and sometimes for a comforting illusion. We remember individually, out of grief and need. We remember as a society, with a political agenda – we reach into the past for foundation myths of our tribe, our nation, and found them on glory, or found them on grievance, but we seldom found them on cold facts.

Nations are built on wishful versions of their origins: stories in which our forefathers were giants, of one kind or another. This is how we live in the world: romancing. 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: between, let’s say, where my great-grandmother was and where I am today. The facts have less traction, less influence on what we are and what we do, than the self-built fictions.

As soon as we die, we enter into fiction. Just ask two different family members to tell you about someone recently gone, and you will see what I mean. Once we can no longer speak for ourselves, we are interpreted. When we remember – as psychologists so often tell us – we don’t reproduce the past, we create it. Surely, you may say – some truths are non-negotiable, the facts of history guide us. And the records do indeed throw up some facts and figures that admit no dispute. But the historian Patrick Collinson wrote: “It is possible for competent historians to come to radically different conclusions on the basis of the same evidence. Because, of course, 99% of the evidence, above all, unrecorded speech, is not available to us.”

Evidence is always partial. Facts are not truth, though they are part of it – information is not knowledge. And history is not the past – it is the method we have evolved of organising our ignorance of the past. It’s the record of what’s left on the record. It’s the plan of the positions taken, when we to stop the dance to note them down. It’s what’s left in the sieve when the centuries have run through it – a few stones, scraps of writing, scraps of cloth. It is no more “the past” than a birth certificate is a birth, or a script is a performance, or a map is a journey. It is the multiplication of the evidence of fallible and biased witnesses, combined with incomplete accounts of actions not fully understood by the people who performed them. It’s no more than the best we can do, and often it falls short of that.

Historians are sometimes scrupulous and self-aware, sometimes careless or biased. Yet in either case, and hardly knowing which is which, we cede them moral authority. They do not consciously fictionalise, and we believe they are trying to tell the truth. But historical novelists face – as they should – questions about whether their work is legitimate. No other sort of writer has to explain their trade so often. The reader asks, is this story true?

That sounds like a simple question, but we have to unwrap it. Often the reader is asking, can I check this out in a history book? Does it agree with other accounts? Would my old history teacher recognise it?

It may be that a novelist’s driving idea is to take apart the received version. But readers are touchingly loyal to the first history they learn – and if you challenge it, it’s as if you are taking away their childhoods. For a person who seeks safety and authority, history is the wrong place to look. 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.

It’s not possible to lay down a rule or a standard of good practice, because there are so many types of historical fiction. Some have the feel of documentary, others are close to fantasy. Not every author concerns herself with real people and real events. In my current cycle of Tudor novels , I track the historical record so I can report the outer world faithfully – though I also tell my reader the rumours, and suggest that sometimes the news is falsified.

But my chief concern is with the interior drama of my characters’ lives. From history, I know what they do, but I can’t with any certainty know what they think or feel. In any novel, once it’s finished, you can’t separate fact from fiction – it’s like trying to return mayonnaise to oil and egg yolk. If you want to know how it was put together line by line, your only hope, I’m afraid, is to ask the author.

For this reason, some readers are deeply suspicious of historical fiction. They say that by its nature it’s misleading. But I argue that a reader knows the nature of the contract. When you choose a novel to tell you about the past, you are putting in brackets the historical accounts – which may or may not agree with each other – and actively requesting a subjective interpretation. You are not buying a replica, or even a faithful photographic reproduction – you are buying a painting with the brush strokes left in. To the historian, the reader says, “Take this document, object, person – tell me what it means.” To the novelist he says, “Now tell me what else it means.”

The novelist knows her place. She works away at the point where what is enacted meets what is dreamed, where politics meets psychology, where private and public meet. I stand with my great-grandmother, on the doorstep. I break through the false wall. On the other side I connect my personal story with the collective story. I move through the domestic space and emerge into the buzzing economic space of the mill yard – the market place, the gossip shop, the street and the parliament house.

I began writing fiction in the 1970s, at the point, paradoxically, where I discovered I wanted to be a historian. I thought that because of my foolishness at the age of 16, not knowing what to put on my university applications, I had missed my chance, and so if I wanted to work with the past, I would have to become a novelist – which of course, any fool can do.

For the first year or two, I was subject to a cultural cringe. I felt I was morally inferior to historians and artistically inferior to real novelists, who could do plots – whereas I had only to find out what happened.

In those days historical fiction wasn’t respectable or respected. It meant historical romance. If you read a brilliant novel like Robert Graves’s I, Claudius , you didn’t taint it with the genre label, you just thought of it as literature. So I was shy about naming what I was doing. All the same I began. I wanted to find a novel I liked, about the French revolution. I couldn’t, so I started making one.

I wasn’t after quick results. I was prepared to look at all the material I could find, even though I knew it would take years, but what I wasn’t prepared for were the gaps, the erasures, the silences where there should have been evidence.

These erasures and silences made me into a novelist, but at first I found them simply disconcerting. I didn’t like making things up, which put me at a disadvantage. In the end I scrambled through to an interim position that satisfied me. I would make up a man’s inner torments, but not, for instance, the colour of his drawing room wallpaper.

Because his thoughts can only be conjectured. Even if he was a diarist or a confessional writer, he might be self-censoring. But the wallpaper – someone, somewhere, might know the pattern and colour, and if I kept on pursuing it I might find out. Then – when my character comes home weary from a 24-hour debate in the National Convention and hurls his dispatch case into a corner, I would be able to look around at the room, through his eyes. When my book eventually came out, after many years, one snide critic – who was putting me in my place, as a woman writing about men doing serious politics – complained there was a lot in it about wallpaper. Believe me, I thought, hand on heart, that there was not nearly enough.

In time I understood one thing – that you don’t become a novelist to become a spinner of entertaining lies: you become a novelist so you can tell the truth. I start to practise my trade at the point where the satisfactions of the official story break down. Some stories bear retelling. They compel retelling. Take the last days of the life of Anne Boleyn. You can tell that story and tell it. Put it through hundreds of iterations. But still, there seems to be a piece of the puzzle missing. You say, I am sure I can do better next time. You start again. You look at the result – and realise, once again, that while you were tethering part of the truth, another part has fled into the wild.

However, it took time for me to get to the Tudors. For most of my career I wrote about odd and marginal people. They were psychic. Or religious. Or institutionalised. Or social workers. Or French. My readers were a small and select band, until I decided to march on to the middle ground of English history and plant a flag.

To researchers, the Tudor era is still a focus of hot dispute, but to the public it’s light entertainment. And there were shelves full of novels about Henry VIII and his wives. But a novelist can’t resist an unexplored angle. Change the viewpoint, and the story is new. Among authors of literary fiction, no one was fighting me for this territory. Everyone was busy cultivating their outsider status.

For many years we have been concerned with decentring the grand narrative. We have become romantic about the rootless, the broken, those without a voice – and sceptical about great men, dismissive of heroes. That’s how our inquiry into the human drama has evolved: first the gods go, and then the heroes, and then we are left with our grubby, compromised selves.

