{"id":998224,"date":"2026-08-18T15:28:47","date_gmt":"2026-08-18T14:28:47","guid":{"rendered":"https:\/\/jerichowriters.com\/?page_id=998224"},"modified":"2026-08-18T15:28:48","modified_gmt":"2026-08-18T14:28:48","slug":"resist-the-rabbit-hole-writing-convincing-historical-fiction-without-a-time-machine","status":"publish","type":"page","link":"https:\/\/jerichowriters.com\/resist-the-rabbit-hole-writing-convincing-historical-fiction-without-a-time-machine\/","title":{"rendered":"Resist the rabbit hole: writing convincing historical fiction without a time machine\u00a0"},"content":{"rendered":"\n

In my 20+ years as an editor, one of my greatest joys has been working with authors who write historical fiction. For one thing, when I work alongside historical novelists, I get to learn all about the places, people, and events of another era.  <\/p>\n\n\n\n

Moments from the past come alive through characters, dialogue, and descriptive detail. Often, I also learn about a lesser-known or hidden history, as was the case with Rhys Bowen\u2019s The Rose Arbor<\/em>, which featured the sad fate of a Dorset village that was used for military training during World War II, or Caroline Laurent\u2019s An Impossible Return<\/em> (winner of the Prix Maison de la Presse), a haunting novel about how the inhabitants of the Chagos archipelago in the Indian Ocean were driven from their island home. <\/p>\n\n\n\n

I\u2019ve also realized in my work that as much as history can fascinate an author, to the point they decide to dedicate months or years to exploring it in a story, writing a novel-length work of historical fiction has plenty of frustrations, too. After all, without a time machine, how can you really know if you\u2019re getting it right?  <\/p>\n\n\n\n

How much research is enough, and how can you keep moving forward when you feel like there\u2019s so much you still don\u2019t know? What happens when there are gaps in the historical record, or when you want to create a page-turner but the true<\/em> timeline of events is painfully slow? <\/p>\n\n\n\n

Whether you\u2019re just dipping your toes into a topic or you\u2019ve already got a draft, here are a few tips for writing convincing historical fiction without getting lost down a research rabbit hole\u2026 <\/p>\n\n\n\n

1. Don\u2019t let what you don\u2019t know stop you <\/h2>\n\n\n\n

For many authors, inspiration for a historical novel strikes when they first visit the place that will become their setting, or when they learn of a little-known fact that sparks a surge of curiosity. How can the world not know about this absolutely astonishing series of events? They nobly take up the charge of adapting it into a story, only to realize just how much they must learn to depict another time and place authentically.\u202f <\/p>\n\n\n\n

It\u2019s an overwhelming feeling, and it can arise again and again over the course of drafting an historical novel \u2013 not just at the outset. And while yes, you need to do your research, you\u2019ll also need to make progress even when you don\u2019t know everything. (Spoiler alert: You\u2019ll never know everything!) This means managing your writing process with some semblance of a system.\u202f <\/p>\n\n\n\n

For Emily Matchar, author of In the Shadow of the Greenbrier<\/em> and The Lost Girl of Craven County<\/em>, this meant deciding to draft 500 words six days a week and then researching and revising on the seventh. For Emily, modest goals (500 words is just two pages a day) and a simple system led to steady, consistent progress.\u202f <\/p>\n\n\n\n

Beyond setting a realistic goal, to get to the end of a draft, you\u2019re going to need to give yourself permission to do the best you can with what you know for now, and to fill in the gaps in your knowledge at a later point. It\u2019s absolutely okay to write in your manuscript \u201cMore research needed here.\u201d Keep going, and add detail later. <\/p>\n\n\n\n

2. Stay organized  <\/h2>\n\n\n\n

You already know you need to do your research, but you\u2019ll also need to organize it. A tool like Scrivener might be helpful for keeping your discoveries gathered in one place, but you can also keep it simple with a folder on your desktop or in Google Drive. If you\u2019re doing online research, a bookmark folder in your browser can help keep track of links to return to later.\u202f <\/p>\n\n\n\n

Document your sources and make sure to note where you\u2019ve found quotes and statistics so you don\u2019t have to chase those down at a later date. If you\u2019re working with primary sources in a library or archive, download a scanner app to photograph and upload key pages to your research folders.  <\/p>\n\n\n\n

Dedicate some space to images, maps, and other visual inspiration. Some authors create a physical vision board for this and put it up in their workspace, and others use online tools. Whatever tools you use, set aside some time each month to organize your materials, assess what resources you might still need, and keep chaos at bay. <\/p>\n\n\n\n

