If citing, please kindly acknowledge copyright © Penelope J. Corfield (2018)
Historians, who study the past, don’t undertake this exercise from some vantage point outside Time. They, like everyone else, live within an unfolding temporality. That’s very fundamental. Thus it’s axiomatic that historians, like their subjects of study, are all equally Time-bound.1

Nor do historians undertake the study of the past in one single moment in time. Postmodernist critics of historical studies sometimes write as though historical sources are culled once only from an archive and then adopted uncritically. The implied research process is one of plucking choice flowers and then pressing them into a scrap-book to some pre-set design.

On such grounds, critics of the discipline highlight the potential flaws in all historical studies. Sources from the past are biased, fallible and scrappy. Historians in their retrospective analysis are also biased, fallible and sometimes scrappy. And historical writings are literary creations only just short of pure fiction.2

Historians should welcome scepticism this dose of scepticism – always a useful corrective. Yet they entirely reject the proposition that trying to understand bygone eras is either impossible or worthless. Rebuttals to postmodernist scepticism have been expressed theoretically;3 and also directly, via pertinent case studies which cut through the myths and ‘fake news’ which often surround controversial events in history.4

When at work, historians should never take their myriad of source materials literally and uncritically. Evidence is constantly sought, interrogated, checked, cross-checked, compared and contrasted, as required for each particular research theme. The net is thrown widely or narrowly, again depending upon the subject. Everything is a potential source, from archival documents to art, architecture, artefacts and though the gamut to witness statements and zoological exhibits. Visual materials can be incorporated either as primary sources in their own right, or as supporting documentation. Information may be mapped and/or tabulated and/or statistically interrogated. Digitised records allow the easy selection of specific cases and/or the not-so-easy processing of mass data.

As a result, researching and writing history is a slow through-Time process – sometimes tediously so. It takes at least four years, from a standing start, to produce a big specialist, ground-breaking study of 100,000 words on a previously un-studied (or under-studied) historical topic. The exercise demands a high-level synthesis of many diverse sources, running to hundreds or even thousands. Hence the methodology is characteristically much more than a ‘reading’ of one or two key texts – although, depending upon the theme, at times a close reading of a few core documents (as in the history of political ideas) is essential too.

Mulling over meanings is an important part of the process too. History as a discipline encourages a constant thinking and rethinking, with sustained creative and intellectual input. It requires knowledge of the state of the discipline – and a close familiarity with earlier work in the chosen field of study. Best practice therefore enjoins writing, planning and revising as the project unfolds. For historical studies, ‘writing through’ is integral, rather than waiting until all the hard research graft is done and then ‘writing up’.5

The whole process is arduous and exciting, in almost equal measure. It’s constantly subject to debate and criticism from peer groups at seminars and conferences. And, crucially too, historians are invited to specify not only their own methodologies but also their own biases/assumptions/framework thoughts. This latter exercise is known as ‘self-reflexivity’. It’s often completed at the end of a project, although it’s then inserted near the start of the resultant book or essay. And that’s because writing serves to crystallise and refine (or sometimes to reject) the broad preliminary ideas, which are continually tested by the evidence.

One classic example of seriously through-Time writing comes from the classic historian Edward Gibbon. The first volume of his Decline & Fall of the Roman Empire appeared in February 1776. The sixth and final one followed in 1788. According to his autobiographical account, the gestation of his study dated from 1764. He was then sitting in the Forum at Rome, listening to Catholic monks singing vespers on Capitol Hill. The conjunction of ancient ruins and later religious commitments prompted his core theme, which controversially deplored the role of Christianity in the ending of Rome’s great empire. Hence the ‘present’ moments in which Gibbon researched, cogitated and wrote stretched over more than 20 years. When he penned the last words of the last volume, he recorded a sensation of joy. But then he was melancholic that his massive project was done.6 (Its fame and the consequent controversies last on today; and form part of the history of history).

1 For this basic point, see PJC, ‘People Sometimes Say “We Don’t Learn from the Past” – and Why that Statement is Completely Absurd’, BLOG/91 (July 2018), to which this BLOG/92 is a companion-piece.

2 See e.g. K. Jenkins, ReThinking History (1991); idem (ed.), The Postmodern History Reader (1997); C.G. Brown, Postmodernism for Historians (Harlow, 2005); A. Munslow, The Future of History (Basingstoke, 2010).

3 J. Appleby, L. Hunt and M. Jacob, Telling the Truth about History (New York, 1994); R. Evans, In Defence of History (1997); J. Tosh (ed.), Historians on History (Harlow, 2000); A. Brundage, Going to the Sources: A Guide to Historical Research and Writing (Hoboken, NJ., 2017).

