Getting The Facts RIGHT-- Historical Romance 101

Getting The Facts RIGHT
Historical Romance 101
by
Sonia Leger

Recently I wrote a reader review for Amazon.com. While I did enjoy the book, I could not give it a five-star rating. Why? Because although the plot line and the characters were well thought out, the historical inaccuracies kept bringing me out of the story. The author had written a good contemporary story that, for some reason, she then decided to drop into the context of medieval times. However, it seemed to me that she neglected to consider how the change in historical setting would affect her work. As a result, a story about a father trying to do the politically correct thing by his brood of children just didn't ring true, especially since said father is also supposed to be the consummate warrior. As I pointed out in my review, had the author done
any research on medieval times, she would have found that the norm in those days was for children to be considered chattel (as women were), an investment to be ignored until the children were old enough to serve some useful purpose. Until then, they were not to be seen or heard, let alone allowed to ride roughshod over their parents.

My argument was not that the book I reviewed could not have been set in medieval times, but rather that if said author was going to deviate so significantly from the norms and values of the time, she should have at least addressed that fact at some point in the tale.

As a history buff and avid romance reader from way back, I always appreciate the extra effort an author puts into researching the period in which she sets her story. By showing an accurate representation of every day life in that time, I find more often than not that she has opened my eyes to a facet of history which I had heretofore overlooked or taken for granted. This raised awareness ultimately makes me appreciate the characters' conflicts and motivations all the more. The pantheon of romance
authors who are great examples of rich and detailed historical writing includes Jude Deveraux, Katherine Sutcliffe, Anita Mills and, of course, the great Dame Barbara Cartland. I'll never forget reading the passages in A Knight in Shining Armor where Ms. Deveraux made me aware for the first time of the real discomfort of wearing medieval garb, of the reality of hygienic
practices of the time, and the drawbacks of using tallow candles instead of the wax ones we use today.

As someone who is interested in writing, I am well aware of the daunting task good historical research can be. It involves more than having the characters wear corsets and breeches, or inserting a castle or manor in every other scene. A writer needs to understand things like the mores, values and beliefs of the time, if only to show how her characters are going against them. For example, someone writing a novel set in England during the Napoleonic wars needs to address the fact that her heroine is wearing something made of French cloth, since at the time they were being boycotted in England-most ladies were wearing English fabrics, like muslin. For research sources, a historical romance writer can turn to a nearby video store, the internet, her local library, or our very own HODRW library.

When I finally decided to start writing a historical romance novel, I first turned to movies. Many people turn to books first, which is fine, but I find that I absorb more through visual aids. There is a plethora of well-researched historical movies out there, ranging from A Lion In Winter to Anne of a Thousand Days, to The Aristocrats and the Poldark series. Most can be obtained through a local video store or library.

My next research foray was into period clothing, for which I did rely on books, as well as websites such as "The Costume Page" (http://members.aol.com/nebula5/tcpinfo2.html#history) and www.costumes.org. European history is a hobby of mine, so I was well acquainted with the major political and social goings-on of the period during which my story was taking place. But I felt I needed more. I felt that to write a convincing story, I would need to know much more about my characters' everyday life, the little details which as a reader I enjoy so much. I turned to the internet, searching for anything relating to the cultural and historical background of the area in which I wanted to set my story. A good place to start, I found, was in tourism websites. Each new discovery generated more questions, more and more specific-that actually facilitates things, because the more precise the search, the easier it becomes to find answers.

At this point in my research, I decided that the best way for me to absorb a great deal of information on my topic in a relatively short amount of time would be to take a trip to my chosen setting-England. I brought along a camera, a notebook and a mini-recorder. I spent a couple of days just walking around London, taking pictures of period structures and architectural details of the time. Then I attended walking tours of several historical sites, stopping often to make notations. Walking tours are a great source of trivia, which may give you ideas for future stories or add wonderful details to the one you're working on. Often, information can be gleaned on a wide range of subjects, from the hygienic norms of the time to the pomp and circumstance of British aristocracy. The only inconvenience with tours is that if they take place indoors, they often do not allow
people to take pictures, which damage fabrics and canvases. However, no one seemed to mind me sitting down every four or five minutes and writing down what I was seeing and hearing.

In Bath (a great city for pre-regency research), I attended the Museum of Costume, which offers a cornucopia of period garments, ranging from mid-16th century everyday garb to present-day fashion. As I made my way from city to city, I found that the architectural styles varied in size and shape, and that the materials used changed from slate to limestone to marble. I also
took pictures of the local flora and fauna, which I constantly supplemented with notes. I stopped often in pubs or little eateries, spending hours talking to the locals, primarily to get a feel for the rhythm of their language, but also listening to how they saw themselves and their outlook on life. They were extremely helpful (and talkative); once they found out about my project, they were eager to give me lists of people, places and things to look up. One kind lady presented me with a specialty napkin
inscribed with words of the local dialect, quite a treasure for me since I have been unable to locate any good publications the subject.

Back home, I am now consulting sources to help with the actual writing of my novel, such as Rhona Martin's Writing Historical Fiction, and Marina Oliver's Writing Historical Fiction: How to Create Authentic Historical Fiction & Get It Published. I have found that, whether you are writing regencies or westerns, a large selection of such books are available. A search can be
done at the local library, or on websites such as Amazon.com or Barnes and Noble.

I think that a good historical writer needs to have a grasp on the political, religious and social issues of the era in which she's setting her story-often the three are intertwined, and they always have a direct bearing on her plot. Whether the characters deviate from historical norms or go along with them, a writer needs to do her research all the same. Don't forget, people read historical romances because they are supposed to be just that-historicals. The more details an author can include of everyday life, the more real and convincing her story will appear to her readers. In my opinion, writing historical romances may be more time-consuming, but it is ultimately a labor of love that will be appreciated by the readers, especially the history buff. And there are a lot of us.

Sonia currently studies law and international administration at the University of Denver. Besides English, she speaks French, Haitian, Creole and Spanish. She's traveled to many places and most recently spent four months backpacking across Europe.