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The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom
“You create your story in consciousness as you interpret your own behavior, and as you listen to other people's thoughts about you. The life story is not the work of a historian [...]; it is more like a work of historical fiction that makes plenty of references to real events and connects them by dramatizations and interpretations that might or might not be true to the spirit of what happened.”
Pop Psychology
Cuba: A New History
“Later in the nineteenth and twentieth centuries, progressive Cubans were happy to downplay the survival of the Indians since those who promoted
indigenismo
, and sought to praise and promote Cuba's Indian heritage, were usually conservative racists who wanted to glorify the Indian past and downgrade the contribution of the black African element in the population. Novelists in the nineteeth century, anxios to preserve Hispanic culture, often sought Indian images for their historical fiction as a counterweight to the arguments of those who exalted Cuba's African heritage.”
Racism
Indigenismo
The Art and Craft of Writing Historical Fiction
“Before you're ready to tell that story well, you might have to study and learn the equivalent of an entire specialized college education on the society in which your story takes place, because all sorts of things were happening that you need to understand before you can even begin to tell a story in that milieu.”
On Writing
Historical Fiction
Historical Research
The Art and Craft of Writing Historical Fiction
“Some writers don't believe they're ready to begin writing the story until they've finished all the research they can think of to do — until they're sure of everything. That's a logical approach, of course. The more factual knowledge, the less likelihood you'll have to throw out a lot of glorious prose when you find out that something you assumed to be true wasn't.
But one problem with delaying your start until the research is all done is that the research is never all done.”
On Writing
Historical Fiction
Historical Research
“History is about the untold story, and writing historical fiction is a wonderful way to present the past in a compelling and entertaining way.”
Paul W Feenstra
“Please look for a new work of historical fiction, The Black Spaniard by L.L.Holt, to be published by Unsolicited Press during the 2016-2017 season. Set roughly between 1792 and 1804 in Vienna, Austria, the novel explores a creative genius's encounters with cultural diversity, transformation, and the love of a good friend.”
Historical Fiction Novel
Millennium Approaches
“Real love isn't ambivalent. I'd swear that's a line from my favorite best-selling paperback novel, "In Love with the Night Mysterious", except I don't think you've ever read it. Well, you ought to, instead of spending the rest of your life, trying to get through "Democracy in America." It's about this white woman whose daddy owns a plantation in the Deep South, in the years before the Civil War. And her name is Margaret, and she's in love with her daddy's number-one slave, and his name is Thaddeus. And she's married, but her white slave-owner husband has AIDS: Antebellum Insufficiently-Developed Sex-organs. And so, there's a lot of hot stuff going down, when Margaret and Thaddeus can catch a spare torrid ten under the cotton-picking moon. And then of course the Yankees come, and they set the slaves free. And the slaves string up old daddy and so on, historical fiction. Somewhere in there I recall, Margaret and Thaddeus find the time to discuss the nature of love. Her face is reflecting the flames of the burning plantation, you know the way white people do, and his black face is dark in the night and she says to him, "Thaddeus, real love isn't ever ambivalent.”
Amazeballs
“Writing historical fiction is a legitimate use of Multiple Personality disorder.”
Writing Humor
“Writing historical fiction is a legitimate us of Multiple Personality Disorder.”
Writing Humor
The Christchurch Destructor
“Even if the past exists as an independent reality outside the minds of those who write about it, we can never know that reality. Historians and writers of historical fiction attempt to fill in the gaps, to say: ‘This is how it might have been.’ ”
Historical Truth
Skulduggery
“But a novel, different from a history book recounts factual touch points of the past, tells a story and does so through character. What does this character think and feel? Now we are in the realm of fiction—historical fiction.”
Skulduggery
Whodunnit
Historicalfiction
Historicalromance
Englishhistory
Historification
Paulrushworthbrown
Readfree
Redwinterjourney
Twistsandturns
“Anderson’s depth of research, paired with a natural proclivity for vivid descriptive detail, yielded a work of historical fiction, in 39 chapters, that’s hard to put down.”
Reviews
Reviewer Quotes
Medieval Underpants and Other Blunders: A Writer's (and Editor's) Guide to Keeping Historical Fiction Free of Common Anachronisms, Errors, and Myths
“May we never again read about Dark Ages peasants eating tomatoes; unbelievably plucky/feisty liberated medieval heroines with names like Dominique; 18th-century travelers crossing Europe or the Atlantic in a week; slang that's sixty years ahead of its time and many, many other such common anachronisms of fact and attitude...”
Research
Fact Checking
Writing Development
A Lantern in the Shade: An Arab-American Historical Fiction Novel of Love, Family and Self-Discovery
“…the darkness brought him some hope, and he wondered if Samir was looking at the same stars, guiding them to their own versions of freedom — the night, cloaking them at the same time, bringing them close together. Jacob got the chills thinking about it, as the headlights briefly captured majestic silhouettes of camel caravans in the distance, their humps like small mountains blending into the dunes.”
Hope
Freedom
Middle East
Camels
A Season of Youth: The American Revolution and the Historical Imagination
“What then, in the last analysis, is wrong with such a single-minded presentation of the American Revolution as the national coming of age? . . . What I find objectionable about this dominant motif in our historical fiction is, first of all, that it has been prompted by such conservative motives: by defensive nostalgia, by elitism, by national chauvinism, by a sense of our moral superiority as a people, and by a desire to de-revolutionize the American Revolution. Presenting our Revolution as
the
national rite of passage made it seem historically unique and non-replicable. One comes of age only once. Therefore, having had our revolution . . . we need not have another one—ever again. Besides, they declared, it was a political revolution, and in no respect a social revolution. Moreover, it provided us with such a beautifully structured society, as well as such an ideal frame of government, that we will never require anything more than minor adjustments—some occasional fine-tuning.”