4 H. Shudo, The Nanking Massacre: Fact versus Fiction – A Historian’s Quest for the Truth, transl. S. Shuppan (Tokyo, 2005); Vera Schwarcz, Bridge across Broken Time: Chinese and Jewish Cultural Memory (New Haven, 1998).

5 PJC, ‘Writing Through a Big Research Project, not Writing Up’, BLOG/60 (Dec.2015); PJC, ‘How I Write as a Historian’, BLOG/88 (April 2018).

6 R. Porter, Gibbon: Making History (1989); D.P. Womersley, Gibbon and the ‘Watchmen of the Holy City’: The Historian and his Reputation, 1776-1815 (Oxford, 2002).

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Invited by Buff-Coat to comment on how I compose works of history,
the answer fell into nine headings,
written as reminders to myself: 1

  1. Learn to enjoy writing: writing is a craft skill, which can be improved with regular practice.2 Learn to enjoy it.3 Bored authors write bored prose. Think carefully about your intended readership, redrafting as you go. Then ask a trusted and stringent critic for a frank assessment. Adjust in the light of critical review – or, if not accepting the critique, clarify/strengthen your original case.4
  1. Have something to say: essential to have a basic message, conferring a vital spark of originality for every assignment.5 Otherwise, don’t bother. But the full interlocking details of the message will emerge only in course of writing. So it’s ok to begin with working titles for books/chapters/essays/sections and then to finalise them about three-quarters of way through writing process.
  1. Start with mind-mapping: cudgel brains and think laterally to provide visual overview of all possible aspects of the topic, including themes, debates and sources. This is a good moment for surprise, new thoughts. From that, generate a linear plan, whilst keeping mind-map to hand as reference point. And it’s fine, often essential, to adapt linear plan as writing evolves. As part of starting process, define key terms, to be defined at relevant point in the text.6
    2018-04 No1 Mind-map clip-art

Idea of a Mind-Map
© Network Clipart (2018)

  1. Blend discussion of secondary literature seamlessly into analysis: beginners are rightly trained to start with a discrete historiographical survey but, with experience, it’s good to blend exposition into the analysis as it unfolds. Keep readers aware throughout that historians don’t operate in vacuum but debate constantly with fellow historians in their own and previous generations. It’s a process not just of ‘dialogue’ but of complex ‘plurilogue’.7
  1. Interpret primary sources with respect and accuracy: evaluate the strengths and weaknesses of primary sources from the past; be prepared to interpret them but only while treating them with the utmost respect and accuracy. Falsifying data, misquoting sources, or hiding unfavourable evidence are supreme academic sins. Historians are accustomed to write within the constraints of the evidence.8 That’s their essential discipline. Hence the claim by postmodernist theorists that historians can invent (or uninvent) the past just as they please is not justified. Indeed, if history (the past) was simply ‘what historians write’, there’d be no way of evaluating whether one historian’s arguments are historically more convincing than another’s. And there’d be no means of rebutting (say) Holocaust denial.9 The challenging task of evaluating, interpreting and knitting together many different forms of evidence from the past, in the light of evolving debates, is the essence of the historian’s practice.10
  1. Expound your case with light and shade: Counteract the risk of monotony by incorporating variety. Can take the form of illustrations; anecdotes; even jokes. Vary choice of words and phrases.11 Vary sentence lengths. Don’t provide typical academic prose, full of lengthy sentences, stuffed with meandering sub-clauses, all written in densely Latinate terminology. But don’t go to other extreme of all rat-a-tat sub-Hemingway terse Anglo-Saxon texts either. Variety keeps readers interested and gives momentum to an unfolding analysis.
  1. Know the arguments against your own: advocacy works best not by caricaturing opposite views but by understanding them, in order to refute them successfully. All courtroom lawyers and politicians are well advised to follow this rule too. But no need to focus exclusively on all-out attack against rival views. That way risks making your work become dated, as the debates change.
  1. Relate the big arguments to your general philosophy of history:12 Don’t know what that is? Time to decide.13 If not your lifetime verdict, then at least an interim assessment. Clarify as the analysis unfolds. But again ensure that the general philosophy is shown as informing the unfolding arguments/evidence. It’s not an excuse for suddenly inserting a pre-conceived view.
  1. Know how to end:14 Draw threads together and end with a snappy dictum.15


1 This BLOG is the annotated text of a brief report, first posted on 15/03/2018 on:, with warm thanks to Keith Livesey, alias Buff-Coat, for the invitation.

2 See P.J. Corfield, Coping with Writer’s Block (BLOG/34, Oct. 2013), on website: All other PJC BLOGS cited in the following endnotes can be consulted via this website.

