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