Exploring the Balance Between Historical Accuracy and Creative Freedom
Shelley Parker-Chan discusses their Southeast Asian influences, writing process, LGBTQ+ representation, literary inspirations, and the balance of historical accuracy and creative freedom in their acclaimed fantasy novels.
Shelley Parker-Chan has carved a distinctive niche in contemporary literature, melding their rich background in international development and advocacy with a vibrant storytelling prowess. As an Asian Australian former adviser on human rights, gender equality, and LGBTQ rights in Southeast Asia, Parker-Chan brings a unique perspective to their writing, infusing their narratives with depth and authenticity. Their debut novel, *She Who Became the Sun*, ascended to No. 1 on the Sunday Times bestseller list and captivated a global audience, being translated into thirteen languages. The book’s critical acclaim is underscored by Parker-Chan’s accolades, including the Astounding Award and British Fantasy Awards for Best Fantasy Novel and Best Newcomer, alongside nominations for the Lambda, Locus, Aurealis, Ditmar, and British Book Awards.
In this interview, Parker-Chan delves into the profound influences of their Southeast Asian experiences on the Radiant Emperor duology, the meticulous yet inspired process behind their writing, and the significance of LGBTQ+ representation in their work. They also reflect on the authors who have shaped their literary journey and provide insights into the delicate balance of historical accuracy and creative liberty in their world-building. Finally, Parker-Chan offers a tantalizing glimpse into upcoming projects, hinting at a fantasy narrative inspired by both Dante’s *Purgatory* and contemporary issues faced by female athletes and dancers. Join us as we explore the mind behind some of the most compelling and inclusive narratives in modern fantasy literature.
How has your background and experience in Southeast Asia influenced your writing, particularly in the Radiant Emperor duology?
I grew up in Australia at a time when there was very little Asian representation in local pop culture, and most of what there was tended to be broad caricatures that played into damaging stereotypes such as the hypersexual female prostitute; the effeminate and desexualised Asian man. And of course, Asians rarely if ever got to be the hero. So when I moved to Southeast Asia for work in my early twenties and encountered Korean and Chinese TV dramas, I was blown away. Here were rich and compelling stories, with fully-rounded characters, and Asians played every role: heroes, villains, kings, empresses, rebels, scholars, warriors, virile and desirable male love interests. I’d literally never seen that before! I was determined to write something like those dramas in book format: to bring humanity and aspirational glamour to those who’d always been the butt of the joke in Australian pop culture.
Can you walk us through your writing process? How do you approach the research and development of your novels?
I’m sadly not one of those authors who’s overflowing with ideas! I struggled to come up with a premise for my first book, until a writer friend advised me to make a list of everything I liked most, and then to squish it together until something interesting came out. The key ingredients on my first list were monks, girls dressed as boys, and princes. So I knew I was going to be telling a story about a monk who was hiding their gender identity, and that it would be set in a Chinese kingdom or empire. I find research very creatively inspiring, so I did a lot of aimless reading about various periods of Chinese history until I came across the story of the founding emperor of the Ming dynasty, who’d spent a short period of his life as a monk. And that gave me the framework for everything else. I do a similar thing for all new projects, now: first the list, then the casting around for specifics via general reading on a set of topics.
How important is it for you to include LGBTQ+ representation in your work, and how do you approach writing queer characters in historical settings?
I’m naturally drawn to queer themes, so that’s usually what I’ll end up writing. But what I’m always aiming to do, even in a historical, is to reflect the present: the struggles queer people are facing now; the traumas of the recent past we’re just beginning to heal from; our hopes for the future. A historically accurate depiction of queerness can be very interesting, but I personally want write something that reflects the world I know and live in.
Who are some of the authors or books that have had a significant impact on your writing style and career?
I’ve always admired fantasy and romance authors who can deliver big emotions, big stakes, and deep characterisations: CS Pacat, Naomi Novik, Sarah Rees Brennan, Lois McMaster Bujold. But Helen MacDonald’s nonfiction book H is For Hawk, about the sad queer life of TH White, has also been a huge influence.
The world-building in your novels is incredibly rich and detailed. How do you balance historical accuracy with creative freedom in your storytelling?
Early on, I gave myself permission that the series only had to be as historically accurate as your average low-budget Chinese historical drama, which is to say: not very. There are some real details for sure—that I did indeed painstakingly research in libraries and museums—but it’s mainly vibes. Anyway, if you know what Mongol warrior haircuts of the 14th century looked like, you’ll know why I went with hair that’s a little more appealing to the modern eye! I also gave myself complete freedom on the characterisation of historical figures. I’d keep what I found interesting, and change the rest. I’m not one to let facts stand in the way of a good story.
Can you share any details about upcoming projects or what readers can expect from you next?
I’m working on a secondary world fantasy that’s partially inspired by Dante’s Purgatory, but also by the many sad testimonies of abuse that we’ve been hearing lately from former and current female athletes and dancers. I call it my “evil angels run a fight club for ballet dancers” book.
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