Conceptualized as an academic exercise, this thesis analyzes the layered representation of Fanny Duberly's lived experience during the Crimean War to develop a historical graphic narrative. The subjective choices present in the graphic narrative, titled No Place for Women, erodes the dichotomy between "fictional" and "factual" storytelling, and advocates for the validity of graphic mediums to represent historical narratives. In doing so it contributes to the visual representation of the Crimean War and gives scholarly attention to the often overlooked wives of British officers who accompanied their husbands to Crimea. By regarding Fanny as a "worthy" historical subject this project dispels the patriarchal power structures that oversimplify and obscure our ability to understand the Crimean War. It also provides a preliminary methodological framework for historians interested in alternative narrative structures. Finally, it argues for the fundamental recasting of terms and standards historians use to qualify objective, neutral, and universal history.