| For many reenactors, military and
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| | fight for the Union Army and her best
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| civilian, one of the pleasures of a
| |
| | friend's support of the Confederacy.
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| weekend spent in the field is that
| |
| | 5. Some writers outline their novels in
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| elusive moment when everything works.
| |
| | advance; some don't. Choose whatever
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| I've heard the sensation called "the
| |
| | approach works for you. I don't outline,
|
| bubble," or simply "the magic." There's
| |
| | but I do build a graphic organizer as I
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| no way to predict exactly when it will
| |
| | go. I create a table with four headings
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| happen. The feeling may last only
| |
| | across the top: Chapter, Date, Scenes,
|
| seconds. But once you've experienced a
| |
| | Historical Events. That helps me keep
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| moment that suddenly looks, smells,
| |
| | track of what my characters are doing,
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| sounds, and feels so real that you
| |
| | and how their actions fit into the actual
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| completely forget your modern existence,
| |
| | timeline of events that form the backdrop
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| you'll be hungry for more.
| |
| | for my story.
|
| I know I am. After a decade of
| |
| | 6. Research, of course, is essential and
|
| reenacting, I'm not able to participate
| |
| | ongoing. The historical details we love
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| much any more. Instead I read,
| |
| | can also bog down a novel's pace. If you
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| disappearing into the magic of good
| |
| | fall in love with some fact or process,
|
| historical novels. And I write historical
| |
| | don't just describe it in your fiction.
|
| fiction as well, a hobby-turned-career
| |
| | Use that information to help reveal
|
| that lets me spend time in imaginary
| |
| | something new about your character, or to
|
| scenes of my own creation. My most recent
| |
| | advance your plot.
|
| novel, Hearts of Stone, grew out of a
| |
| | 7. Also, decide in advance where you are
|
| Civil War refugee camp scenario at an
| |
| | going to draw the line on historical
|
| event in Tennessee. And one of those
| |
| | accuracy. Are you willing to fictionalize
|
| "bubble" moments provided the kernel of
| |
| | weather details, or to make up business
|
| raw inspiration.
| |
| | names for the merchants in a particular
|
| Is there a novel in your future? If, like
| |
| | town? Reenactors are often fanatical
|
| a number of reenactors I know, you're
| |
| | about getting the details right. At some
|
| interested in trying your hand at
| |
| | point, you'll have to say: Enough. I'm
|
| fiction, why wait until someday?
| |
| | done.
|
| Reenactors are well poised to write
| |
| | 8. Keep a journal when you are at events.
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| historical fiction-much more so than many
| |
| | With a well-chosen pencil and notebook,
|
| of the beginning writers I meet when I
| |
| | you can even make it part of your
|
| teach general workshops on the genre. As
| |
| | impression. Make a point of recording
|
| a serious reenactor, you're already
| |
| | specific, sensory details. Those details
|
| steeped in the history and social fabric
| |
| | will bring your fiction to life, and will
|
| of your chosen period. You know a lot
| |
| | signal to readers that you are a
|
| about material culture and historical
| |
| | trustworthy narrator.
|
| process. You're experienced at
| |
| | 9. Read as many different primary
|
| traditional research, and you conduct
| |
| | accounts as possible. Becoming steeped in
|
| experiential research every time you
| |
| | period literature of all kinds will help
|
| participate in a new event or try your
| |
| | you impart the flavor of
|
| hand at a new activity. And you probably
| |
| | period-appropriate speech in your
|
| have an innate sense of story. The things
| |
| | fiction. (Note I said "flavor." You don't
|
| that you find most interesting about your
| |
| | want to overwhelm readers with
|
| hobby would likely make a strong
| |
| | period-perfect but hard-to-understand
|
| foundation for a novel.
| |
| | speech.)
|
| If you are ready to get to work, here are
| |
| | 10. Join a professional writers'
|
| a few suggestions.
| |
| | organization. Membership can be an
|
| 1. Develop a fresh story idea. If you
| |
| | excellent way to learn more about both
|
| want to write a children's book about the
| |
| | writing and publishing. The groups'
|
| Civil War, see how many stories about
| |
| | informative newsletters are often worth
|
| drummer boys exist before writing one of
| |
| | the price of membership. Most groups also
|
| your own.
| |
| | hold regular conferences, which let
|
| 2. Once you've settled on your idea,
| |
| | pre-published authors meet other writers,
|
| focus first on writing your story, not
| |
| | agents and editors. The Historical Novel
|
| publishing your novel. Enjoy the process.
| |
| | Society is an umbrella group for all
|
| Take a class. Learn your craft. Let the
| |
| | historical fiction writers.
|
| marketing stuff come later.
| |
| | Genre-specific groups like the Society of
|
| 3. Create a compelling, memorable main
| |
| | Children's Book Writers and Illustrators,
|
| character. The best fiction is
| |
| | Mystery Writers of America, and Romance
|
| character-driven, so spend a lot of time
| |
| | Writers of America may help you find
|
| thinking about the people you'll be
| |
| | professional success.
|
| writing about. Develop a complete history
| |
| | Once your story is as good as you can
|
| for them. All the information won't make
| |
| | make it, you have options for publishing.
|
| it into the story, but it will help you
| |
| | If your top priority is creating a book
|
| present a complex, believable, consistent
| |
| | that your family and friends can enjoy,
|
| character.
| |
| | sooner than later, you may want to
|
| 4. Once you have a strong sense of your
| |
| | self-publish. If your only dream is a
|
| character, shape your plot. Think in
| |
| | book contract from a major publisher,
|
| terms of having your character struggle
| |
| | hunker down for the long haul. Learn
|
| to achieve something. Short stories and
| |
| | everything you can about the industry.
|
| books for young children may have one
| |
| | Read what's being published and make note
|
| clear plotline. More complex novels have
| |
| | of what different presses are looking
|
| multiple plotlines. I like to think in
| |
| | for.
|
| terms of "outer" and "inner" struggles.
| |
| | Having a book published is an amazing
|
| In Hearts of Stone, my main character
| |
| | experience. Still, if someone told me
|
| Hannah's outer plot involves struggling
| |
| | that I'd never be published again, I
|
| to keep her family together after she and
| |
| | wouldn't stop writing. The process of
|
| her younger siblings become orphaned and
| |
| | researching, imagining, and writing my
|
| homeless during the Civil War. Her inner
| |
| | stories brings its own rewards. I hope
|
| plot focuses on her emotional struggle to
| |
| | you can find that magic as well.
|
| accept both her father's decision to
| |
| |
|
