We use history a lot in our worldbuilding, whether as a direct re-interpretation or as inspiration for a secondary world that we’re creating. So… why do we do that? And what choices do we need to examine as we do so? Guest Alix E. Harrow joins us to discuss weaving historical realities into our fiction. The construction of history is, itself, always the process of creating a narrative through authorial and editorial choices, and so not as wildly different from writing fiction as it may seem. That interrelation means there is an ethical component to worldbuilding, particularly when dealing with issues of imperialism, colonialism, and historically marginalized populations. How do we interrogate the stories we've received, the information our research turns up, and the assumptions both we and our readers might make based on what we think we know about history? [Transcript for Episode 166] Our Guest:  Alix E. Harrow is the NYT-bestselling author of The Ten Thousand Doors of January, The Once and Future Witches, Starling House, and various short fiction, including a duology of retold fairy tales (A Spindle Splintered and A Mirror Mended). Her work has won a Hugo and a British Fantasy Award, and been shortlisted for the Nebula, World Fantasy, Locus, Southern Book Prize, and Goodreads Choice awards. She's from Kentucky, but now lives in Charlottesville, Virginia with her husband and their two semi-feral kids.