Easy to Use Methods for Captivating Time and Place
I’ve been crafting sensory rich Australian historical settings for several years now, and everyday I’m still learning the craft and, especially how to really bring those settings to life.
But if you’ve ever tried to capture the essence of Australia’s past in your fiction, then you’ll, no doubt understand how it can be a real uphill battle.
So… I thought I’d share some techniques, that I’ve picked up along the way and which have truly helped boost my historical fiction stories.
Ultimately, these are all things I wish someone had told me when I first started spilling my guts out onto the page and writing without any apparent rhyme or reason.
Over time, I’ve thankfully stuck to the task and eventually reached the point where I was able to publish my debut novel Afghani—a highly polished Historical Fiction novel about the 19th century pioneers of the Australian outback!
Those pioneers, in fact were the Afghani Cameleers and… being a direct descendant, I wanted to do their story justice.
And, without further ado, I’m highly confident that these tips and advice I’m about to share will help to boost your writing objectives too.
Navigating Sensory Rich Australian Historical Settings and Landscape: The Unique Challenges Writers Face
Crafting Immersive Australian Worlds: The Essential Sensory Palette for Historical Fiction
Australian Light and Color: Capturing the Distinctive Visual Elements of Historical Settings
Historical Soundscapes: Recreating Australia’s Authentic Period Acoustics
Evoking the Past Through Scent: Australia’s Historical Olfactory Landscape
From Damper to Fine Dining: Authentic Australian Culinary History in Fiction
Tactile Australia: Writing Touch-Based Sensory Details in Historical Narratives
Beyond Backdrop: Australia’s Landscape as a Living Character in Historical Fiction
- How Australian geography influenced historical characters
- Essential elements for compelling fiction
Indigenous Connection to Country: Essential Context for Australian Historical Fiction
- Representing Australia’s diverse historical heritage
- Authentic representation and perspective
Social Structures in Historical Australia: Class Hierarchies and Their Impact
- Writing authentic gender experiences
Authentic Australian Dialogue: Crafting Period-Appropriate Language for Historical Fiction
- Historical language development for writers
- Balancing language in Australian period fiction
Research Techniques for Australian Historical Fiction: Finding the Perfect Balance
- Unlocking authentic period details
Conclusion
Navigating Sensory Rich Australian Historical Settings and Landscape: Unique Challenges Writers Face
Creating authentic and sensory rich Australian historical settings is prickly business.
How do you. With all honesty. Represent a land whose European written history spans just over two centuries while acknowledging that Indigenous cultural memory stretches back 60,000 years?
It’s a balancing act fraught with danger. And I imagine that writers juggle with this level of authenticity on a regular basis!
Yet when I first started writing historical fiction set, I made the rookie mistake of just tossing in some red dirt. A slice of Naan-e-Afghani. And some good ‘ol Aussie banter and tried calling it a story.
And thinking that maybe if I stuffed in a bounding kangaroo, or koala in there, too, then the story might take flight. All for good measure of course.
But I quickly realised authentic settings require so much more. Because to evoke some sort of meaningful depth I had to discover that weaving together sensory experiences is what actually transports readers. Both through time and place, but also through the writer’s perspective as well.
And I’ve since been inspired by authors like Kate Grenville. Her book: The Secret River, quite honestly changed how I approached the craft of developing historical settings within my own work.
Historical fiction is about writing plausible tales about what might have happened, which gives insight into what did happen.
~ Kate Grenville
Thomas Keneally, and Melissa Lucashenko are a couple of more names. And, what makes their work so compelling is how they create settings that dump you right into the heart of the story.
The secondary bonus here is, that it keeps their stories true to the period. And that means keeping a connection with more modern readers.
I’ll never forget watching the TV adaption of The Secret River either. It left me feeling like I could smell the Hawkesbury River, hear the birds singing. I could smell the rum rations that every bludger appeared to be swilling.
And then I thought: wow… now that’s the kind of immersion I want to strive for in my own writing.
Now, before we dive in any further, I’d like to take a moment to acknowledge that… as writers of Australian historical fiction, we carry a responsibility.
Our words shape how readers understand a shared past.
And this isn’t about romanticising our country’s history. Nor is it about over-simplifying it.
