Good historical fiction makes the past feel as alive as the present. In this episode, we explore how to write immersive, character-driven stories that honor history without feeling like a textbook.
First, we talk about the importance of writing contests.
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Overthinking Couch Topics:
Research as foundation, story as focus
Characters as people, not historical mannequins
Balancing authenticity with modern readability
Pitfalls to avoid, from info-dumps to anachronisms
If you have plot bunnies coming out of your plot holes, it’s time for a writing break.
We’re discussing writing contests and historical fiction today. Historical fiction was my favorite genre for a while, but there were so many set in World War II that I got turned off. Even though I read some great World War II ones and stopped reading those when I got sick of them . . . I don’t know . . . the mere presence of new World War II era historical fiction month after month just got turned off from the entire genre. I’m still open to historical fiction recommendations, but I no longer head to that section of the library first.
Good historical fiction makes the past feel as alive as the present, but before we step back into the past, let’s pause for something that can affect your writing future. The Writing Break cafe is open, so let’s rendezvous at our table for two.
From time to time I let you know about writing contests or include a link to one in the show notes, but I’ve never really stated a case for entering writing contests, so that’s what I want to do today. I know you’re busy with your current work-in-progress as well as your life-in-progress, but here’s why writing contests matter.
First of all, they have concrete deadlines, and a deadline can be a great motivator and can get you accustomed to hitting writing deadlines, which will come in handy when your editor, agent, and publisher set a deadline for you.
Second, entering writing contests gets you used to winning and losing at writing. Remember that the default answer in publishing is “no”, and that goes for writing contests as well. These are entered by so many equally talented writers, and the judges approach the judging with their own biases, so it’s no big deal if you don’t win. You can enter a piece that is maybe less dear to your heart than your current work in progress, which can lessen the sting of rejection. And when you do win, you’ll want to market that win, and marketing yourself is a necessary skill in today’s publishing world.
There are also many contests that offer feedback with their rejection. This alone can be well worth the entrance fee. And if you enter contests that share longlists or honorable mentions, it’s possible to gain some visibility even if your work doesn’t take first place.
And, of course, these contests can serve as career stepping stones. Many literary agents and editors scout contest winners and finalists. Getting your name attached to a reputable award can open doors.
Obviously, not every contest is right for every writer. You’ll want to enter contests that align with your genre and your goals. Contests don’t have to be huge to be worthwhile, and smaller competitions often mean less crowded entry pools.
In the show notes of this episode, you’ll find links to some trusted places to find contest listings.
Now, let’s shift from your writing future to writing about the past.
is, but I also think that the:
I argued this point, specifically about sex in the 1980s, with a book critic once. Not only did she disagree with me, but I think she got insulted. Taking into account recent movies like mid90s, I think time will prove me right.
Regardless, historical fiction transports us to the past while reminding us that human emotions and struggles are timeless.
A great historical fiction novel gives us immersive detail that makes the world vivid. Historical accuracy aids in creating a feeling of authenticity. As in all books, characters should be relatable. But in historical fiction specifically, writers should be careful to avoid writing one-dimensional characters. It would be a mistake to rely on the details of the era to carry the book.
Research is the foundation of historical fiction, but it should never weigh down the story. This is a struggle for writers in all genres, but I think historical fiction authors suffer a little more because they tend to love history. They think the era they’re writing about is fascinating, so they do as they should and learn what people ate, how they dressed, how their streets smelled, what laws shaped their lives, and more. Sometimes they struggle with moving from researching to writing, and sometimes they struggle with believing that putting in everything they know about this period is not going to make for strong writing. Do your research, and then hide that research under the narrative so readers never feel bored or like they’re being lectured. Ugh, the worst.
The research shapes the world you’re creating, but the story belongs to the characters.
And these characters should read like real people, not mannequins dressed in period costumes. Make sure to give them personalities, ambitions, fears, contradictions, the works.
For example, Hilary Mantel’s Cromwell in Wolf Hall isn’t just “Thomas Cromwell, political figure.” He’s cunning, grieving, witty, and calculating. He’s a full person who just happens to live in Tudor England.
Readers stick with historical fiction not because they want a history lesson but because they care about the people living inside that history. Historical fiction should feel authentic to its time, and it should be readable for modern audiences. It takes a great deal of effort to strike the right balance, but it is imperative that you try.
That means using language that evokes the era without bogging readers down. It also means avoiding anachronisms. Do not write in modern slang, attitudes, and sensibilities unless your story deliberately plays with that tension. Historical fiction readers want authenticity, not time travelers.
one. Giving a Victorian woman:
For the love of history, do not romanticize or sanitize traumatic eras. Glossing over hardship or oppression can feel inauthentic and disrespectful. Historical fiction readers want a good story, which is why they’re reading a novel rather than a dry history book. However, they also want to be immersed in the time period you’re writing about. Historical fiction fans like history and want to know the truth about it; otherwise, they’d be reading a different genre.
Your overthinking prompt this week:
Imagine a scene set 200 years ago in your hometown. Show us one ordinary moment that reveals the era through small, authentic details. And by ordinary moment, I mean things like cooking, walking, debating, or falling in love.
Next time, we’ll discuss Gothic fiction, which is the genre of the last book I just edited. Until then, thank you so much for listening, and remember, you deserved this break.
Thank you for making space in your mind for The Muse today.
Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.
