Writing Female Characters in Historical Fantasy
By Juliet Marillier | September 8, 2021 |
Where do our female characters stand in history? As authors of fiction, are we bound to reflect their situation as it would have been in the (implied) time and culture of the story? What if that time and culture was one that oppressed, demeaned or belittled women? Does historical accuracy mean reduced agency for the women of our story, and how does that go down with the contemporary reader?
Whatever the chosen period, a writer of historical fiction has a certain obligation to be accurate. The reader expects the story to be true to its time, not only in the detail such as what people wore, what they ate and drank, and how they travelled, but also more broadly: politics, religious faith, education, social interaction. Then there are the big events: war, plague, drought, famine, a comet passing over, a volcanic eruption, the dethroning of a monarch. Write about a specific year and forget one of these, and readers will soon let you know about it. The strongest historical novelists know their period inside out, and can paint a compelling picture without excess detail. Story comes first; this is fiction, after all. The wealth of historical research lies behind the story, adding depth and credibility.
Much of historical fiction is set in times of limited choices for women, especially low-born women. Frequent child-bearing, hard physical labour and patriarchal cultures restricted their opportunities. With no miracle drugs to fight infection, life expectancy was far shorter than it is now. For a woman of high birth there would have been more choices – a queen or an abbess, for example, might have made opportunities not only for herself, but for other women under her control or patronage. Authors may choose to focus on fictional characters within the historical framework, allowing freer rein with the storytelling – invented characters can be given more choices than historical figures, whose lives may be well documented. But the astute reader will expect the events of the story to be possible for that time and place. Fortunately, history is full of quirks and surprises, and an imaginative writer may find opportunities for their female characters to rise above the obstacles of their time and culture.
So what about historical fantasy? What additional freedom does it allow the female character? Firstly, don’t make the assumption that because it’s fantasy, you can throw in whatever you want. “Hey, it’s not the real world, it’s got magic, who needs research?” Wrong. The world of your novel needs to make sense. That’s the first rule of world building: internal logic. Yes, you can have magic, mythology, the uncanny in whatever form you choose. You are free to change history if you wish, but to do so effectively, base those changes on a solid knowledge of the period and culture in question. In other words, learn the rules first, then break them with skill.
The genre of historical fantasy has many branches. There’s alternative history, in which you include the ‘might have been’ of your chosen era. The Napoleonic era with dragons. The Victorian era with ghosts. The Regency with dark magic. A feminist version of any culture you choose. These work well when the historical canvas is painted impeccably and with flair – this helps draw the reader into the magical, uncanny part of your world. More common is historical fantasy set in an secondary or invented world that has strong parallels with a familiar place, time and culture.
A medieval-style setting is a popular choice for fantasy writers. Swords and shields, armour, travel by horseback, kings and queens, druids, warriors and bards lend themselves well to epic tales of quests, battles and monsters, stories that might have come from the Icelandic sagas, the Irish myths or the magical tales of ancient China. Myths, legends and folklore provide a rich source of inspiration for fantasy writing. In many of those ancient tales there are strong and capable female characters. Often they are wielders of magic. But other periods also provide inspiration for women to take centre stage. There’s Alix E Harrow’s The Once and Future Witches, set in the imagined town of New Salem in the late 19th century. It’s a story of women rediscovering their (suppressed) natural magic against the background of the suffragist movement. The novel is rich with fantastic elements and at the same time entirely believable. Then there’s Madeline Miller’s Circe, in which the demi-goddess and witch of Greek myth must weigh up her independence against the sacrifices it brings. Also highly recommended is The Witch’s Heart by Genevieve Gornichec, a novel based on Norse mythology with the focus firmly on the women. Are myths historical stories? We could debate that point for a long time, but my belief is that all traditional stories are to some degree based on truth.