3. Let the facts serve the fiction <\/h2>\n\n\n\n

Most historical authors run into a sticky problem at least once in their process: sometimes, the facts just don\u2019t make for compelling fiction, and no amount of research will remedy that. Maybe an event that needs to feel important and urgent in the story actually unfolded at a snail\u2019s pace over a series of years. Maybe the king\u2019s key advisor was actually five different people. Perhaps a form of technology your protagonist needs is still a few years off.\u202f <\/p>\n\n\n\n

Kelly Scarborough, an alum of the Ultimate Novel Writing Programme<\/a> and author of Butterfly Games<\/em> (an IPPY Bronze Medal winner), did extensive research to write her novel (and even learned Swedish!). And yet, some of what she uncovered wasn\u2019t well suited to a story that kept readers turning pages. That meant she had to find her own boundary between being true to the historical record and ensuring she told a great story.  <\/p>\n\n\n\n

Every historical novelist makes choices about when to stick to the facts and when to let drama lead the way. There\u2019s no one-size-fits-all answer, but it\u2019s normal to prioritize, at least to some extent, fictionalization over factual fidelity. After all, you\u2019ve chosen to write a novel rather than a nonfiction account. An author\u2019s note at the end of the book is a great place to let readers in on what\u2019s fact and what\u2019s fiction. <\/p>\n\n\n\n

4. Class is NOT in session <\/h2>\n\n\n\n

While one of the things we love about historical fiction is its potential to open our eyes to other moments in time, readers are sensitive to being lectured, taught, or told about something the author has excavated in their research. This is especially true when details are unrelated to characters or key developments, or when it seems like they\u2019re included primarily to demonstrate the extent of the author\u2019s knowledge.  <\/p>\n\n\n\n

Exhaustive, pages-long catalogs of the various planes used in World War II, or the full text of a speech made by a famous historical figure, are likely to make the reader\u2019s eyes glaze over. Maggie O\u2019Farrell researched Shakespearean England exhaustively to write Hamnet<\/em>, but she\u2019s extremely selective about her details. She never lectures, and the result is a credible, cohesive story world.  <\/p>\n\n\n\n

Bottom line: Of all the research you do for your book, only a portion of it should appear in the actual manuscript.\u202f <\/p>\n\n\n\n

5. Be at peace (well, try\u2026) with not getting it all right  <\/h2>\n\n\n\n

At the end of the day, even the most meticulous researchers are not going to ensure their novel is 100% accurate to the historical record, and that\u2019s okay.  <\/p>\n\n\n\n

Keep learning, keep writing, and keep striving to tell a great story. Your readers will thank you! <\/p>\n\n\n\n

Books mentioned in this post<\/strong>: The Rose Arbor<\/em><\/a> by Rhys Bowen, An Impossible Return<\/em><\/a> by Caroline Laurent, In the Shadow of the Greenbrier<\/em><\/a> <\/em>and <\/em>The Lost Girl of Craven County<\/em><\/a> <\/em>by Emily Matchar, Butterfly Games<\/em><\/a> <\/em>by Kelly Scarborough, Hamnet<\/em><\/a> by Maggie O\u2019Farrell. <\/p>\n\n\n\n

Lindsey Alexander is a tutor on the <\/strong>Ultimate Novel Writing Programme<\/strong><\/a>. To find out more about the course, visit the web page or fill in <\/strong>this form<\/strong><\/a> and we\u2019ll send the brochure straight to your inbox. Want to sense-check your story idea? Fancy meeting Lindsey one-to-one to see how working with her could help you? Book a twenty-minute mentoring session with her <\/strong>here<\/strong><\/a>. If you go on to study with us, we\u2019ll credit the cost of the session back to you.<\/strong> <\/p>\n","protected":false},"excerpt":{"rendered":"

In my 20+ years as an editor, one of my greatest joys has been working with authors who write historical fiction. For one thing, when I work alongside historical novelists, I get to learn all about the places, people, and events of another era.   Moments from the past come alive through characters, dialogue, and descriptive<\/p>\n","protected":false},"author":38188,"featured_media":998256,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-998224","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/resist-the-rabbit-hole-writing-convincing-historical-fiction-without-a-time-machine\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resist the rabbit hole: writing convincing historical fiction without a time machine\u00a0 – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"In my 20+ years as an editor, one of my greatest joys has been working with authors who write historical fiction. 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