The Scar-Crow Men, the second of my Elizabethan fantasy novels, is out soon from Pyr. It’s fantasy noir, renaissance punk, historical fantasy, sword and sorcery, historical urban fantasy or one of half a dozen other labels, depending on who’s speaking. Like some of my other work, the story exists at the point where the fantastic smashes up hard against reality, only in this sequence that reality is in the past, five hundred years gone, among well-documented, pivotal events.
Writing historical fantasy – to adopt the broadest label – has its own peculiar demands. We’re talking about an alien world here, with its own customs, clothes, politics, transport, weapons, social classes, art, music and economy and every aspect needs to be fully realized for the reader to settle into it.
To say this entails a massive amount of research, doesn’t begin to do the job justice. The writer needs to understand everything, both as its own thing and in context within the time period. This involves more than the invention of a secondary world fantasy, more than looking out of the window or Googling or location research for a contemporary fantasy (both of which I’ve written in the past).
Out knowledge of history degrades the further back we go. Characters walk on stage and then disappear. Our understanding of events is based on often-biased accounts. And sometimes there are vast parts of life that are simply missing in contemporary accounts.
The Elizabethan Age is reasonably well-documented, particularly with regard to affairs of state. The lives of the common men and women are there too, but the information is scattered widely. While writing this sequence, I sometimes had to embark on three different strands of research for a single sentence.
The Scar-Crow Men unfolds in the shadow of the murder of the playwright Christopher Marlowe, a killing that has all the mystery and intrigue of the JFK assassination. The previous volume, The Silver Skull, is set at the time of the Armada and the Spanish invasion of England.
Over a few posts here I’m going to be writing about what goes into creating these historical fantasies, looking at the places, the people, the milieu, not only setting the context but also underlining the basic premise that the more reality you get, the more effective the fantasy.