As you gain knowledge and technique as a writer – as you gain a necessary self-consciousness about your trade – you lose some of the intensity of your childhood relationship with the past. When I was a child the past felt close and it felt personal. Beneath every history, there is another history – there is, at least, the life of the historian. That’s why I invited my great-grandmother into this piece – because I know my life inflects my work. You can regard all novels as psychological compensation for lives unlived. Historical fiction comes out of greed for experience. Violent curiosity drives us on, takes us far from our time, far from our shore, and often beyond our compass.

The pursuit of the past makes you aware, whether you are novelist or historian, of the dangers of your own fallibility and inbuilt bias. The writer of history is a walking anachronism, a displaced person, using today’s techniques to try to know things about yesterday that yesterday didn’t know itself. He must try to work authentically, hearing the words of the past, but communicating in a language the present understands. The historian, the biographer, the writer of fiction work within different constraints, but in a way that is complementary, not opposite. The novelist’s trade is never just about making things up. The historian’s trade is never simply about stockpiling facts. Even the driest, most data-driven research involves an element of interpretation. Deep research in the archives can be reported in tabular form and lists, by historians talking to each other. But to talk to their public, they use the same devices as all storytellers – selection, elision, artful arrangement. The 19th-century historian Lord Macaulay said, “History has to be burned into the imagination before it can be received by the reason.” So how do we teach history? Is it a set of stories, or a set of skills? Both, I think; we need to pass on the stories, but also impart the skills to hack the stories apart and make new ones.

To retrieve history we need rigour, integrity, unsparing devotion and an impulse to scepticism. To retrieve the past, we require all those virtues, and something more. If we want added value – to imagine not just how the past was, but what it felt like, from the inside – we pick up a novel. The historian and the biographer follow a trail of evidence, usually a paper trail. The novelist does that too, and then performs another act, puts the past back into process, into action, frees the people from the archive and lets them run about, ignorant of their fates, with all their mistakes unmade.

We can’t leave theory aside: it is impossible now to write an intelligent historical novel that is not also a historiographical novel, one that considers its own workings. But I have tried to find a way to talk about the past without, day by day, using terms like “historiography”. I became a novelist to test the virtue in words that my great-grandmother would recognise, from that journey she made, Ireland to England, from one damp green place to another: words like thread and loom and warp and weft, words like dockside, and ship, and sea, and stone, and road, and home.

• History books

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From the top, write a time-travel story where a character from the present finds themselves in the 80s or 90s., write an epistolary story set during a major historical event. the event may be the subject of the letters directly, or be referenced in the background., write about a character who is living through a major historical event — whether they know it or not., set your story in eighteenth century london, including a casual reference to something that changes the course of history..

• Write a story that takes place in the same building but in two very different time periods.

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• Write a historical fiction story about someone working at a company that helped revolutionize early computers.

Write about an elderly character who was part of a historic movement years ago.

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The best historical fiction writing prompts

One of the joys of writing historical fiction is the opportunity to look to the past and ask: what if? What if an English woman suddenly found herself transported through time from mid 20th-century Scotland to mid 18th-century Scotland? What if you could meet the woman behind Johannes Vermeer’s famous oil painting? What if you could talk to one of Henry VIII’s most trusted advisors? All of these stories already exist, of course — Outlander, Girl with a Pearl Earring, Wolf Hall — but there are many more to tell. And hopefully these historical writing prompts will help you do just that!

The possibilities for historical fiction are practically endless — you’ve got an entire world, and the course of millenia to choose your setting from! What really matters is making sure that you are able to include the kind of textual details and references to real-world events that will immerse your readers entirely. That requires research, preparation, and a whole lot of planning. While other genres may give you a little (or a lot!) more leeway for invention, historical fiction readers expect a certain level of rigor from their novels, so bear this in mind in your story development and editing process.

Here are our top ten historical fiction writing prompts:

• A bard falls in love with the monarch who employs them.
• You’re Shakespeare’s apprentice, and he’s always taking credit for your ideas.
• You worked at one of the first printing presses during the Printing Revolution of the 15th century.
• Write about a specific time in history through love letters.
• The revolution is here — and you’re going to play a crucial role in leading it. (Choose any revolution you like, from any era.)
• A family sit around their brand new radio for the first time after dinner.

Here are some additional resources to help you write historical fiction:

• How to Master the 'Show, Don't Tell' Rule (free course) — Fiction which relies heavily on its setting will require a lot of exposition, but how can you do this well? You want to avoid info-dump. (“Oh Mary! I do so love returning home to our quiet town on the coast of Victorian England, having been injured from my time as a soldier in the Crimean War, 1853-1856!”) Instead, you should be employing the golden rule of show, don’t tell — and our course explains exactly how to do that.
• The Ultimate Worldbuilding Guide (free resource) — While our guide is also used by fantasy authors to cook up entirely new worlds from scratch, this resource provides helpful prompt questions which you can use to shape your research.

Want more help learning how to write a short historical fiction? Check out How to Write a Short Story That Gets Published — a free, ten day course guiding you through the process of short story writing by Laura Mae Isaacman, a full-time editor who runs a book editing company in Brooklyn.

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Historical fiction books are works of literature in which fictional events occurred during real-life historical events. Sometimes, these are simply “period pieces”—a novel written today about lovers in Victorian England would certainly be historical fiction. Often, historical fiction authors will integrate their stories into their own historical obsessions—the U.S. Civil War, the assassination of JFK, World War II, Japan’s annexation of Korea, the Biafran War, etc.

Fictional explorations of real historical times teach us a lot about history, society, and what we have in common with people before our times. Nonetheless, it’s a tricky genre to write and understand. What is historical fiction? How do you write it?

This article is a starting point for how to write historical fiction. We examine the historical fiction genre in detail, honing in on the characteristics of historical fiction and how authors employ those in their work. We also share some great historical fiction examples and examine ones you may have already read.

But first, let’s define the genre. What is historical fiction?

What is Historical Fiction?

At its most openly defined, historical fiction describes any work of literature in which a fictional story occurs prior to the author’s present time.

Of course, that’s open to a lot of interpretation. For example, the 1990s are certainly in the past, but are they old enough to be “history?” If I set my story during the Dot Com Bubble, is that historical fiction?

The consensus among most writers and readers is that, for a work to be “historical”, it should be set at least 50 years prior to the year of publication.

Historical fiction describes any work of literature in which a fictional story occurs (50+ years) prior to the author’s present time.

Additionally, the setting of the story needs to be culturally recognizable . Now, that doesn’t mean you need to know about the setting in advance. I’ve learned about many periods of history, in the U.S. and abroad, from reading historical fiction books. What it does mean is that the setting must be significant to history, recognizable by historians, and impact the plot of the story .

The historical fiction genre spans both literary and speculative works. Historical fiction itself tends to be “literary fiction”, but genres like historical romance, historical fantasy, historical mystery, and historical thriller certainly exist.

The literary vs genre fiction distinction is a bit arbitrary, but you can learn more about it here:

https://writers.com/literary-fiction-vs-genre-fiction

Regardless of whether the story is literary or genre, all works of historical fiction share similar characteristics. Let’s look at the characteristics of historical fiction.

Characteristics of Historical Fiction

If you’re learning the ropes of fiction writing, start with our article about the elements of fiction . This article expands upon basic knowledge of writing good fiction.