But… that it’s about creating nuanced and respectful portrayals of yesteryear and not creating any harm along the way.
And trust me when I say this… I, for some self-masochistic reason, love learning the hard way. Always have. But after some early feedback from my editor, Ellie with her polite but firm signals about my portrayal of my characters and descriptions being far too vague and simple.
It was a tough pill to swallow.
Painful, too but ultimately necessary.
Crafting Immersive Australian Worlds: The Essential Sensory Palette for Australian Period Literature
When I started out, I leaned heavily on visual descriptions. Many writers do. Yet this has a tendency to lead into data-dumping and exorbitant exposition.
The sensory dimension of Australian historical settings: the blinding light, the smell of eucalyptus after rain, the deafening silence of the bush. These are what make our stories uniquely Australian.
~Thomas Keneally
And… as scenic as the architecture of early Melbourne city is. Or as breathtaking as the Outback can be. And as exciting as visiting Sydney’s The Rocks might appear. Australia ultimately demands to be experienced through all the senses.
Its unique sensory landscape is what makes it distinctively Australian, and writers just can’t afford to leave that out
Australian Light and Colour: Capturing the Distinctive Visual Elements of Historical Settings
Australia’s visual landscape has changed dramatically over time, and even—more so—exponentially in the past few decades—as Global Investors take hold (Sigh).
Well on the Eastern seaboard, and the mining regions at least, because the country’s interior has remained vitally the same, because—in and of itself—the dry, arid and even austere harshness of the environment effectively acts as its own defence mechanism.
Now, I’ve spent much of my life looking through historical photographs, in old books, and now mostly online and what struck me was not only the quality of many of those old photos, but their archival ability to survive the rigours of time—much like the Australian environment, in general.
And it’s quite ironic, when you think about it, plus… especially when you consider that harsh, unfiltered Australian sunlight is unmistakable as it blasts through the landscape in summer—right until the big old December storms come thundering in.
Nothing out here that isn’t strong and dependable will survive, and that’s just a simple fact of Australian life—
But did you know that early European painters also struggled to accurately capture the Australian light?
They kept using techniques developed for European landscapes.
Go figure—
But it resulted in paintings that looked nothing like the actual Australian scenery, and it wasn’t until the Heidelberg School in the late 19th century that painters began to truly capture that distinctive Australian light and colour.
I highly recommend checking this sort of thing out for yourself. And if you’re dead serious about writing on Australian history—or any country’s history, for that matter—then research historical photographs and paintings from your chosen era.
You can spend hours scrolling through Trove’s digital collections—they’re that deep and thorough!
Also, study how the manmade environments evolved, from the ironbark rooftops… right up until the time where corrugated sheeting, which ultimately took over, becoming synonymous with the Australian-manmade-landscape.
Then there’s the evolution of the Queenslander home, itself, with all those old timber homes raised on stilts… with tongue and groove interior walls or… even the imposing sandstone buildings of early colonial cities—Adelaide; the City of Churches is rife with them.
I captured hundreds of my own photographs, of these types of buildings. Most of them are old churches and cathedrals. But while the digital photograph may never capture that true sense of nostalgia, there’s still a myriad of stories in every detail, and on every wall!
Historical Soundscapes: Recreating Australia’s Authentic Period Acoustics
This is something I completely overlooked in my early writing!
Before motorised transport, cities had completely different soundscapes. Camels were used to transport supplies and goods across the middle of Australia.
Mostly because the environment, and lack of water was too harsh for horses and bullocks.
But the clop of horses’ hooves still made their way through the cobblestoned streets of Sydney and Melbourne. All while street vendors were all busy calling out their wares. All with their distinct accents and immigrant charm.
In rural settings, consider both natural sounds.
For instance, the kookaburras laugh—a sound that still wakes me at the crack-of-dawn.
It is a manic sort of laughter which they project. And one that ironically characterises this land.
But, quite spookily, the only thing which can overcome their cackles is the wind ripping its way through the old, dry gum leaves.
Then there’s the human-generated sounds. Like the rhythm of axe strokes as selectors cleared land. The squeak of old leather belts slowly turning the timber mills. Or the distant ring of a homestead bell calling workers home for supper.
