PHOTO: Saga Hillbom, author of several historical novels, at her desk, surrounded by books and historical references, reflecting her passion for historical fiction.
A Deep Dive Into Historical Fiction, Complex Characters, And Dark Academia
Saga Hillbom discusses her writing process, historical fiction, character development, and her recent work Wretched Young Things, blending rigorous research with emotionally resonant narratives.
Saga Hillbom’s historical novels are a tapestry of intricate storytelling, where the past is not merely recreated but deeply explored through the lens of complex, often morally ambiguous characters. Her most recent work, Wretched Young Things (2023), set in Oxford during the 1940s, navigates the compelling world of dark academia, evoking both the allure and the isolation that comes with a life steeped in academia. Hillbom‘s sharp eye for historical detail, combined with her ability to weave emotional depth into her characters, has made her a voice to reckon with in the realm of historical fiction.
In her earlier works, such as Princess of Thorns (2021), Hillbom deftly explores the struggles and triumphs of figures often overlooked by history. She brings to life Cecily of York, a woman caught in the shifting tides of dynastic conflict, giving voice to a character whose complexity is as rich as the period she inhabits. Her writing is marked by a careful balance between historical fact and imaginative character development, inviting readers to experience history not just as a series of events but as a deeply human journey.
What stands out in Hillbom‘s novels is her acute focus on the relationships that define human experience, particularly those between parents and children. These bonds, often fraught with tension and unspoken expectations, provide a backdrop for her characters’ development. It is in these intricate dynamics that we see the moral and emotional growth of her characters, revealing the ways in which history shapes personal identity.
As Hillbom continues to explore different eras—from the medieval courts of England to the stormy political landscapes of Napoleonic Europe—her commitment to historical accuracy and evocative prose remains unwavering. Yet, what truly sets her apart is her ability to craft stories that resonate with contemporary readers, inviting them to reflect on the moral complexities of our own time through the lens of the past.
Saga Hillbom masterfully blends historical depth with emotional complexity, creating unforgettable characters that resonate with readers across time periods.
How did you balance historical fact with imaginative character development in Princess of Thorns?
Fortunately, we have a lot of information about Cecily’s context—the Wars of the Roses, the establishment of the Tudor reign, the life of her sister Elizabeth of York—but much less about Cecily herself. Since she is a somewhat overshadowed historical figure I was able to take a lot of liberty with her character and values, without deviating to any considerable extent from fact. I think this is what makes historical fiction so enjoyable to write. In Cecily’s case in particular, I carefully considered her background as a Yorkist princess but also the pressures she faced to survive and adapt, and used this to shape her moral and emotional character development.
What research methods most profoundly informed your depiction of front‑line nursing in A Generation of Poppies?
When researching A Generation of Poppies I relied heavily on first-hand accounts recorded by nurses and soldiers themselves or their relatives. This gave me very vivid insights that I was able to channel into my writing. Additionally, I took inspiration and information from photographs of the field hospitals, as well as from academic publications.
“Historical fiction is enjoyable because it allows for creative exploration without straying too far from the facts.” – Saga Hillbom
How did you navigate the historical legacies of real figures like Germaine de Staël and Byron in The de Staël Escapades?
The de Staël Escapades presented many irresistible opportunities since the de Staël family really knew everybody who was somebody in their time. I wanted to take advantage of the incredibly rich dramatis personae already in place. With some characters this didn’t present any significant challenge; they might be lesser-known and/or uncontroversial. For those who, like Byron, are neither of these things, I did my best to create a nuanced portrayal aligning with all sides of their historical legacy. I also tried to have fun with them, though, playing with their reported eccentricities and sometimes exaggerating their most well-known traits to make them clearly recognisable to readers.
What drew you to dark academia themes in Wretched Young Things and how does it reflect your own academic experiences?
I’ve long had an interest in dark academia books; classics like The Secret History and the more recent bestseller If We Were Villains are among my favourite novels. Moreover, I wanted to capture Oxford while I was still a student myself. In terms of how the story reflects my own academic experience, the former draws immensely on the latter for details, atmosphere, and Magdalen College as a setting. Indeed, I spent many hours exploring every nook and corner of the college where I was myself living. At the same time, much in Wretched Young Things is very different from my own experience. This is partly due to dramatic license, partly because the environment at an Oxford college has changed significantly since the 1940s. The level of elitism and nepotism present at the university has decreased, for instance, and of course the student body is no longer divided into all-male and all-female colleges.
Why have you chosen to focus on complex child-parent relationships in your novels?
In my opinion, complex child-parent relationships constitute a relatively untapped source of conflict and intrigue in historical fiction. They also help explain a lot about the way my characters think and behave, making them more interesting and providing scope for development. Lastly, I think portraying these relationships is something many readers appreciate since most of us can relate on some level.
“Dark academia has always fascinated me—capturing Oxford in the 1940s felt personal and immersive.” – Saga Hillbom
What challenges do you face maintaining evocative prose and historical accuracy across different time periods in your books?
My settings vary because my interests vary, and I think being genuinely interested in an era is the foundation for evocative prose and historical accuracy. Naturally, picking a wildly different time period to write about each time means I have to spend longer researching each book. It’s worth it, however: I would grow bored if I were to explore one era alone over and over again.
What advice would you give aspiring historical‑fiction authors keen to combine rigorous research with compelling queer and morally nuanced storytelling?
Firstly, do not write what you know but know what you write. By that, I mean that it’s a wonderful thing to explore the unfamiliar, but make sure it’s utterly familiar before you actually write the story. Being ‘queer’ or ‘gay’, for instance, meant something very different to individuals in the 1820s, the 1940s, the 1980s, and so on, as well as carrying different meanings for people from different socioeconomic backgrounds. Don’t be naïve about the acceptance available to those who diverged from a norm—yet question which norms even existed, and whether individuals really thought in black-and-white categories.
As for making your story morally nuanced, my advice would be to simply appreciate thoroughly imperfect characters. They tend to be the most entertaining and realistic, and the moral nuance comes from trying to make them likable and relatable despite their numerous flaws.
“Complex child-parent relationships are a rich source of conflict and character development.” – Saga Hillbom