The historical fiction genre isn’t remarkably different from other forms of fiction, but a few key characteristics separate it from its non-historical counterpart. These include:

• Worldbuilding, with meticulous attention to cultural contexts.
• Historical plot, in which the events of history influence the story being told.
• Universal themes, in that the story can feel relevant both back then and now.

Of course, the best historical fiction involves well-developed characters with interesting conflicts driving forward a powerful story. Readers don’t care about the events of the Civil War, so much as they care about an illicit romance, or a lower-rank soldier trying to escape, or a family home caught in the crossfires. You’re writing about people, not teaching history.

Let’s examine those three important characteristics of historical fiction.

Characteristics of Historical Fiction: Worldbuilding

Writers of historical fiction books must give careful attention to every element of their story’s setting. Everything from culture, customs, and social dynamics, to details like clothing, dialogue , and music, must be attended to with a historian’s lens.

This is easier said than done. For example, let’s say you’re writing a novel set in the U.S. Civil War. Your characters shouldn’t use words like “fedora” and “hobo,” or phrases like “bite the bullet” or “waiting for the other shoe to drop.” Those words and phrases weren’t coined until the 1890s.

Now, not every detail has to be included. Remember, you’re writing fiction, not a history textbook. If the cost of a pound of grain isn’t relevant to your story, don’t try to shoehorn it in.

That said, giving consideration to the following topics will help you situate yourself more fully in the period you’re writing about, and might also provide fodder for what come next in the story.

• Politics, political organization, enfranchisement
• Social attitudes
• Common beliefs, morals, superstitions
• Prominent people
• Major events
• The weather of that year
• Military organization
• Class and economy, including the cost of something and peoples’ disposable incomes
• Existing streets, neighborhoods, borders
• Idioms, colloquialisms, manners of speaking
• Material culture, including ways of dressing, architecture, what people eat, what people do for fun
• Available technologies
• News of the day (read the newspaper archives, if they exist!)
• Common diseases

Characteristics of Historical Fiction: Historical Plot

The context of your story should, in some way, inform the plot of the story itself.

Now, that’s not to say you need your story to be about a world altering historical event. For example, let’s say you’re writing a story set during the Industrial Revolution in England. You could write about the most important events: technological development, the Luddite rebellions, the expansion of colonialism to feed the growing projects of capitalism and factory production, etc.

Or, you could write a story influenced by these events. A Luddite falls in love with an innovator. A factory worker tries to write a novel despite the 14 hour workday. In 1811, a British soldier is sent to invade the island of Java, but doesn’t come back with the same sense of patriotism.

Focusing on real characters, whose lives are forever changed by the course of history, is usually more interesting and relatable for the reader. We learn much more about the human psyche and about history when we see it through the lens of everyday people. We also learn more about how history applies to our own lives when we see the ways it affected the lives of long ago.

Characteristics of Historical Fiction: Universal Themes and Shared Humanity

Some conflicts and problems will certainly be unique to the setting of your historical fiction. Most readers in the U.S., for example, will not have many shared experiences with a knight in medieval England. What does bind the two, however, are universal themes, as well as our shared humanity.

Theme refers to the central ideas explored in a piece of writing. Think ideas like justice, family, good vs evil, and coming-of-age. Through themes, it is much easier for the writer to connect contemporary readers with the lived experiences of long ago. So, while you probably haven’t jousted, fought off the Normans, or kneeled for a king (and if you have, let’s get coffee?), your experiences might be connected to that of a medieval knight through “justice,” “love,” “duty,” “sacrifice,” or other themes that are universal among humans.

At the center of the historical fiction genre is our shared humanity with the folks of long ago. Whether you’re an ancient Mesopotamian or a modern Manhattanite, you’ve probably eaten too much, partied too hard, fought with a lover, made up with an old friend, or suddenly changed the course of life. Focusing on what’s human and realistic—within the confines of your plot and worldbuilding—will make your story much more relatable, with themes much more universal to the reader.

Historical Fiction Examples

Let’s look at some historical fiction examples from contemporary literature. Most examples of the historical fiction genre are novels, so we’ll examine how these novels use worldbuilding, plot, and universal themes within the genre.

If you haven’t read the following novels, I highly recommend it—all of these novels are wonderful, and could provide inspiration while you are also writing historical fiction. I’ll keep the spoilers to a minimum!

Pachinko by Min Jin Lee

Pachinko is a novel that follows 3 generations of a Korean family in Japan, particularly how these characters navigate issues of immigration, discrimination, and otherness through the whims of the 20th century.

Historical Fictions Worldbuilding

Pachinko ’s historical worldbuilding takes the reader through pre-War Korea and 20th century Japan. We start in a little fishing village in Korea and move our way to the Korean ghetto in Osaka, Japan. The novel takes us through wartime Japan and ends split between Japan and America, evidence of the lasting generational trauma from Japan’s creation and displacement of the Korean diaspora.

Throughout this historical fiction novel’s migrations, plenty of detail shows us the hardships that this family faces. Japan’s annexation of Korea immediately brings poverty, hardship, and military abuse to the Korean people. Japan’s Korean ghettos are equally rife with these same problems, and any moment the people get a taste of survival and stability, something comes up: the arrest of a family member, sudden inflation, etc. The War, too, creates further economic hardship, even for the most well-off Koreans, and anyone who survives does so with a certain amount of guilt.

From kimchi kitchens to Pachinko parlors, the reader sees how Korean culture is inextricably tied to survival during a century of intense strain, both in Korea and abroad.

History and Plot

The novel’s Baek family is constantly being thrown around by the whims of the 20th century. Japan’s annexation of Korea forces Sunja, the grandmother of this family, to move to Osaka as a teenager. There, World War 2 causes significant hardship. Sunja’s husband is arrested for his faith and dies shortly after his release from prison. Sunja’s brother-in -law is significantly crippled from the bombings in Nagasaki. Sunja longs to return to Korea, but finds out soon that she can’t, as the country is about to split into North and South.

While the second half of the 20th century is calmer, the trauma of displacement is generational. One of Sunja’s sons commits suicide after learning his father was associated with the yakuza. Her other son becomes wealthy opening pachinko parlors, but his lifestyle prevents him from finding the love he seeks, and his son, Sunja’s grandson, loses his job because of his father’s pachinko ties.

Survival and loss are tightly intertwined in this novel, and the Baek family can be likened to a pachinko ball being tossed around and landing randomly, hoping that they’ll finally end up somewhere stable.

Themes and Shared Humanity

Of course, most readers have not run pachinko parlors, been part of the yakuza, been displaced by Japanese occupation, had their home country split in half, or survived a nuclear bomb. But, many aspects of the novel’s characters present opportunities for connection.

For example, any reader can relate to their life being controlled by the whims of fate. No, most of our lives won’t change because of nuclear warfare, but our lives will change because of unpredictable forces.

And, many readers of Pachinko will themselves be Korean. If not Korean, then a member of a global diaspora, displaced by war, colonization, occupation, etc. Pachinko is a testament to Korean survival in the 20th century, but this story can easily resonate with members of other diasporas.

Recurring themes in the novel, other than displacement and the whims of fate, include: power (military, governmental, interpersonal) and resistance, discrimination and stereotyping, and cultural tradition.