Aboriginal languages formed part of Australia’s historical soundscape too. And many settlers became familiar with local Indigenous lexicon. In particularly those relating to the landscape’s features, such as flora, and fauna.
Words like billabong, coolibah, and waratah entered colonial vernacular, early on. And along my own travels, I discovered some fascinating recordings in the AIATSIS archives.
It contains early anthropologists’ recordings of traditional songs and language.
Listening to those recordings gave me goosebumps but also added a whole new dimension to my storytelling.
The absence of sound is important, too. And that profound silence, which often fills the bush—early in the morning, and late in the afternoons. It can pull visitors either into a state of nirvana, or complete despair.
Majorly because the bush’s silence is so complete that it alone carries with it physical presence.
European settlers often wrote about this silence in their journals. Most finding it either terrifying or transcendent, depending on their state or predicament.
Evoking the Past Through Scent: Australia’s Historical Olfactory Landscape
I think smell is the sense I struggle with most in my writing. It’s so important. But it’s so difficult to describe!
For instance, how can you tell me what Vegemite on toast smells like?
My guess is that if you asked 5 different people, then you’d likely get 5 different answers.
You must also take into consideration that Australia has a distinctive olfactory landscape that has evolved over time.
The smell of eucalyptus after rain. It’s fresh, almost medicinal scent that permeates the air, or the acrid smell of bushfire smoke—synonymous with Australian summers—which can often evoke a sense of fear.
Then there’s the briny tang of coastal towns—think 1770, Pottsville and even Jarvis Bay.
It’d be remiss of me to omit the earthy scent of dusty streets. Long before bitumen roads took over (yes… I’m old enough to remember that!)
And finally… the yeasty aroma wafting from an artisan bakery.
Urban environments had their own pungent profiles too.
I grew-up near mushroom farms, pig and poultry farms. A meat works factory was nearby, and even a tannery.
Depending on the time of day, you were often hit with a different but distinct smell.
And I, at the very least, should mention the open sewers of early Melbourne and Sydney (ugh, right!), or the industrial smells of the old gelatine factories, the coal smoke that hung over cities, and let’s not forget the horses that left their own distinctive contributions… often adjacent to the sidewalks!
I read a visitor’s account from 1870s Sydney that described the smell as being assaulting upon the senses that no European city could rival.
It’s not exactly the touristy “where the bloody hell are ya” slogan, but it is quite evocative!
From Damper to Fine Dining: Authentic Australian Culinary History in Fiction
Food history provides such a rich vein for historical fiction writers, and I have found that including what my characters ate immediately grounded them within the story.
The most compelling Australian stories are those that engage with the full sensory palette—the taste of damper cooked on an open fire, the feeling of wool against skin in searing heat, the distinctive soundscape of kookaburras at dawn.
~ Melissa Lucashenko
But early colonial diets relied heavily on imported foods and adapted British cooking traditions.
For instance, salted beef and damper were staples for explorers and bush workers, and while native ingredients, like kangaroo meat, macadamia nuts, and various fruits, like the Bunya Nut were gradually incorporated, the Chinese gold miners also introduced their own new ingredients and cooking techniques, while the traditional foods of First Nations peoples varied, from region to region.
Class distinctions were reflected in people’s degustation habits, too, and where wealthy colonists might’ve enjoyed a multi-course meal—including imported delicacies—the working-class Australians often survived on a far simpler fanfare.
Seasonal availability also affected people’s diets—long before refrigeration and global supply chains arrived.
I once tried baking damper, based a traditional recipes and cooking fish that I’d caught, all using methods I had to learn as part of military survival training—and let me just say that I’m so glad there is no smoke alarms out in the bush because my neighbours would have copped an awful fright.
But that experience gave me details I never would have thought of prior.
For instance, the way the flour feels under your hands—when you don’t have running water, or a working kitchen bench—the smell as it cooks, the different texture compared to modern bread. Then trying to eat it all and not breaking half of your teeth.
But that’s damper, and it was never meant for fancy dining—or cavity prevention
Tactile Australia: Writing Touch-Based Sensory Details in Historical Narratives
Touch is perhaps the most intimate sense I can think of, and incorporating tactile details can draw readers deeply into your historical world. So, I highly recommend you at least consider, or imagine, for yourself, the physical sensations your characters might experience:
The gritty feel of dust coating skin, in the heart of an historic drought, or the cloying weight of woollen clothing in summer heat because you’re dressed up like Nurse Nightingale.
