Writing Historical Fiction

By James L Hill

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Writing historical fiction requires research. How much and how in-depth depends on the type of story you are writing. As with all forms of writing, there is no one way to do it, or a right and wrong way. It all depends on the writer.

Let’s discuss three styles of historical fiction and the amount of research involved. 

First, is the fiction based on a time period. Your main character is fictitious, and your aim is to tell a story based on a time and event. The event is an anchor that the reader can relate to. The story is about the life of your main character.

You pick the Battle of Trenton during the American Revolution, December 26, 1776. This is a pivotal battle in the Revolutionary War. A time most people will recognize by the famous picture of Washington crossing the Delaware even if they don’t recall the battle that followed. Now, you can tell a story of the life of your MC with little actual research into the facts. Depending on who he is, a private, lieutenant in Washington’s army, or a Hessian’s soldier for the British, you only need to know a little about the clothing, weather, and culture of the time.

You will need to do a deeper dive into the facts surrounding the Battle of Trenton if your story is about Washington as seen through the eyes of your MC. You have to know a lot more about the main character because his status in life will direct how much he knows about Washington and his proximity to him.

If your MC is a private, he will have limited direct contact with Washington. Your story will rely on Washington’s general speeches and commands to his troops. If he’s a lieutenant or higher-ranking officer, then he will live a different life of privilege. And he will be among Washington’s inner circle on and off the battlefield. However, you are still telling a story from the MC’s point of view, and your readers will expect more details from both their lives.

 When writing alternative history, the what-if variety, you still need to know the facts you plan to change. This kind of story can be more difficult because you have to know what effect changing an event would have in your new future. For example, your MC is among the survivors of Washington’s forces as half drowned on the Christmas night during the Delaware crossing. Instead of withdrawing, Washington presses on with the attack believing the element of surprise will offset his loss of manpower. Washington is defeated, perhaps captured, or killed, and your MC is left to deal with the failed revolutionary war. What would the British have done in such a situation? What recourses would the colonist have had? To write a compelling and believable story, you need to know the state of England and the Americans at the time. You probably need to know more about other important figures too.

Writing historical fiction is more than knowing the facts, it’s about how you use those facts to tell a story that is interesting, believable, and satisfying. If you are just stating the facts, you are writing a new story. If your aim is to entertain, then you are writing historical fiction.

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James L Hill, a.k.a. J L Hill, is a multi-genre author, currently working on a three-part historical fantasy Gemstone Series, The Emerald Lady and The Ruby Cradle are in publication with very good reviews. The third book, The Diamond Warrior, is due soon. The four-part adult urban crime series, The Killer Series, is complete. Killer With A Heart, Killer With Three Heads, Killer With Black Blood, and Killer With Ice Eyes are five-star novels. Then there’s the psychological dystopian science fiction thriller, Pegasus: A Journey To New Eden for your reading pleasure. A collection of eight short stories spanning four decades have just been published called, The Moth and Other Tantalizing Tales. He also owns and operates RockHill Publishing LLC which published twenty books by eight authors in Adult Fiction, Fantasy, Science Fiction, and Romance. https://www.jlhill-books.com and https://www.rockhillpublishing.com

Writing Fiction, or Non-fiction, Research is Key

By Patrick Kendrick

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I have been fortunate to have my books published for some sixteen years. Throughout my writing career I have learned that research is THE key to pulling in readers and adding authenticity to your work, even if it is fiction. If you’re doing non-fiction, research is even more paramount. 

With fiction, many writers believe they can write whatever comes to mind, creating strong characters, their environments, backgrounds and whatever plot they wish to follow. But if you’re writing historical fiction, it is a must that you follow, or get as close to, following what was happening at the specific time in history you are writing about. 

My newest book, Edison’s Last Breath, a historical mystery that involves several real-life characters, such as Henry Ford, Charles Lindbergh, Josephine Baker, and Ernest Heminway (once again from my first book, Papa’s Problem). My primary character, Emmet MacWain meets these people when there is a murder at Henry Ford’s winter home in Ft. Myers, Florida. I was inspired to write about Josephine Baker as it was revealed that she was not only the biggest entertainer of her time, but that she was also a spy for the French resistance. 

As with Papa’s Problem, in which Hemingway is a murder suspect, I found that I could not just write what I knew from lore. Libraries, particularly those that exist where the character lived—Hemingway in the earlier book, and Ford and Baker in the present book—are useful as they may house personal letters and documents from the real-life character. In Edison’s Last Breath, I had the opportunity to go to the Ford and Edison estates in Ft. Myers, Florida, where, to my astonishment, I found a corked test tube, with an accompanying note read, “This tube contains Thomas Edison’s Last Breath.” Hence the title of my book, Edison’s Last Breath.

Initially I thought it was some sort of hoax, but as I researched the odd item, I found out that, as he was dying, Edison, a close friend and mentor to Henry Ford, would try to save what he thought was his last breath for his friend, Ford. Charles Edison, the son of Thomas, stayed with his father while he was in his death bed. Each time he thought his father was exhaling his last breath, he would try to capture it. I did not make this up! 

I was bowled over by this fact, and my novel took a new direction that took us to many places, including Josphine Baker’s chateau in France, where I found out even more about this heroic woman who spied for the French. She was so good at entertaining people, that German officers who suspected she was a spy would go to her home with intent to find some evidence, for which they might arrest her. But Josphine was so clever and such a dynamic performer, she would charm the soldiers with wine, dinner and a personal show, and the Nazis would forget what they came for. Baker was one of the bravest spies ever.

That was the cool thing I found out. The not-so-cool thing I found out as well, was that both Ford and Lindbergh were antisemitic, Nazi supporters.  Lindbergh was gifted a plane by the furor himself and had several mistresses in Germany, while Ford had contracts with the Germans to make trucks for their Army during our country’s war with them. Lindbergh was awarded the Serve Cross of the Order of the German Eagle, while Ford was awarded the Grand Cross of the German Eagle.

Working on my previous book (for some 20 years) “American Ripper: The Enigma of America’s Serial Killer Cop,” I had to do much more, shall we say hazardous research, such as visiting the serial killer, Gerard Schaefer, in jail. Schaefer was convicted of two murders but was believed to have committed dozens more. He typically killed two girls at a time, often picking them up in his patrol car as they were hitch-hiking. 

I spent many years writing this story because of its true nature and because so many people had to be interviewed: police who worked with Schaefer and investigated his murders, the lawyers who prosecuted him as well as his public defender, surviving family members, the killer’s mother, and many police officers in numerous states, who I still hear from, when they find another body. Just last year, I was called by a police officer who was investigating cold cases. They had found a body, a teenage girl back 1972 in a mangrove-covered area where Schaefer used to take his victims. She was never identified until an officer from Palm Beach County Sheriff’s office took over the cold cases. 

The victim was found with wire tied in knots around her hands and feet. She was skeletonized but the wire knots were still intact. Many police officers know who I am from my research and my book, so he called me and asked if I has any pictures from Schaefer’s crime scenes. I had copies made years ago from the evidence files (though I chose not to use them in my book for the sake of the families who lost their children). The cold case cop sent me the pictures they took of the knotted wire, and they matched knots that Schaefer utilized on his victims. So now that had a connection between Schaefer and the victim, Karen Poole. We also found that Schaefer used to live just around the corner from the victim.

So, research—good, intense research—can add reality to your fiction novel, or the stark truth in a non-fiction book on true crime.