And the Mountains Echoed by Khaled Hosseini

And the Mountains Echoed by Khaled Hosseini is a novel told through 9 different, interlinked short stories, each with a different narrative point of view . It begins with the separation of siblings Abdullah and Pari, and ends with their reuniting many decades later. The stories in between these two narratives showcase the fallout of their separation, the reasons it came to be, and the endurance of pain and familial love across Afghanistan’s 20th century history.

While some of the stories take place around the world, the novel is centered in Afghanistan. The novel’s fragmented narratives allow the reader to experience different facets of Afghan culture, both through different lenses and from different time periods. We hear an impoverished farmer tell an old story, and we hear a Westernized woman tell bawdy poetry; we see Afghan foods, dresses, and customs within the country, and how those cultural details are preserved outside of it.

The 20th century was a turbulent time for Afghanistan. In the middle of the century, the city of Kabul had become very Westernized and progressive, which is why some of the novel’s characters are fluent in European languages and customs. This cultural blending is crucial to understanding the world this novel explores. Nila, in particular, is a fascinating character, as her tumultuous relationship to her own poetry seems symbolic of Afghanistan’s back-and-forth relationship to female poets: sometimes praising the work of female writers, other times condemning them.

When civil conflict comes for Afghanistan, later parts of the novel take place elsewhere, and Nila is one of the lucky ones, even in wealthy Kabul, who can escape before it’s too late.

The separation of Abdullah and Pari is the central plotline this novel follows, but their separation is only exacerbated by the conflicts of 20th century Afghanistan.

Some key real-life events in this historical fiction include:

• The Westernization of Kabul, a city largely distinct from rural Afghanistan, which still upheld traditional Afghani values and customs.
• The Soviet Invasion of Afghanistan (1979-1989), which created a drawn out proxy war between the USSR and the United States, and which killed and displaced countless Afghani people.
• The invasion of the Taliban, which was the result of several geopolitical factors including the Soviet Invasion.
• The fall out of the Invasion and Taliban rule, which includes the scattering of an Afghani diaspora and the profiteering of war criminals.

Despite the intensity of the above historical events, the novel never focuses on these events. It is almost entirely dedicated to its characters’ interpersonal relationships. Those relationships are certainly impacted by these historical events, but the focus on love and endurance despite hardship is a core theme of this historical fiction novel.

Some characters represent certain aspects of this history. Nila is a Westernized woman from Kabul who often feels torn by the ways her poetry is received. Adel is the son of a war criminal who comes to unlearn the way he sees his father as a hero. But, again, the focus is on how these people navigate the world given their backgrounds, not on the backgrounds themselves.

When Abdullah and Pari finally reunite decades later, it is too late for them to have any sort of enduring relationship. But, despite their separation and the difficulty it took for them to reunite, they finally do so, in a different country, with echoes of their love for one another still ringing in the present.

Homegoing by Yaa Gyasi

Homegoing is a historical fiction novel that spans over 400 years of colonization, slavery, and survival, beginning with two Asante women in present-day Ghana. Half-sisters Effia and Esi, children of an Asante woman named Maame, are separated by the invasion of British slave traders, and the novel follows these two women and their descendants as they navigate the awful realities of the slave trade and its many enduring effects.

Homegoing moves through the traumas of forced migration, beginning with the Cape Coast Castle, a slave castle in present-day Ghana. Many of the novel’s ensuing generations are subject to different traumatic settings, including:

• The villages in Ghana raided and pillaged by the British.
• Villages in Ghana also raided by other Ghanaians.
• The slave ships to North America.
• An Alabama plantation.
• The Underground Railroad.
• Harlem in the midst of a drug crisis.

The novel casts a wide net, never lingering too long in any of these settings, but certainly giving us the details: hunger, poverty, rape, imprisonment, drug addiction, disease, and the many other awful situations which plague each generation of Maame’s descendants. We see the grime, filth, and disease of the slave ships, the terror of fleeing the plantations, the shit and sexual assault in the slave castles, and the needles in the city streets. We also see how these situations force each character to make unfathomably tough decisions, such as Ness and Sam, who let themselves be caught escaping the plantation so their son can make it to the free North.

Homegoing gives just enough detail that the reader can look with sympathy towards every awful thing occurring to each generation of Maame’s descendants, while still holding out hope that things will improve in the next chapter. Occasionally, they do.

Like the previous historical fiction examples, Homegoing isn’t trying to lecture you about history, but it does push its characters into different situations based on what’s going on during each historical time period.

Here are a few examples:

• The Anglo-Asante Wars of the 19th century, which gutted modern-day Ghana of its people and resources as the Asante tried to gain complete autonomy from the British. These conflicts kill, maim, and displace several characters of the novel.
• The introduction of cacao in Ghana , which forces Ohene to abandon his relationship to a pregnant Abena. Abena then leaves the village, and dies shortly after giving birth to Akua.
• The Fugitive Slave Act of 1850, which decreed that all captured slaves be returned to their slavers, even if they’re found in the North. The result is that Kojo’s wife is abducted and taken back South, which destroys their family.
• The introduction of heroin to Harlem, which coincided with a period of high unemployment in the neighborhood. This causes several relationships to dissolve in the later part of the novel.

By seeing how real historical events forced these characters to make tough or seemingly-insane decisions, Homegoing offers a richer sense of empathy for the plights of Africans and African-Americans throughout recent (and not-so-recent) history.

Because of the novel’s wide scope, in which each chapter represents a different era of history, many of the novel’s themes emerge globally, rather than from individual stories. Survival, resistance, and the endurance of family are notable themes, but so are those themes’ opposites: war, racism, and colonialism.

Modern readers haven’t been on The Underground Railroad, but that doesn’t make the painful separation of family less relatable, it just adds a particularly racist, pernicious context. Readers might also be someone or  know someone who struggled with drug addiction, who felt estranged from their own communities, or who currently hold out hope that the next generation will have it easier than they did.

Most interesting about this novel is the ongoing side-by-side trajectories of Esi and Effia’s descendants, how they eventually reunite at the end of the novel, not knowing they are related. The initial image of the slave castle returns, too. In the beginning of the novel, each half-sister is given a black stone pendant. Esi’s is lost to the dungeon of the slave castle, where she is imprisoned before being sent to North America. Meanwhile, Effia’s is passed down through generations, as she lives a life of luxury aboveground in the castle, not knowing her half-sister is below. The novel ends with Effia’s descendant giving Esi’s descendant the stone pendant in the modern day, which symbolizes the endurance of family and shared heritage, even though much of that heritage is unspoken or lost to history.

Historical Fiction Writing Prompts

Want to write your own historical fiction books? We’ll look at some tips on how to write historical fiction in a moment. But, for the writer who doesn’t know where to begin, perhaps these prompts will inspire you.

The following historical fiction writing prompts are meant to be applied to any time period, from any part of the world.

