on-writing

We see her go through dangerous mood-swings, but I tried never to come right out and say "Annie was depressed and possibly suicidal that day" or "Annie seemed particularly happy that day."If I have to tell you, I lose. If, on the other hand, I can show you a silent, dirty-haired woman who compulsively gobbles cake and candy, then have you draw the conclusion that Annie is in the depressive part of a manic-depressive cycle, I win.

I think the best thing about being a writer is getting to dream. It's constantly viewing life through the "what if?" lens.

I am sifting my memories, the way men pan the dirt under a barroom floor for the bits of gold dust that fall between the cracks. It's small mining-- small mining. You're too young a man to be panning memories, Adam. You should be getting yourself some new ones, so that the mining will be richer when you come to age.

It's amazing that a man who is dead can talk to people through these pages. As long as this books survives, his ideas live.

If food is poetry, is not poetry also food?

Words are powerful. Words make a difference. They can create and destroy. They can open doors and close doors. Words can create illusion or magic, love or destruction. _ All those things.

The last thing one discovers in composing a work is what to put first.

To be a poet is a condition, not a profession.

Because as any writer will tell you, an IDEA for a book is like falling in love, it__ all wild emotion and headlong rush, but the ACTUAL ACT of writing a book is like building a relationship: it is joyous, slow, fragile, frustrating, exhilarating, painstaking, exhausting, worth it.

There is a muse, but he__ not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer station. He lives in the ground. He__ a basement guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you.

Write without pay until somebody offers to pay.

Fiction should be in its way subversive. I don't think books should be neat or gentle or genteel or comforting. I think they should be raw. They should be written as perfectly as possible, but what they do is to stir up, to lance the reader.

In my long career in this historical fiction business, though, I've found that the most effective storytelling concept is this: Once upon a time it was now.That has become my credo and my method as a longtime historical novelist.It's quite simple, if you see as Janus sees:Today is now.Yesterday was now.Tomorrow will be now.Three hundred years ago, the eighteenth century was now.You, as a historical novelist, can make any time now by taking your reader into that time. Once you grasp that, the rest is just hard work.Stay with me, and you'll see how such work is done.

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.

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.

Lucia Robson's facts can be trusted if, say, you're a teacher assigning her novels as supplemental reading in a history class. __esearching as meticulously as a historian is not an obligation but a necessity,_ she tells me. __ut 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.__he adds, __ 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.__nd they sure don't. They wouldn't risk the scorn of their colleagues by citing novels. But, Lucia adds:__ 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 __ruth_ 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.

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.

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.