Most of my books have a woman as the main protagonist, and often the story is built around her journey to break away from whatever is holding her back. They are generally set in imagined versions of real world history, with the fantasy elements drawn from what the people of that time and culture might have believed. For a long while I avoided creating a ‘warrior woman’ protagonist, thinking it was something of a cliché. Then a character put her hand up to have her story written.
In my most recent series, Warrior Bards, Liobhan is an able fighter and an excellent musician, who uses both talents to make her way in the world. She’s the offspring of characters from my previous series, Blackthorn & Grim, and she’s strong, forthright and fearless. Her powerful physique and ability to use it well come from her father’s nature and nurture. Her fiery red hair, passion for justice, and tendency to speak her mind come from her mother. Is it convincing that a young woman in early medieval Ireland would make a living as an elite warrior and spy? You may not find an example in the history books, but you will in the Irish mythology: Scáthach, the witch who trained the hero Cú Chulainn in the martial arts. The community in which Liobhan lives and works adheres to strict codes of behaviour including mutual respect and acceptance of difference. When she undertakes a mission she is often met by the less tolerant attitudes of the outside world. If she’s undercover, one of her biggest challenges is to keep her mouth shut when she observes, or experiences, discriminatory or abusive behaviour.
As a storyteller I aim to capture and entertain the reader – to lift them out of their everyday life for a while, and at the same time to reflect the challenges and dilemmas of that life. However fantastic the world of a novel may be, surely it carries something of the writer’s inner truth. My characters are not all heroic. They make mistakes, they stuff up, they do bad things. They feel envy, shame, disillusionment, self-doubt. I hope I also show that human beings – women and men both – can be brave, strong, gentle, flexible, and tolerant.
Writers: how does the time and culture of your setting affect the way you create and develop your characters? In what ways are the journeys of your women characters relevant to the experience of today’s readers? Readers: any recommendations of historical fantasy, especially those featuring female characters? Does historical accuracy matter in fantasy writing?
Image credit: Photo 156938615 © Santiaga | Dreamstime.com
Juliet Marillier has written twenty-four novels for adults and young adults and two collections of short fiction. Her works of historical fantasy have been published around the world and have won numerous awards. Juliet’s most recent series was Warrior Bards, of which the third and final book, A Song of Flight, was published in 2021. Her collection of reimagined fairy tales, Mother Thorn and Other Tales of Courage and Kindness, had its trade release in 2022. Mother Thorn is illustrated by Kathleen Jennings and published by Serenity Press.
Juliet is currently working on a two-book fantasy series. The first book in this duology, The Amber Owl, will be published by New Dawn in February 2025.
When not writing, Juliet looks after a small crew of rescue dogs.
Hey Juliet–You’re calling right up my alley. I strongly agree that, even in historical fantasy, you can’t just go off willy-nilly. Fantastical elements must have the proper feel. Yes, they must make sense.
I clearly recall that the handling of female characters was a central issue for me at the onset. I’m not even sure how long I grappled with it. I basically knew two things: first, that I wanted to do a story from the perspective of the Goths, and second, that I admired my wife more than anyone I’d ever known.
The answer finally came to me while reading The Origins and Deeds of the Goths, written by Jordanes, a 6th century historian working in Constantinople (then the capital of the Eastern Roman Empire). He wrote at the behest of Pope Vigilius. Being descended from the Goths, he wrote very, shall we say, fancifully when it came to the inclusions of the Goths in the history of the empire. When it came to the Greek tales of Amazons in the eastern reaches, north of the Black Sea, his explanation? They were Goths, of course. They were the wives of a lost host of Gothic warriors, who’d gone south of the sea in search of conquest. They’d simply had to band together and elevate their martial skills in order to survive in a land surrounded by hostile Scythians.
Once I had an origin story for my Skolani tribe of women warriors, the rest came more easily. A young Skolani warrior is assigned to the guardianship of Gothic chieftain’s son. Fairly simple premise, but it didn’t come lightly. And I’ve tried to remain diligent in avoiding handling them lightly. The Skolani are my favorite story element–perhaps the thing I’m most proud of as a writer. They’ve carried me a long way.
