Historical Fiction
Historical fiction readers will notice the anachronism on page 47. Make sure you catch it first.
Our historical fiction review covers period accuracy, anachronism, research integration, voice authenticity and the specific demands of Australian historical fiction publishers.
What our editors look for in Historical Fiction
- 1
Period accuracy and anachronism
Anachronisms — vocabulary, attitudes, technology, social structures — that are out of period will be noticed by historically literate readers and are a common reason for rejection from agents and publishers. We flag anachronisms in language, cultural reference and character psychology where they appear to be unintentional rather than deliberate.
- 2
Research integration without lecturing
The most common craft problem in historical fiction is the author demonstrating their research rather than deploying it. We assess where historical information is woven effectively into scene and character versus where it is being delivered as exposition that interrupts the story.
- 3
Voice authenticity and narrative distance
Voice in historical fiction requires a careful calibration — close enough to the period to feel authentic, accessible enough for a modern reader. We assess whether the narrative voice is consistent with the period and POV, and where modern idiom is slipping through in ways that break immersion.
- 4
Character psychology and modern sensibility
Characters in historical fiction who think and behave with entirely modern attitudes create anachronism at the psychological level. We assess whether your characters are credibly of their period while remaining comprehensible and sympathetic to modern readers — one of the central craft challenges of the genre.
- 5
Australian historical fiction — specific considerations
For Australian historical fiction, we assess the handling of colonial history, First Nations representation, Australian vernacular of the period and the positioning of the manuscript in relation to the Australian historical fiction market, which has been commercially strong in recent years.
Periods and settings we cover
“There are two anachronisms in Chapter 4 that need attention. First, your 1880s protagonist uses the word 'okay' — this term did not reach common Australian usage until the early twentieth century at the earliest. Second, and more significantly, her attitude toward her employer's affair is framed through a modern lens of privacy and consent that would not have been available to a working-class woman of her period and circumstances. Her reaction to this discovery needs to be reconsidered in terms of what her choices and values would realistically have been. The first is easily fixed; the second requires a fuller rethinking of her motivations in chapters four through seven.”
First Light
Results in 15–30 minutes
- Full historical fiction editorial review
- Anachronism and period accuracy check
- Research integration assessment
- Australian market positioning notes
- 1 resubmission credit
Questions historical fiction authors ask
Do you review Australian colonial and Federation-era fiction?
Yes. Australian historical fiction — from colonial-era narratives through the Federation period, both World Wars and into the twentieth century — is an area we cover in depth. This includes assessment of the handling of colonial history and First Nations representation, which Australian publishers and agents are increasingly attentive to.
How do you handle historical figures who appear in fiction?
We assess the portrayal of historical figures for consistency with documented historical record, internal consistency within the manuscript and how the fictional elements are distinguished from the historical. We flag where fictional dialogue or actions attributed to real historical figures might be problematic for the market.
What word count is typical for historical fiction?
Historical fiction tends to run longer than contemporary fiction — 90,000 to 120,000 words is a typical range, with epic historical fiction sometimes running to 150,000 words. Australian historical fiction publishers generally work within the 90,000–110,000 range for debut authors.
Can you review dual-timeline narratives (past and present)?
Yes. Dual timeline historical fiction — which alternates between a historical narrative and a contemporary one — is a common and commercially successful structure. We assess whether both timelines are equally developed, whether the connections between them are well-constructed, and whether the structure is serving the story.