I couldn’t last 20 minutes before ripping that garb off.
Then there’s the bite of sandflies, midgies and mosquitoes, or the roughening texture of the furniture sitting in a selector’s hut versus the smooth, polished surfaces in a wealthy merchant’s home.
Maybe you can feel the sensation of perspiration constantly trickling down your back during a Queensland summer and herding cattle along an outback stocky route—long before electric fans and air-conditioned vehicles overtook their jobs.
Weather extremes can definitely provide the all defining tactile experiences of a searing Australian summer, too, and you only have to imagine how that sort of heat could have affected metal tools—often making them too hot to touch—or the bone-chilling damp of winter in southern regions—also making metal tools hard to touch.
Plus, there will always be this startling contrast between day and night temperatures in the desert.
I’ve slept out Kakadu country—plus in and around Katherine—multiple times back in my Army days, enduring the swelling Northern Territory humidity throughout the day, and only to feel myself freezing to death at night because all I decided to carry with me was a lightweight sleeping bag and mozzie net.
Beyond Backdrop: Australia’s Landscape as a Living Character in Historical Fiction
In Australian historical fiction, the landscape is never merely a backdrop; it’s an active presence, and its own self-sufficient player which shapes the main characters and drives the narrative.
The landscape in Australian fiction is never merely a backdrop. It’s an active presence that shapes characters and drives the narrative forward.
~ Kate Grenville
This was a huge revelation for me when I first started writing!
How Australian Geography Influenced Historical Characters
Colonial settlers arrived with preconceptions based on their homelands, and with the expectations of predictable seasons, familiar terrain, and manageable conditions, but even after living and growing up in Australia, the country never ceases to surprise me, but it must have been an extreme shock to Captain Cook and Co.
They were forced to adapt to the landscape… not the other way around—as they thought should be the case—and I love showing how my characters’ relationships with their environment evolves throughout a story.
And where someone fresh off the boat, like George Sher Gul, in Afghani, who was immediately smacked in the face with everything the country had to offer. From monsoonal rail, flowing rapids, the long desert stretches with no respite in between. And then the mosquitoes and the crocodiles.
His biggest lesson… to adapt and overcome!
But saying that Australia has an unpredictable climate would be a gross understatement. The near biblical droughts and flooding rains that Dorothea Mackellar captured so perfectly in: My Country didn’t just bug historical Australians; it greatly challenged their ability to survive.
The devastating Federation Drought (1895-1903) took away everything the farmers had and eventually reshaped rural communities.
Hearing stories about losing everything in the Federation Drought, didn’t just affect historical families. And after two centuries since colonisation, family stories devastating floor, fire and storm continue to blur the lines between fact and fiction.
In no uncertain terms has Australia, in all her abundant beauty ever been considered as forgiving—and that’s a recurring fact throughout Australian Historical fiction.
Essential Elements for Compelling Fiction
To write the Australian landscape authentically, I’ve learned to incorporate several undeniable factors:
Indigenous Connection to Country: Essential Context for Australian Period Literature
Any discussion of the Australian landscape should not be completed without acknowledging the profound connection of Indigenous Australians to Country.
I’m not talking politics here, because for Aboriginal and Torres Strait Islander peoples, the landscape isn’t simply a physical environment, but a living entity imbued with spiritual significance, ancestral stories, and cultural knowledge which is tied to the very core of their being.
In writing historical fiction about Australia, we must acknowledge that this continent contains not one history but many Indigenous perspectives spanning 60,000 years alongside more recent colonial narratives.
~ Melissa Lucashenko
If your historical fiction touches on Indigenous perspectives or interactions between Indigenous and non-Indigenous characters, my advice is to, again, research the specific relationship to Country that particular Indigenous nation (there’s over 250 individual nations, so you may have to do some serious groundwork here) in your setting.
Avoid generalisations, too because there’s also over 500 distinct Aboriginal language groups, otherwise known as Mobs, have their own distinct language, customs, and relationship to their land.
With that said, if you encounter any points of confusion or contention, then consulting with an Indigenous cultural advisor can point you in the right direction, and you can always (read: I strongly encourage you) to access a sensitivity reader.