• Investigate your family history. What did your ancestors do? Where did they live? Create a character inspired by one of your ancestors, deeply affected by the time period they lived in.
• War. What is it good for? Create two characters, one who supports the war, one who wants it to end. Make them fall in love.
• Write a historical fiction in which one character gains all of their money during a historical event, and one character loses all of their money. Explore how this money (or lack thereof) changes both characters’ trajectories.
•  Two (or more siblings) are separated because of war. When they finally reunite, they love the memory of their family, but not the family in front of them.
• Write a historical fiction in which new technology gives a character everything they ever wanted—and every burden they didn’t know they’d get.
• Two characters grow apart because of global or historical changes. One character embraces modernity; the other is trapped in it.
• Two characters are united because of an awful, terrible, and unavoidable event in history.
• Think about someone you know who would make a great protagonist . Now, set them in a story that happened decades or centuries ago.
• “You know this story, even if you don’t know this history.”
• Go to your local library, and hit up the history section. Take a random book off the shelf, read it, and look for ways to insert your characters inside that history.
• The only thing left on the battlefield was a __________. Fill in the blank, then make that item a central image or symbol of the historical fiction story you write.
• Think of a historical time period you’ve heard about, e.g. the Victorian Era. What assumptions do you have about that time period? Do some research, and write a story investigating all the ways your assumptions are correct—and everything you didn’t realize you didn’t know. (For example, you might think the Victorians were all prudes. Many were actually quite kinky. A story that investigates this would want to show prudishness upfront, and something very different behind closed doors.)

Tips on How to Write Historical Fiction

If you’re new to writing longform fiction, you might want to start with our article on how to write a novel . Writing historical fiction isn’t significantly different from the novel writing process itself, it just requires more research and a particular attention to detail. The following tips on how to write historical fiction supplement what writers will already know about the basic craft of novel writing.

1. Immerse yourself in the setting and its culture

Don’t just read a couple of history books and think you know everything. Immerse yourself in your setting and time period.

There are plenty of ways to do this. Some authors will spend all day talking and thinking like they’re from their historical era. You might watch documentaries, period dramas, or hang up photos around your bedroom of what people wore, ate, and kept around the house.

Also, read literature from the period you’re writing about. Pay attention to the customs, dialogue, and social hierarchies that seem strange or unusual to you. Investigate these differences, and think of ways you can connect them to your present moment, the present-day reader.

Finally, pay close attention to the values people held at this time. Not only what values were held, but how they were expressed. “Honor,” for example, is a value held in most cultures, but the expression of that value varies widely from era to era.

2. Let history inform the story, not be the story

The historical fiction genre is fiction informed by history, not retelling history. Your goal is not to convey the minute-by-minute details of the bombing of Nagasaki, or the sequence of battles throughout the Civil War. Your goal is to tell a story about people affected by history.

Pay attention to how this works in the historical fiction examples we shared. Historical events offer a framework for the plot to hang off of, but those events are not the story. If Min Jin Lee focused on the particulars of Japan’s annexation of Korea, its cultural shift after World War II, or the economic impacts of the Korean diaspora, it would lose sight of the story—that is, how Korean people were impacted by all of these historical changes.

Your writing should never feel like a textbook. In fact, even the characters of your story might get their history wrong or have different interpretations of the same historical event. It’s people that matter to fiction, because they’re the ones who shape plot . History merely provides the trellis for this.

3. Focus on characters, not historical trivia

If you’re writing historical fiction books, you probably find history interesting. But remember that you’re telling a story set in history, not a story about history.

It helps to be organized about your research. Allow yourself time to go down rabbit holes, to get lost in the details without any clear direction. But after that, be methodical, with focused research questions and a vision for what you need to write this story. For example, if your story coincides which a big technological shift (like the invention of the light bulb), ask yourself who liked this change, who didn’t , and why.

Your research will likely guide you down fascinating rabbit holes. As you write your story, you will likely become somewhat of an expert on the time period you’re writing about. Whatever you do, don’t let your story turn into a laundry list of historical facts. Integrate your research into what your characters are already doing, feeling, and surviving.

4. Be particular about the details, and where you place them

This brings us to an important element of storytelling : fine tuning the details.

There are an endless amount of details you can include to make your story rich, real, and vibrant for the reader. But, including all of those details will only weigh the reader down.

This is where the tools of fiction come in handy, particularly the idea of scene vs summary . Summary writing is where the narrator gives an overview of information that’s relevant to the story, but doesn’t need to be expounded upon. It can be backstory, an overview of your characters and their situations, or connective tissue between the most important moments of a story.

Scene, by contrast, are those most important moments. This is where we see important dialogue exchanges, decisions made or acted upon, and plot points that advance the story or reach the story’s climax. Scene is the building block of fiction, no matter what genre your story is in.

Moments of “summary” are often the best places to introduce worldbuilding details. You can have them scenes, too, but you want to be sure that the reader has all the necessary information they need, and worldbuilding details can often slow a story down or interrupt the story’s flow.

With this in mind, you know that you only need the most relevant details in moments of summary that coincide with the important scenes you’re about to write. If your scene involves two people navigating the remains of a battlefield, you probably don’t need to include information about the sky-high prices of corn.

5. Create windows into your time period

As you write and edit your historical fiction story, think about ways to blend the familiar with the unfamiliar. Your characters might speak differently, act differently, and live in different worlds than your contemporary reader, but they still have much in common. For example, your characters might eat dinner together as a family, just like your reader—but what they eat or talk about might be different. Or, your characters might worry about their appearance, just like your reader—but the appearance they want might be different.

Blend the familiar with the unfamiliar to make your story more relatable. By doing this, you make your characters feel like real, flesh-and-blood people, who aren’t all that different from the reader despite whatever cultural or historical differences they share.

Write Historical Fiction Books at Writers.com

Want to learn more about the process of writing historical fiction? Check out our interview with instructor Jack Smith on his novel If Winter Comes .

Whether your story is set in Medieval Rome or 19th century Prussia, master the historical fiction genre at Writers.com. Take a look at our upcoming fiction classes , where you’ll receive expert feedback on every piece of writing you submit.

Sean Glatch

This information is so very good and helpful. Thank you for sharing.

You’re very welcome, Theresa!

Very useful information much of which can be applied broadly, for example the use of details in fiction.

I have a very good knowledge of early Virginia history and have toyed with a story set on the Virginia coast that would have a “bonded servant” as the protagonist I have a real life ancestor to use as a starting point.

But I’m probably, at my advanced age, too lazy to bother.

Again I certainly appreciate your including this material in the newsletter.

I’m happy you found it useful, Anne!

Hi Anne, I took, am of a certain age and am just beginning my writing career.

I am intrigued by your story idea because my ancestors were early Virginia settlers from England. My genealogy research has yielded only a tiny bit of information and I’m having difficulty going further back than 1805.

I hope you do “bother” to develop and write your story as I think there would be great interest in it.

“too,” not “took”

thanks for geting me a good grade on a assignment

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7 Elements of Historical Fiction

• March 24, 2015
• 50 Comments
• Historical Fiction , Inside Historical Fiction

Since I work best by example, I’m developing an explanation of the seven elements in the context of historical fiction.

Character – whether real or imagined, characters behave in keeping with the era they inhabit, even if they push the boundaries. And that means discovering the norms, attitudes, beliefs and expectations of their time and station in life. A Roman slave differs from a Roman centurion, as does an innkeeper from an aristocrat in the 18 th century. Your mission as writer is to reveal the people of the past.

Dialogue – dialogue that is cumbersome and difficult to understand detracts from readers’ enjoyment of historical fiction. Dip occasionally into the vocabulary and grammatical structures of the past by inserting select words and phrases so that a reader knows s/he is in another time period. Don’t weigh the manuscript down or slow the reader’s pace with too many such instances. And be careful. Many words have changed their meanings over time and could be misinterpreted.