3 Two different historians who influenced me had very distinctive messages and writing styles: see P.J. Corfield, Two Historians who Influenced Me (BLOG/15, Dec. 2011).

4 P.J. Corfield, Responding to Anonymous Academic Assessments (BLOG/81, Sept. 2017). It followed idem, Writing Anonymous Academic Assessments (BLOG/80, Aug. 2017).

5 History is such a vital subject for all humans that it’s hard not to find something to say. See P.J. Corfield, All People are Living Histories, which is Why History Matters. A Conversation Piece for Those who Ask: Why Study History? (2007), available on the Making History website of London University’s Institute of Historical Research:; and also on PJC personal website: Essays on What is History? Pdf/1.

6 That advice includes avoiding terms still widely used by others, like racial divisions between humans. They are misleading and based on pseudo-science. See P.J. Corfield, Talking of Language, It’s Time to Update the Language of Race (BLOG/36, Dec. 2013); idem, How do People Respond to Eliminating the Language of ‘Race’? (BLOG/37, Jan.2014); and idem, Why is the Language of ‘Race’ Holding On for So Long, when it’s Based on a Pseudo-Science? (BLOG/38, Feb. 2014).

7 P.J. Corfield, Does the Study of History ‘Progress’ and How does Plurilogue Help? (BLOG/61, Jan. 2016).

8 P.J. Corfield, What’s So Great about Historical Evidence? (BLOG/66, June 2016); idem, What Next? Interrogating Historical Evidence (BLOG/67, July 2016).

9 For further discussion, see P.J. Corfield, ‘Time and the Historians in the Age of Relativity’, in A.C.T. Geppert and T. Kössler (eds), Obsession der Gegenwart: Zeit im 20. Jahrhundert; transl. as Obsession with the Here-and-Now: Concepts of Time in the Twentieth Century, in series Geschichte und Gesellschaft: Sonderheft, 25 (Göttingen: Vandenhoeck & Ruprecht, 2015), pp. 71-91. Also posted on PJC website: Essays on What is History? Pdf/38.

10 On the need to differentiate between facts and pseudo-facts, see P.J. Corfield, Facts and Factoids in History (BLOG/52, April 2015).

11 And at times, new words are needed: see P.J Corfield, Inventing Words (BLOG/84, Dec. 2017); and idem, Working with Words (BLOG/85, Jan. 2018).

12 My own account of historical trialectics is available in P.J. Corfield, Time and the Shape of History (Yale University Press, 2007). It’s also expounded theme by theme in idem, Why is the Formidable Power of Continuity So Often Overlooked? (BLOG/2. Nov. 2010); idem, On the Subtle Power of Gradualism (BLOG/4, Jan. 2011); and idem, Reconsidering Revolutions (BLOG/6, March 2011). And further discussed in idem, ‘Teaching History’s Big Pictures, Including Continuity as well as Change’, Teaching History: Journal of the Historical Association, no. 136 (2009), posted on PJC personal website: Essays on What is History? Pdf/3.

13 The time to decide for yourself might not correspond with interest from others. Never mind! Stick to your guns. See also P.J. Corfield, Writing into Silence about Time (BLOG/73, Jan. 2017); idem, Why Can’t we Think about Space without Time? (BLOG/74, Feb. 2017); idem, Humans as Time-Specific Stardust (BLOG/75, March 2017); and idem, Humans as Collective Time-Travellers (BLOG/76, April 2017).

14 It’s much easier to advise and/or to supervise others: see P.J. Corfield, Supervising a Big Research Project to End Well and On Time: Three Framework Rules (BLOG/59, Nov. 2015); idem, Writing Through a big Research Project: Not Writing Up (BLOG/60, Dec. 2015).

15 On my own travails, see P.J. Corfield, Completing a Big Project (BLOG/86, Feb.2018); and idem, Burned Boats (BLOG/87, March 2018).

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Firework-flames @ Clipart flames-clipart.html (2018)

What to confess this month, having burned boats last month, about my intention to finish a big never-ending writing project? First message: yes, it’s good to announce THE BOOK END, even if it still remains tantalisingly-nigh-but-not-yet-quite achieved. Burning one’s boats in public concentrates the mind and attention. Words flow from the keyboard. Deadlines hammer in the head. One feels intensely alive.

At the same time, all of life’s hazards and impediments take this declaration as a signal to attack. There is a serious leak in the bathroom, dripping water onto the stairs below. Urgent action is imperative. A car tyre goes flat at the wrong moment. Long-lost friends come round to call for a long, chatty visit. A close relative falls ill and needs attention. Other work commitments, entered into gaily months ago, suddenly become imminent. The email in-box, of course, overflows with multiple messages, which need sorting, to check that most are safe to ignore. But some are urgent requests from former students needing academic references for jobs which they seriously might get: such exercises of advocacy-at-a-distance need time and careful thought. All these intrusions from the rest of life are entirely predictable, but become major distractions when competing with THE BOOK END deadline.

