| For many reenactors, military and | | | | decision to fight for the Union Army and |
| civilian, one of the pleasures of a | | | | her best friend's support of the |
| weekend spent in the field is that | | | | Confederacy. |
| elusive moment when everything works. | | | | 5. Some writers outline their novels in |
| I've heard the sensation called "the | | | | advance; some don't. Choose whatever |
| bubble," or simply "the magic." There's | | | | approach works for you. I don't outline, |
| no way to predict exactly when it will | | | | but I do build a graphic organizer as I |
| happen. The feeling may last only | | | | go. I create a table with four headings |
| seconds. But once you've experienced a | | | | across the top: Chapter, Date, Scenes, |
| moment that suddenly looks, smells, | | | | Historical Events. That helps me keep |
| sounds, and feels so real that you | | | | track of what my characters are doing, |
| completely forget your modern existence, | | | | and how their actions fit into the |
| you'll be hungry for more. | | | | actual timeline of events that form the |
| I know I am. After a decade of | | | | backdrop for my story. |
| reenacting, I'm not able to participate | | | | 6. Research, of course, is essential and |
| much any more. Instead I read, | | | | ongoing. The historical details we love |
| disappearing into the magic of good | | | | can also bog down a novel's pace. If you |
| historical novels. And I write | | | | fall in love with some fact or process, |
| historical fiction as well, a | | | | don't just describe it in your fiction. |
| hobby-turned-career that lets me spend | | | | Use that information to help reveal |
| time in imaginary scenes of my own | | | | something new about your character, or |
| creation. My most recent novel, Hearts | | | | to advance your plot. |
| of Stone, grew out of a Civil War | | | | 7. Also, decide in advance where you are |
| refugee camp scenario at an event in | | | | going to draw the line on historical |
| Tennessee. And one of those "bubble" | | | | accuracy. Are you willing to |
| moments provided the kernel of raw | | | | fictionalize weather details, or to make |
| inspiration. | | | | up business names for the merchants in a |
| Is there a novel in your future? If, | | | | particular town? Reenactors are often |
| like a number of reenactors I know, | | | | fanatical about getting the details |
| you're interested in trying your hand at | | | | right. At some point, you'll have to |
| fiction, why wait until someday? | | | | say: Enough. I'm done. |
| Reenactors are well poised to write | | | | 8. Keep a journal when you are at |
| historical fiction-much more so than | | | | events. With a well-chosen pencil and |
| many of the beginning writers I meet | | | | notebook, you can even make it part of |
| when I teach general workshops on the | | | | your impression. Make a point of |
| genre. As a serious reenactor, you're | | | | recording specific, sensory details. |
| already steeped in the history and | | | | Those details will bring your fiction to |
| social fabric of your chosen period. You | | | | life, and will signal to readers that |
| know a lot about material culture and | | | | you are a trustworthy narrator. |
| historical process. You're experienced | | | | 9. Read as many different primary |
| at traditional research, and you conduct | | | | accounts as possible. Becoming steeped |
| experiential research every time you | | | | in period literature of all kinds will |
| participate in a new event or try your | | | | help 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 | | | | fiction. (Note I said "flavor." You |
| things that you find most interesting | | | | don't want to overwhelm readers with |
| about your hobby would likely make a | | | | period-perfect but hard-to-understand |
| strong foundation for a novel. | | | | speech.) |
| If you are ready to get to work, here | | | | 10. Join a professional writers' |
| are 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 | | | | writing and publishing. The groups' |
| the Civil War, see how many stories | | | | informative newsletters are often worth |
| about drummer boys exist before writing | | | | the price of membership. Most groups |
| one of your own. | | | | also hold regular conferences, which let |
| 2. Once you've settled on your idea, | | | | pre-published authors meet other |
| focus first on writing your story, not | | | | writers, agents and editors. The |
| publishing your novel. Enjoy the | | | | Historical Novel Society is an umbrella |
| process. Take a class. Learn your craft. | | | | group for all historical fiction |
| Let the marketing stuff come later. | | | | writers. Genre-specific groups like the |
| 3. Create a compelling, memorable main | | | | Society of Children's Book Writers and |
| character. The best fiction is | | | | Illustrators, Mystery Writers of |
| character-driven, so spend a lot of time | | | | America, and Romance Writers of America |
| thinking about the people you'll be | | | | may help you find professional success. |
| writing about. Develop a complete | | | | Once your story is as good as you can |
| history for them. All the information | | | | make it, you have options for |
| won't make it into the story, but it | | | | publishing. If your top priority is |
| will help you present a complex, | | | | creating a book that your family and |
| believable, consistent character. | | | | friends can enjoy, sooner than later, |
| 4. Once you have a strong sense of your | | | | you may want to self-publish. If your |
| character, shape your plot. Think in | | | | only dream is a book contract from a |
| terms of having your character struggle | | | | major publisher, hunker down for the |
| to achieve something. Short stories and | | | | long haul. Learn everything you can |
| books for young children may have one | | | | about the industry. Read what's being |
| clear plotline. More complex novels have | | | | published and make note of what |
| multiple plotlines. I like to think in | | | | different presses are looking 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 | | | | wouldn't stop writing. The process of |
| and her younger siblings become orphaned | | | | researching, imagining, and writing my |
| and homeless during the Civil War. Her | | | | stories brings its own rewards. I hope |
| inner plot focuses on her emotional | | | | you can find that magic as well. |
| struggle to accept both her father's | | | | |