American Revolution
“When you're writing historical fiction, you are always looking for the untold story. You're looking for what has been repressed politically, or repressed psychologically. You are working in the crypt.”
Writing
Historical Fiction
It's Down the Slippery Cellar Stairs
“Science Fiction is a group of symptoms and not a disease,” so a medical student (failed) told me once. “It's like the old disease hydropsy that doctors treated for so long before discovering that it was only a collection of symptoms, sometimes for a heart disease, sometimes for a liver or kidney disease, or sometimes even for a septic throat.”
Well, the symptoms for Science Fiction are a prowling avidity to search out and read certain occult texts; an uneasiness or excitement that permates the whole routine of life; it's the ‘itchy ears’, as mentioned in Scripture, seeking for ‘new things’. The symptoms are usually a falcon-like hunting or questing; a series of sudden tuneful encounters; a group of euphorias and buoyancies that cry in opposite directions to be hoarded like misers' treasures and simultaneously to be shared with fellow sufferers of the symptoms; feeling that the ‘World We Live In’ is somehow masked and needs to be unmasked. These and other symptoms indicate either a strange disease or diseases, or they indicate a perpetually new kind of health.
Tracing the symptoms back to the ‘disease’ does indicate that the disease is multiple, that it has such names as Hard Science Fiction, Soft Science Fiction, High Fantasy, Low Fantasy, Non-Conforming Adventure Fiction. And sometimes it bears such non-consensus names as Biological Fiction, Ontological Fiction, Eschatological Fiction (did Teilhard, for instance, know that he was writing Eschatological Fiction?), Theological Fiction, or Psychological or Philosophical or Technological or Geological or Historical Fiction. These things and many others share the same complex of symptoms.”
Science Fiction
To the Copper Country: Mihaela's Journey
“I love reading (and writing) historical fiction.”
Family
Immigration
Herbs
The Art and Craft of Writing Historical Fiction
“my own definition of bad historical fiction hits these points:
It fails to transport the reader to a former time.
It fails to put the reader in another place.
It fails to bring characters to life.
It fails to make the reader shiver, sweat, sniffle, sneer, snarl, weep, laugh, gag, ache, hunger, wince, yearn, lust, lose sleep, empathize, hate, or need to go potty.
It seems dubious.
It has characters who seem too good or too bad to be true.
It has anachronisms.
It has clichés and stereotypes.
Its writing style distracts the reader from the narrative.
It takes historic license with times and facts.
It is pointless.
It is carelessly written.
It is easy to put down.”
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“Mortmain is an old French word that should be tattooed on the inside of any historical novelist's skull. This wonderful and terrible word means “dead hand.” Its definition is: “The influence of the past regarded as controlling the present.” (It is also used as a legal term with the same basic meaning.”
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“If you don't know what those old occupations were, how they were done, and how they interacted with the passersby, you're not prepared to write a historical novel. A historical figure doesn't pass through a blank countryside. That means you, the novelist, must learn by research what the whole place was like in those times. As much as you can, you must be like someone who has lived there, because you're going to be not just the storyteller but also the tour guide taking your readers through the past.”
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“Lucia Robson's facts can be trusted if, say, you're a teacher assigning her novels as supplemental reading in a history class. “Researching as meticulously as a historian is not an obligation but a necessity,” she tells me. “But I research differently from most historians. I'm looking for details of daily life of the period that might not be important to someone tightly focused on certain events and individuals. Novelists do take conscious liberties by depicting not only what people did but trying to explain why they did it.”
She adds, “I depend on the academic research of others when gathering material for my books, but I don't think that my novels should be considered on par with the work of accredited historians. I wouldn't recommend that historians cite historical novels as sources.”
And they sure don't. They wouldn't risk the scorn of their colleagues by citing novels. But, Lucia adds:
“I think historical fiction and nonfiction work well together. … I'd bet that historical novels lead more readers to check out nonfiction on the subject rather than the other way around,” she says, and then notes:
One of the wonderful ironies of writing about history is that making stuff up doesn't mean it's not true. And obversely, declaring something to be true doesn't guarantee that it is. In writing about events that happened a century or more ago, no one knows what historical ‘truth’ is, because no one living today was there.
That's right. Weren't there. But will be, once a good historical novelist puts us there.”
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“A novel, or so-called “fiction,” if deeply researched and conscientiously written, might well contain as much truth as a high-school history textbook approved by a state board of education. But having been designated “historical fiction” by its publisher, it is presumed to be less reliably true than that textbook. If fiction were defined as “the opposite of truth,” then much of the content of many approved historical textbooks could be called “historical fiction.”
But fiction is not the opposite of truth. Fiction means “created by imagination.” And there is plenty of evidence everywhere in literature and art that imagination can get as close to truth as studious fact-finding can.”
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“you come to understand that history might be, as Thomas Carlyle put it, “a distillation of rumor,” or, as Napoleon said, “a set of lies generally agreed upon”
History
On Writing
Historical Fiction
The Art and Craft of Writing Historical Fiction
“Most historical accounts were written by fallible scholars, using incomplete or biased resource materials; written through the scholars' own conscious or unconscious predilections; published by textbook or printing companies that have a stake in maintaining a certain set of beliefs; subtly influenced by entities of government and society — national administrations, state education departments, local school boards, etcetera — that also wish to maintain certain sets of beliefs. To be blunt about it, much of the history of many countries and states is based on delusion, propaganda, misinformation, and omission.”
On Writing
Research
Historical Fiction
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