What really disconcerts commentators, I suspect, is that when they read historical fiction, they feel their own lack of education may be exposed; they panic, because they don't know which bits are true.
The old always think the world is getting worse; it is for the young, equipped with historical facts, to point out that, compared with 1509, or even 1939, life in 2009 is sweet as honey.
Concentrate your narrative energy on the point of change. This is especially important for historical fiction. When your character is new to a place, or things alter around them, that's the point to step back and fill in the details of their world.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
Much historical fiction that centers on real people has always been deficient in information, lacking in craft and empty in affect.
You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.