Setting – setting is time and place. More than 75% of participants in a 2013 reader survey selected ‘to bring the past to life’ as the primary reason for reading historical fiction. Your job as a writer is to do just that. Even more critically, you need to transport your readers into the past in the first few paragraphs. Consider these opening sentences.

“I could hear a roll of muffled drums. But I could see nothing but the lacing on the bodice of the lady standing in front of me, blocking my view of the scaffold.” Philippa Gregory The Other Boleyn Girl

“Alienor woke at dawn. The tall candle that had been left to burn all night was almost a stub, and even through the closed shutters she could hear the cockerels on roosts, walls and dung heaps, crowing the city of Poitiers awake.” Elizabeth Chadwick The Summer Queen

“Cambridge in the fourth winter of the war. A ceaseless Siberian wind with nothing to blunt its edge whipped off the North Sea and swept low across the Fens. It rattled the signs to the air-raid shelters in Trinity New Court and battered on the boarded up windows of King’s College Chapel.” Robert Harris Enigma

Straightaway you’re in the past. Of course, many more details of setting are revealed throughout the novel in costume, food, furniture, housing, toiletries, entertainment, landscape, architecture, conveyances, sounds, smells, tastes, and a hundred other aspects.

Theme – most themes transcend history. And yet, theme must still be interpreted within the context of a novel’s time period. Myfanwy Cook’s book Historical Fiction Writing: A Practical Guide and Toolkit contains a long list of potential themes: “ambition, madness, loyalty, deception, revenge, all is not what it appears to be, love, temptation, guilt, power, fate/destiny, heroism, hope, coming of age, death, loss, friendship, patriotism.” What is loyalty in 5 th century China? How does coming of age change from the perspective of ancient Egypt to that of the early twentieth century? What constitutes madness when supposed witches were burned at the stake.

Plot – the plot has to make sense for the time period. And plot will often be shaped around or by the historical events taking place at that time. This is particularly true when writing about famous historical figures. When considering those historical events, remember that you are telling a story not writing history.

Conflict – the problems faced by the characters in your story. As with theme and plot, conflict must be realistic for the chosen time and place. Readers will want to understand the reasons for the conflicts you present. An unmarried woman in the 15 th century might be forced into marriage with a difficult man or the taking of religious vows. Both choices lead to conflict.

World Building – you are building a world for your readers, hence the customs, social arrangements, family environment, governments, religious structures, international alliances, military actions, physical geography, layouts of towns and cities, and politics of the time are relevant. As Harry Sidebottom, author of Warrior of Rome series said: “The past is another country, they not only do things differently there, they think about things differently.”

As you research, here’s a list of topics to consider : attitudes, language and idiom, household matters, material culture, everyday life, historical timelines, occupations, diversions, regulations, vehicles, travel, food, clothing and fashion, manners and mannerisms, beliefs, morality, the mindset of the time, politics, social attitudes, wars, revolutions, prominent people, major events, news of the day, neighbourhoods, gossip, scandals, international trade, travel, how much things cost, worries and cares, highways and byways, conveyances, landscape, sounds, tastes, smells, class divisions, architecture, social preoccupations, religious norms, cataclysmic events, legal system, laws, regulations, weather, military organization, cooking, sex, death, disease. I’m sure you can – and hopefully will — add more.

Ultimately you are seeking to immerse yourself in a past world then judiciously select the best ways to bring that world to life as you tell your story .

A closing thought from well-known historical fiction author Bernard Cornwell : “The most important thing, the all important thing, is to get the story right. Write, rewrite, rewrite again, and do not worry about anything except story. It is story, story, story. That is your business. Your job is not to educate readers on the finer points of Elizabethan diplomacy or Napoleonic warfare, your job is to divert and amuse people who have had a hard day at work. What will get you published? Not style, not research, but story. Once the story is right, everything else will follow.”

Update : During 2020 and 2021, I’ve explored each of the seven elements in more detail and have had contributions from other authors to enrich the material. You can find many of these by using ‘seven elements of historical fiction’ in the search bar. Here’s a few to start you off:

• World Building – Culture & Society
• Character in Historical Fiction – a deeper dive
• Setting – Authors’ Perspectives and Techniques
• Setting – Research Sources
• The Plot Thickens

You might also enjoy:

10 Thoughts on the Purpose of Historical Fiction

Historical Fiction – Readers Have Their Say

Author Tips on Writing Historical Fiction

FOR MORE ON WRITING HISTORICAL FICTION, SUBSCRIBE TO A WRITER OF HISTORY (check the left hand margin for details).

M.K. Tod writes historical fiction and blogs about all aspects of the genre at A Writer of History . Her latest novel, LIES TOLD IN SILENCE is set in WWI France and is available from Amazon , Nook ,  Kobo ,  Google Play  and iTunes . Her debut novel, UNRAVELLED: Two wars. Two affairs. One marriage. is also available from these retailers.

Mary can be contacted on Facebook , Twitter and Goodreads .

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50 Responses

This is all so true!! I recently finished a novel set in 1692 during the Salem Witch Trials. It was by far the hardest one I’ve written because of dialect and lifestyle. It took a lot of research and because it was so long ago, it was hard to come across as much as I did for the other novels. I’m going to reblog this post on my website (www.angelachristinaarcher.com) and my press website (www.longvalleypress.com). 🙂

Hmm…it’s only letting me reblog once. I will figure this out. LOL.

Reblogged this on Angela Christina Archer and commented: As a historical romance author, myself, I know how hard each and every one of these elements can be at times. I’ve transported myself to 1861, 1897, 1692 (which was, by far the hardest), and now I’m working in 1930. Reposting this post from a very informative blog! Check out A Writer of History and follow!!

Many thanks for your endorsement, Angela Christina!

This is an excellent analysis of the challenges faced by authors of historical fiction. And for readers, it’s an explanation of why they find some books lacking!

Thanks Lil! I appreciate your encouragement.

I think the hardest part is getting the historical setting right (or as right as possible) while still just telling your story.

Sometimes, writers end up lecturing rather than presenting the historical setting, but what bothers me the most, is that sometimes readers would like to be lectured. Have you ever come across this attitude? It goes together with the common comment, “I get it, but maybe you should explain it better.” I get this all the time, and I always think, if you get it, that means I have explained it well enough, no? Sometimes I feel as if historical readers would like the same, they’re not content with seeing it ‘on screen’, they would like ‘to be explained.’

Is this just my impression?

Different readers have different views, of course. In one of my novels, a few male readers wanted more of the war bits while some of the female readers wanted less. Can’t please everyone! And if you look at top historical fiction writers you will find a spectrum of historical detail. Conn Iggulden, for example, is very sparing, while Sharon Kay Penman includes a huge amount of historical fact. Both are very popular!

I am writing a historical memoir. I have several Beta readers givining me feedback on rewrites. Many have done exactly what you are referring to. They want to know more about specific things that are ancillary to the story. For example my antagonist goes to Liverpool, England on a ship in the late 1800s. I am getting questions asking me to explain their dry-dock system or asking for mor infor about certain kinds of ships. I am a voracious reseacher so I am fine with this. But will some of my readers be turned off??

