There are actually two quite distinct kinds of historical novel, John Derbyshire explains — hard and soft:
On the one hand the writer of historical fiction may attempt to capture the inner life and motivations of some real and well-documented historical figure. Robert Graves’s Claudius novels offer outstanding examples of this “hard” sub-genre. Our author might, on the other hand, center his story on some invented person, who is then let loose amidst historical scenery: think of Gone With the Wind or Patrick O’Brian’s sea stories. (As a slight variant of this “soft” sub-genre, the same thing can be done with a historical figure sufficiently obscure he might as well be an invention.)The “hard” sub-genre is less often attempted because it is much more difficult to pull off. To give a convincing account of the thoughts and emotions of, say, Charlemagne, you need to do a great deal of research into the man, his family, friends and colleagues. You also need a good understanding of human types, an imaginative appreciation of people who may be quite unlike yourself. This combination of diligence and insight is not often found among fiction writers, who tend if anything to be more lazy and self-obsessed than the human average. “Soft” historical fiction, on the other hand, can be tackled by anybody, including the kind of novelist whose central characters are really nothing more than self-impersonations. It is, in fact, rather amusing to imagine oneself wandering around in old Carthage or fighting at Manzikert. Probably anyone who has contemplated fiction writing at all has had the urge to write a book of this sort; and it is plain from the proliferation of low-grade “bodice-rippers” that lots of people want to read such books.
The parallel to science fiction is clear:
Science fiction fans like to speak of the “sense of wonder.” Kingsley Amis, for instance, said that the purpose of science fiction is “to arouse wonder, terror and excitement.” Some similar sense is stimulated by good historical fiction. To think that this person actually lived! (Or, in the case of the “soft” style: To think that some such person probably lived!) Everyone who has reached middle age has a sense of the remoteness and strangeness of life even a scant few decades ago. Children in iron lungs; drama on the radio; having your feet X-rayed in the shoe store; people smoking cigarettes all the time, everywhere. How much odder things were a century before that! And a millennium? Two millennia? Even to try to imagine such worlds one needs help. The writer of historical fiction supplies that help.Yet ultimately historical fiction is, like all art, an illusion. Here are people just like us: same facial features, same limbs, their desires and hates arising from the same springs as ours. And yet their actions were often bizarrely, fathomlessly inexplicable to us. When the clergy of Seez filled an episcopal vacancy by election without consulting Geoffrey of Anjou, their lay lord, Geoffrey had the lot of them castrated, and the bishop-elect, too. An earlier Count of Anjou, Fulk the Black, in penance for his sins, voluntarily shuffled to Jerusalem and back three times — total 15,000 miles, much of it trackless mountain and forest — while shackled in irons. What on earth were they thinking? We cannot know. By the narration of such things, though, a skilful writer can rouse us to wonder and awe.
I have not read Lord Geoffrey’s Fancy, by Alfred Duggan, which describes 13th-century Greece under the rule of Frankish knights, but I was just making the point to a friend that a modern audience would never recognize, say, the Old Testament, with the names changed — and that the original Battlestar Galactica was a thinly veiled retelling of Mormon mythology:
All the geography and ethnography of that place is refracted through the language and sensibility of these knights. Athens is “Satines”; Corinth is “Chorinte”; the natives are “Grifons” (Greeks) or “Esclavons” (South Slavs). The effect is to render the whole story as taking place in a completely imagined world, a Tolkeinian fantasy without the magic; yet the history is sound and well researched.