Like Liobhan, in Elan and her kindred, I hope to have created not just strong female characters, but complex and relatable human beings; characters not just to root for, but who reveal to us aspects of ourselves as we do.
Thanks for thoroughly and insightfully addressing an issue so dear to me and my journey, Juliet. And thanks for the inspiring women you’ve brought to us on the page.
That origin story is wonderful, Vaughn, what a great find it was! I guess the key is knowing your main characters inside out, and that includes what built them the way they are – not only nature and nurture but also the ancestral story which is so much part of us, but often not well known to us.
And I love your comment on creating complex and relatable human beings – something I try hard to do (and end up not wanting to say goodbye to characters who were never really intended to be in more than one book/series.)
My teenaged MC is growing up in small-town NJ toward the end of the ’70’s, which is now considered historical. The influx of social consciousness, eastern philosophy, and personal inner journeys was embraced by many, but resisted and rejected by many as well. For a girl with magical abilities, a fierce sense of justice, and a growing sense of her own power, being true to herself is both challenging and dangerous. The little town and the people in it, with fixed attitudes and closed minds, become her crucible. Liobhan would easily be one of my MC’s role models and heroines! I also loved Lady Helen Wrexall of Alison Goodman’s Dark Day’s series, a woman whose magical gifts pit her against the attitudes of her time along with an assortment of nasty demons and arrogant humans! Thank you for a wonderful post. Hope you’re well.
Your story sounds like a great read, Susan! It especially appeals because I remember those times well …
I, too, love Lady Helen. The Dark Days series is such a great example of historical fantasy, with its beautifully created Regency world plus the very dark magical elements. And a strong and memorable young woman at the centre of the story.
“The world of your novel needs to make sense.” This sentence resonated for me. I think that the need to make sense of events and interactions is one of the strongest reasons for reading as well as writing fiction. It gives a chance to test what we expect to happen against what happens, and in stories, when it makes sense (even if bad things are happening), there is a true sense of relief, almost joy. Thanks for this inspiring post.
Thank you for this wise comment, Jeanne. I hope your writing is going well!
Hi Juliet. I love your work, and you’re one of the writers who inspired me to write my own historical fantasy series for middle grade readers, Grail Maiden. My problem is that I can’t find much about my chosen period and place – ninth century Wales. I have some details, but it doesn’t feel like enough, and although some elements will be the same as in England at that period, not all are – and I know of some things that are different, but there may well be others I don’t know about.
That’s part of the reason why my series is set in an alternative timeline – so any ‘anomalies’ can be explained by the divergence from our own history. The other reason is that I wanted my heroine’s people to still be pagan that late in history, and not complicate their faith with Christian overlays or clashes. I have included some events from our own timeline, but the story is based in pagan magic and beliefs, so I needed there to be differences as well.
So while I completely understand that knowing your period is important, when it’s difficult to research, and the stories are set in another timeline, I hope it’s OK that in historical fantasy, not all the historical detail is necessarily accurate to time and place.
Your story sounds intriguing, Karen! Sometimes it is necessary to stretch the history or geography a little for purposes of better storytelling – I have certainly done that. Ideally, that would come after the writer has done as much historical research as they can. It might help to keep the exact period slightly vague by not naming real historical figures or places know to have been built in a certain time. Whether that is possible depends on the individual story. Another option is to include a brief historical note at the end of a book, explaining where you have deviated from real history.
Changing it to a secondary world is another solution, and if that has worked well for your story that’s perfectly OK. However, if you have kept Welsh names for characters and places, I think that historical note at the end would still be helpful for readers – nothing too long, just an explanation of what you did. I speak from past experience of writing a fantasy with an Irish setting and inadequate historical research!
Note, there probably would still have been pagan beliefs and ritual in Wales in the 9th century, but they would have been fairly covert by then.