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It's really important in any historical fiction, I think, to anchor the story in its time. And you do that by weaving in those details, by, believe it or not, by the plumbing.
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.
I am not a fan of historical fiction that is sloppy in its research or is dishonest about the real history.
Over the years, more than one reviewer has described my fantasy series, 'A Song of Ice and Fire', as historical fiction about history that never happened, flavoured with a dash of sorcery and spiced with dragons. I take that as a compliment.
The power of historical fiction for bad and for good can be immense in shaping consciousness of the past.
What really disconcerts commentators, I suspect, is that when they read historical fiction, they feel their own lack of education may be exposed; they panic, because they don't know which bits are true.
I often tell people who want to write historical fiction: don't read all that much about the period you're writing about; read things from the period that you're writing about. There's a tendency to stoke up on a lot of biography and a lot of history, and not to actually get back to the original sources.
I just love historical fiction.
I got nice rejections explaining that historical fiction was a difficult sell. But I kept trying.
I never sat down and said, 'I'm going to write historical fiction with strong romantic elements.' It was just the way the stories went.