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