The perspective these routes can offer have the ability to transform your understanding of that landscape.
Representing Australia’s Diverse Historical Heritage
Australian historical fiction must navigate a complex cultural landscape, especially when you consider how it’s been shaped by Indigenous cultures spanning sixty thousand years, British colonisation, waves of migration from diverse countries, and the evolution (and consequent devolution) of a distinctive Australian identity.
Authentic Representation and Perspective
A common failing in older Australian historical fiction, including some notable explanations and apologies (think Thomas Keneally and: The Chant of Jimmy the Blacksmith) was the erasure or misrepresentation of Aboriginal and Torres Strait Islander peoples.
We now, both as writers, and a nation have a responsibility to acknowledge the continuous Indigenous presence in the Australian landscape, which is, in and of itself quite fascinating and enamouring!
If writing from a non-Indigenous perspective about the colonial period, consider how your characters would have interacted with local Indigenous peoples, where once again it pays to mention Grenville’s: The Secret River.
Historical attitudes ranged from curiosity and respect to fear and hostility or, in extreme case, outright brutality. More so, while some of the more conscious settlers learned from Indigenous knowledge of the land; others participated in frontier violence and genocide.
I struggle with this in my own writing—in a very emotional way.
How do I accurately represent historical attitudes while not perpetuating harmful stereotypes?
I have found that focusing on individual, fully developed characters rather than types helps navigate this complexity. However, that is not me searching for an excuse to sidestep the issue, but a method to navigate the limitations of my characters’ perspectives. Eg, showing readers that a character’s biased view isn’t necessarily the truth of the situation, and that it isn’t necessarily my view either.
Social Structures in Historical Australia: Class Hierarchies and Their Impact
Class distinctions were a defining feature of colonial Australian society. And though they operated somewhat differently than in Britain, and more so on a more in an egalitarian space, but also because the gold rushes of the 1850s created social mobility that disrupted traditional hierarchies.
This ideal of egalitarianism, captured in the concept of mateship and loyalty that coexisted among a young society, despite the stark inequalities. Noting that at that time, Melbourne had become one of the richest cities in the world!
Social markers were important in historical Australia. People’s accents. Their dress. The manners, and vocabulary signalled one’s place in the hierarchy.
Writing Authentic Gender Experiences
Gender profoundly influenced how historical Australians experienced their environment, too and while frontier life sometimes needed flexibility in gender roles, social expectations remained as an imposing force.
For instance, a women’s freedom was often restricted by both practical considerations (clothing, transportation) and social expectations. Their access to education, property ownership, and economic independence evolved significantly over time.
Men’s experiences were shaped by expectations of physical prowess, emotional stoicism, and economic provision.
The Australian type celebrated in late 19th century literature: The Bushman, The Digger each created opportunities and constraints for men who didn’t conform to this ideal.
Authentic Australian Dialogue: Crafting Period-Appropriate Language for Australian Period Literature
Language is your primary tool when creating an historical atmosphere, and yet it still presents one of our greatest challenges.
For instance, how do you create dialogue and narration that feels authentic to the period without alienating modern readers or falling into a walking cliché or parody?
I struggled with this so much when I started writing!
After reader Hemingway’s: The Sun Also Rises, I fell in love with not only the character voices he created, but with the mythology of Hemingway himself. And that essentially led me to believing this was my benchmark, but to achieve those heights, I had to sound like Hemingway.
The only problem there being is, I’m Australian, and I’m definitely not Hemingway. Therefore, I sound nothing like him and nor do historical Australians. I was honestly writing myself into an abyss—
Historical Language Development for Writers
Australian English has evolved significantly since colonial times, and the early colonists brought various British and Irish regional dialects. But, over time, this introduction began to blend itself with influences from Aboriginal languages, American English, and the languages of multiple other immigrant groups.
By the late 19th century, visitors were commenting on the distinctive Australian accent and vocabulary. The following words also found their way into the Nations lexicon:
And while of these words had usages, back in Britain for example, the Australian adaptation often came with meanings specific to an Australian context.
Class and education strongly influenced language use, too, and a wealthy station owner educated in England would speak vastly differently from a drover or a shearer.