Cyril Connolly (1903-74) has met with a lot of flak for writing that: ‘there is no more sombre enemy of good art than the pram in the hallway’.1 He is accused of being not only anti-baby but also misogynistic – implying that the little woman should either not have tempted the creative man to have sex in the first place – or, the worst having happened, should at least take the pram/baby out for a long bracing walk, leaving the creative genius alone, so that he can agonise over his failure to write in complete silence.

Yet Connolly wasn’t really blaming others. Instead, he was probing his own painful sense of failure. He instanced other damaging factors which may also inhibit creativity. Those embrace: drink, apathy, boredom, getting sidetracked into journalism – and coping with the burden of expectation, after early ‘promise’. There’s good scope for debate as to which of those experiences is the most destructive. These days, a later Connolly would have to add: getting bogged down by emails and social media. So a bit of sympathy is in order. We may all have our own ‘enemies’, whether internally within ourselves or externally in the pram-in-hallway-equivalent or even both.

Lastly, declaring THE BOOK END of a big project teaches another significant lesson. Finishing is not as simple as dotting the final full-stop of the final sentence. As my partner Tony Belton is fond of saying: ‘It isn’t ended until it’s ended’. He learned that when setting up computer schemes in the 1970s. People would constantly say: ‘It’s just a fortnight away from completion’. But each fortnight would turn into another fortnight. There’s a confession of that syndrome in the first iteration of the on-line fashion-retail business, Boo-Hoo, whose bankruptcy in 2000 was a scandalous part of the collapse of the dotcom bubble. Ernst Malsten and his colleagues kept promising their backers that the innovative on-line system would be activated ‘within weeks’. But the weeks kept going by. Too many different people were inputting and changing the operating system, which was getting further from completion, not closer. Too late, realisation dawned. ‘It was a mass delusion. We either hadn’t seen, or had simply closed our eyes to, all the warning signs’.2 Boo-Hoo indeed.

Finishing a big writing project is a different exercise, under one-person control. Yet many last touches are still required: last re-reads; last edits; last checks to footnotes, illustrations, and bibliography; last inputs from the publisher’s readers; last decision about the final snappy dictum. So announcing THE BOOK END helps to speed things onwards. But it isn’t ended until it’s ended.

1 C. Connolly, Enemies of Promise (1938).

2 E. Malmsten and others, Boo-Hoo: $135 Million Dollars, 18 Months … A Dot.Com Story from Concept to Catastrophe (Arrow Books, 2002), p. 233.

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This is a tempting-fate BLOG, dedicated to all, like myself, who are currently in the throes of completing a big writing project. Three days from the end (metaphorically speaking), there comes a great knockout blow. You hear that someone you greatly admire has just published, to enthusiastic applause, a book on your subject. You had no idea that this work was in the offing. It is every writer’s worst nightmare. But, after a while, you sigh deeply, grit your teeth, and continue. If Thomas Carlyle could rewrite the entire first volume of his three-volume History of the French Revolution, after a friend’s maid had inadvertently burned the manuscript, then any authorial heroism is possible.

Then two days out from completion, you have a sudden change of mood. A false euphoria descends. The research and writing is so absorbing that you think of a hundred different ways to protract the experience. Your tome is about to become one of those great meta-works, like the real-life Lord Acton’s much feted History of Liberty, which never actually appeared. Or like the fictional Edward Casaubon’s never-ending Key to All the Mythologies. The permanent-delay-it’s-all-for-the-good manoeuvre, however, is but another version of the knockout blow. Its tempting but equally fatal.

Thirdly and finally, a grim exhaustion (better perhaps, a steely determination? ed.) supervenes. That’s it. Writing at ever greater length is harming the cause rather than helping it. At last a knockout blow that’s really helpful. All to do now is to complete …. Does making this public avowal help? Hmmm …

1 T. Carlyle, The French Revolution: A History (1837), 3 vols.

2 For J.E.E Dalberg-Acton, 1st Baron Acton (1834-1902), see O. Chadwick, Acton on History (Cambridge, 1998) and,_1st_Baron_Acton

3 See G. Eliot, Middlemarch: A Study of Provincial Life (1871-2); and a spirited advocacy of the claims of Casaubon’s unfinished masterpiece by N. Acherson, ‘The Truth about Casaubon: A Great Intellect Destroyed by a Silly Woman’ (1994), in

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