Thanks for your observations. I love the Cornwell quote. We really must make the teachy bits intrinsic to the story.

I have a character who is passing through some fascinating places, but observations of the architecture and historical events are the last things on her mind – so I must force myself to ignore anything irrelevant to her immediate concerns or actions.

Our characters can’t be tour guides – much as we might be tempted to use them that way.

An excellent point, Lausanne.

As an editor of historical fiction I do wish every writer of the genre would read your blog. Thank you Mary. Great insight into the workings of historical fiction.

Linda – you made my day!! Many thanks for giving such a glowing endorsement for my blog.

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Reblogged this on NEVA BROWN & BOOKS .

Thanks Neva Brown … I hope it appeals to your readers.

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I would like to thanks Neva Brown you have uploaded this information to help everyone and from those every one I was also one of them.

i write action novels

Are they historical, Jacob?

I do believe your quote on world-building is not from Harry Sidebottom but actually the first sentence in The Go-Between (1953) ‘The past is a foreign country; they do things differently there’ by L. P. Hartley.

Thanks for this, Charlotte. And thanks for stopping by … I will check out L.P. Hartley 🙂

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This is some really good information about writing historical fiction. I have been thinking about trying to write historical fiction. I liked your advice about doing some research about the time period you want to write about. It does seem like a good idea for me to read a lot of historical novels.

Thanks for stopping by, Ivy. And best wishes on your writing journey.

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Reblogged this on suzannebowditch .

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Reblogged this on Historical Fiction Addicts and commented: It looks like there is plenty today for writer’s to consider. I hope you enjoy this one and find it particularly helpful.

Many thanks, Kelly-Lynne.

My pleasure

what is the most important one

Hi Colleen … good question. I don’t think there is a “most important” one. I would say that some get more emphasis from various authors as well as in the context of a specific era. For example, you might write a novel set during the second world war, and in this case, dialogue might not need to be too different from the way people speak today. Some of the elements are more obvious than others – setting for example. Theme is more subtle in my opinion – some themes transcend time period – the significance of family for example – other themes might reflect a specific time period. What do you think?

Thanks for writing this 🙂

You are very welcome!! I hope it helps your own endeavours be they writing or studying or whatever!

Thanks for sharing!

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Talk about a post with staying power! Very thought-provoking. I’m currently putting the finishing touches on a fictional work based on my life. The first book is steeped in the 1950s and I sprinkle in lots of famous names and products from that area along with attention to geographical sites and addresses. I’m wondering — when assigning a genre to such a work would it be a fictional memoir, fictional autobiography, or historical fiction? Although I’ve striven for historical accuracy, the main character — and his relationship with his father — is by far the central focus of the story. Any help greatly appreciated.

Hi Walter … thanks for stopping by. As to your question, I’m no expert but I think you need to gauge where you are on the scale of truth and fiction before making that determination. Some authors have gotten into trouble with memoirs that aren’t true. If you’re making a fair amount of stuff up and it’s only loosely based on your life, then I would go for historical fiction. Some might even quibble with that since you were alive during the time about which you’re writing. Sorry not to be more definitive. Please stop by again.

Thanks for the feedback. I’ve settled on historical fiction because I believe that best defines the work.

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Historical fiction gives a retrospect of the root of the problems, making readers understand social issues on a low-key level.

So true, Jerry!

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50 Of The Best Historical Fiction Authors Writing Today

Ann can often be found walking very slowly through the aisles of bookstores, making sure that nothing new has come out she doesn’t know about yet, and then eagerly telling people about them. She writes about women from history at annfosterwriter.com , and about books, film, TV, and feminism at various other sites. She prefers her books to include at least three excellent plot twists, which is why she usually reads the end first. Twitter: @annfosterwriter

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What do we mean by best historical fiction authors?

With countless amazing writers working in this genre, we went with the following criteria for our list:

• Does the author primarily write historical fiction, or do they write in numerous genres?
• Has the author published at least three works of historical fiction?
• Are the author’s historical novels award-winning and/or critically acclaimed and/or commercially successful?
• Are they still currently publishing new work?

Here are our picks for 50 of the best historical fiction authors writing today, in alphabetical order.

Kate Alcott

Kate Alcott  is the literary pseudonym for journalist Patricia O’Brien. Her historical novels include  The Dressmaker ,  The Daring Ladies of Lowell , and  A Touch of Stardust .

Jean M. Auel

Jean M. Auel is an American writer best known for her novels about people living in prehistoric eras. Her works include  The Clan of the Cave Bear , The Mammoth Hunters , and  The Land of Painted Caves .

Sebastian Barry

Sebastian Barry is an Irish playwright and novelist. His historical novels include Annie Dunne, A Long Long Way, and Days Without End.

Marie Benedict

Marie Benedict is an American author of historical fiction. Her notable works include The Other Einstein , Carnegie’s Maid , and The Only Woman in the Room .

Melanie Benjamin

Melanie Benjamin  a pseudonym for the writer Melanie Hauser. Her historical novels include Alice I Have Been , The Autobiography of Mrs. Tom Thumb , and  The Aviator’s Wife .

Jessica Brockmole

Jessica Brockmole is the American author of historical novels, including Letters from Skye , At the Edge of Summer , and Woman Enters Left .

Geraldine Brooks

Geraldine Brooks is an Australian American journalist and novelist. Her historical fiction includes March ,  The People of the Book , and The Secret Chord .

Elizabeth Chadwick

Elizabeth Chadwick is a British author of historical novels, including The Scarlet Lion , The Summer Queen , and The Winter Crown .

Tracy Chevalier

Tracy Chevalier is an American-British historical novelist. Her historical novels include Girl With A Pearl Earring ,  At the Edge of the Orchard , and New Boy .

Bernard Cornwell

Bernard Cornwell is the English author best known for his novels about Richard Sharpe, beginning with Sharpe’s Rifles . Two of his other series are  The Warlord Chronicles  and  The Saxon Chronicle Stories .

Emma Donoghue

Emma Donoghue is an Irish Canadian author. Her works of historical fiction include  The Wonder  and Slammerkin .

Sarah Dunant

Sarah Dunant is a British author whose works of historical fiction include The Birth of Venus , In the Company of the Courtesan , and Sacred Hearts .

Esi Edugyan

Esi Edugyan is the Canadian author of historical novels, including The Second Life of Samuel Tyne , Half-Blood Blues , and Washington Black .

Ken Follett

Ken Follett is a British author of historical fiction, including  Fall of Giants , Winter of the World , and World Without End .

Margaret George

Margaret George is an American author of historical novels, including  Mary Queen of Scotland and the Isles , The Memoirs of Cleopatra , and Elizabeth I .

Philippa Gregory

Philippa Gregory is a British historian and author. Her works of historical fiction include The Other Boleyn Girl , The White Queen , and The Constant Princess .

Sara Gruen is a Canadian-American writer of historical fiction, including  Water for Elephants ,  At the Water’s Edge , and  Ape House .

Sandra Gulland

Sandra Gulland is an American-born Canadian writer of historical novels, including  The Many Lives & Secret Sorrows of Josephine B. ,  Tales of Passion, Tales of Woe , and The Shadow Queen .