Regional variations existed too, with different colonies (later states) developing subtle linguistic differences. For example, in Brisbane would refer to the posts which supports the city’s powerlines as a ‘Power Pole’. But in Adelaide, their version is known as a ‘Stobie Pole’—a name which is weirdly unique to South Australia.
Balancing Language in Australian Period Fiction
The key to effective historical dialogue is suggesting period speech patterns without reproducing them verbatim.
The key to writing authentic Australian historical dialogue is suggesting period speech patterns without reproducing them verbatim.
Complete accuracy would render dialogue impenetrable to modern readers.
~ Richard Flanagan
Complete accuracy is boring, and quite honestly, verbose. Plus, it would probably render dialogue impenetrable to most modern readers!
I aim for what I call a historical flair… rather than shooting for period perfect accuracy.
Some approaches that work for me:
Research Techniques for Australian Period Literature: Finding the Perfect Balance
Research is the foundation of compelling historical fiction, yet it can also become its downfall if you handle it incorrectly.
The challenge for historical fiction writers is to balance authenticity with emotional resonance. Research provides the skeleton, but imagination adds the flesh and blood.
~ Thomas Keneally
I’ve fallen into the trap myself; either by not researching thoroughly enough or becoming so obsessed with research that I never actually get any writing done. Likely meaning that I’m using research as my crux which keeps me from putting pen to paper.
Primary sources like diaries, photographs, and newspaper clippings don’t just provide historical facts—they capture the emotional tenor of an era and reveal how people experienced their sensory world.
~ Jackie French
Unlocking Authentic Period Details
For creating sensory-rich Australian historical settings, the following primary sources are priceless:
Conclusion: Weaving Your Australian Historical Tapestry
The most effective Australian Period Literature integrates sensory details, historical research, character perspective, and emotional resonance into a seamless whole. But, as you develop your approach to historical settings, consider what makes your perspective unique:
Writing Australian period literature isn’t just about crafting convincing backdrops for your characters and plots, because it’s also about participating in our national conversation. This is the story about who we once were and have since become, and who we might be in the years to come. It’s about weaving in new threads into our complex but beautiful, and sometimes troubling tapestry of Australian history.
FAQ
What defines Australian period literature?
Australian period literature encompasses fiction set in historical Australian settings, typically exploring themes of identity, landscape, colonisation, and the unique social dynamics of Australia’s past.
It often features distinctive Australian dialogue, sensory descriptions of the landscape, and engagement with both colonial and Indigenous perspectives.
How important is historical accuracy in Australian period fiction?
While historical accuracy provides the foundation for believable fiction, Australian period authors generally aim for authenticity rather than perfect accuracy.
The goal is to create an emotionally resonant experience that captures the essence of the era while making the story accessible to modern readers.
What research sources are most valuable for writing Australian historical fiction?
Primary sources like diaries, newspapers, photographs, and letters provide the most authentic insights.
The National Library of Australia, state libraries, historical societies, and Trove (the digital collection) offer valuable resources.
Museums and heritage sites provide sensory details that cannot be fully captured in written records.
How do successful authors incorporate the Australian landscape in historical fiction?
The most compelling depictions treat the Australian landscape as an active character rather than mere backdrop.
This involves engaging all senses—the distinctive sounds of native birds, the smell of eucalyptus after rain, the quality of light, and the texture of the environment—to create an immersive experience.
What sensory elements are particularly important in Australian historical fiction?
Beyond visual descriptions, successful Australian period literature incorporates the distinctive sounds (kookaburras, cicadas), smells (eucalyptus, bushfire smoke), tastes (native foods, colonial cuisine), and tactile sensations (wool clothing in heat, red dust) that defined the historical Australian experience.
Other Articles Linked to How to Write Historical Dialogue
- 10 Inspiring Primary Source Secrets
- What is Historical Fiction
- How to Write Captivating Fiction
- How to Write Historical Dialogue
Bibliography
Resources
Kate Grenville: The Secret River
Thomas Keneally : The Chant of Jimmy the Blacksmith
Melissa Lucashenko
Dorothea Mackellar: My Country
Ernest Hemingway: The Sun Also Rises
Heidelberg School (late 19th century Australian art movement)
Federation Drought (1895-1903)
Thomas Elder (brought camels to Australia)