Conn Iggulden

Conn Iggulden is a British author of non-fiction and historical fiction. His historical fiction debut was The Gates of Rome , the first in what would become his five-part Emperor series about the life of Julius Caesar.

Jeanne Kalogridis

Jeanne Kalogridis is an American author of historical novels, including  The Borgia Bride , The Devil’s Queen: A Novel of Catherine de Medici , and The Orphan of Florence .

Susanna Kearsley

Susanna Kearsley is a Canadian author and former museum curator whose historical novels include The Winter Sea , A Desperate Fortune , and Bellewether .

Barbara Kingsolver

Barbara Kingsolver is an American author of historical novels, including  The Bean Trees , The Poisonwood Bible , The Lacuna , and Unsheltered .

Hilary Mantel

Hilary Mantel is an English writer whose historical novels include  Wolf Hall ,  Bring Up the Bodies , and  A Place of Greater Safety .

Ami McKay is a Canadian author of historical fiction, including The Birth House , The Virgin Cure , and The Witches of New York .

Paula McLain

Paula McLain is an American author of historical fiction, including The Paris Wife , Love and Ruin , and Circling the Sun .

Rohinton Mistry

Rohinton Mistry is an Indian-born Canadian author of historical novels, including  Such A Long Journey  and  A Fine Balance .

Toni Morrison

Toni Morrison is an American writer and icon whose novels of historical fiction include The Bluest Eye , Beloved , Jazz , Paradise , and  A Mercy .

Michael Ondaatje

Michael Ondaatje is a Sri Lanka–born Canadian writer whose historical novels include In the Skin of a Lion , The English Patient , Anil’s Ghost , and Warlight .

Kate Quinn is an American author whose works of historical fiction include  The Alice Network ,  Mistress of Rome , and The Serpent and the Pearl .

Edward Rutherford

Edward Rutherfurd is a pen name for the English author Francis Edward Wintle. As Rutherford, his works of historical fiction include London: The Novel , New York: The Novel , and Paris: The Novel .

Lisa See is an American author whose historical novels include Snow Flower and the Secret Fan , Shanghai Girls , and The Tea Girl of Hummingbird Lane .

Eva Stachniak

Eva Stachniak is a Polish-Canadian author whose works of historical fiction include The Chosen Maiden , The Winter Palace , and Empress of the Night .

Indu Sundaresan

Indu Sundaresan is an Indian American writer whose works of historical fiction include The Twentieth Wife , The Feast of Roses , and Shadow Princess .

Lalita Tademy

Lalita Tademy is an American author whose historical novels include Cane River ,  Red River , and Citizens Creek .

Colm Tóibín

Colm Tóibín is an Irish writer whose historical novels include Brooklyn and The Testament of Mary .

Amor Towles

Amor Towles is an American writer of historical fiction, including Rules of Civility  and A Gentleman in Moscow .

Guy Vanderhaeghe

Guy Vanderhaeghe is a Canadian writer whose historical novels include The Englishman’s Boy , The Last Crossing , and A Good Man .

Sarah Waters

Sarah Waters is a Welsh writer whose historical novels include  Fingersmith , Tipping the Velvet , and The Paying Guests .

Alison Weir

Alison Weir is a British historian and novelist whose historical novels include Innocent Traitor: A Novel of Lady Jane Grey ,  The Marriage Game: A Novel of Elizabeth I , and  Anne Boleyn: A King’s Obsession .

Beatriz Williams

Beatriz Williams is an American writer whose historical novels include  Along the Infinite Sea , A Certain Age , and The Summer Wives .

Kate Williams

Kate Williams is a British historian and author whose works of historical fiction include The Storms of War  and  The Edge of the Fall .

bonus! best Historical Fiction Authors: emerging

We can’t wait to see what these rising stars of historical fiction will write next!

• LaShonda Katrice Barnett, author of Jam on the Vine
• Tracy Borman, author of The King’s Witch
• Yangsze Choo, author of The Ghost Bride
• Tara Conklin, author of The House Girl
• E.C. Fremantle, author of The Poison Bed
• Vivien Shotwell, author of Vienna Nocturne
• Yaa Gyasi, author of Homegoing
• Min Jin Lee, author of Pachinko
• Kate Worsley, author of She Rises

Can’t get enough historical fiction? We’re here to help! Check out our top 50 historical fiction books that everyone should read.

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Where to submit historical fiction

Magazines and journals that publish historical fiction & poetry.

This month we’re focusing on great places to submit historical fiction—stories, novellas, novel excerpts, and even poetry. Many magazines are open to well-written stories with a historical setting but very few actively seek historical fiction. The ones on our list specialise in it. All allow simultaneous submissions, don’t charge reading fees, and some will actually pay you.

Not what you’re looking for? Check out our other lists and resources on publishing . Interested in writing historical fiction? See our guide to the basics .

Note: We are a creative writing school and compile these lists for the benefit of our students. Please don’t send us your publishing queries or submissions :). Click on the green links to go to the publication’s website and look for their submissions page.

The Copperfield Review focuses on short historical fiction and historical poetry but also accepts relevant essays, interviews and articles. You can send in your stories of between 500 – 3000 words, novel excerpts up to 3000 words, and poems (1 poem per submission), including reprints. And they’ll pay you: $20 per short story and $15 per poem. If you don’t hear from them within 12 weeks you can assume your work wasn’t a good fit. They read year-round.

Timeworn Literary Journal accepts short stories of 2000 to 5000 words set before 1996. The editors appreciate the surreal, the dream-like, the strange and speculative elements are encouraged. They publish in print and online twice a year. Payment is $25 per story and they tend to respond quickly with a yes or no—often within a few weeks. You can submit work for their next issue beginning 1 July 2020.

Flashback Fiction welcomes historical flash fiction, prose poetry and hybrid pieces up to 500 words for weekly online publication. It’s left to you to decide what qualifies as “historical” but the editors note that stories set in the 21st century are a hard sell. You can submit work from 15 January to 15 July and from 15 September to 15 December. The editors ask for 90 days to make a decision but sometimes take longer.

The Magazine of History & Fiction accepts everything from flash fiction to novellas and novel excerpts (up t0 25,000 words) for online publication. They are also open to reprints. The editors generally respond with a couple of months.

4 responses on "Where to submit historical fiction"

As a writer of historical fiction, this blog post was extremely helpful. I’d like to inform other writers of historical fiction that there is a new literary magazine of historical fiction: Sundial Magazine.

There are few places in the literary landscape today for short historical fiction. Sundial Magazine aspires to provide a place for new voices in historical fiction. We are also looking for visual artists to create illustrations of stories and poems.

Call for submissions is open: sites.google.com/view/sundial-magazine/

I’m new in the search for a historical fiction magazine, so I will appreciate any and all in assisting me to educate myself about who and where to submit my historical fiction articles. I am an independent historian not from any academic institution, I am without a degree, but I do posses many many years of experience in Historical Fiction, since the 1980s. I want a career as a Historian even if I do not posses a degree. I have worked hard to be where I am at. I truly appreciate any and all assistance to help me reach my goal in life. Thank you Vespasian G.P 75040513

For future writers, the second and fourth magazines on this list appear to be defunct.

To add to what Jared said, for even futurer writers, the first magazine is now defunct, too.

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