Quote of the Day
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I find my characters and stories in many varied places; sometimes they pop out of newspaper articles, obscure historical texts, lively dinner party conversations and some even crawl out of the dusty remote recesses of my imagination.
The thing about being a mystery writer, what marks a mystery writer out from a chick lit author or historical fiction writer, is that you always find a mystery in every situation.
After closely examining my conscience, I venture to state that in my historical novels I intended the content to be just as modern and up-to-date as in the contemporary ones.
No, this customary aim of research by excavators is completely foreign to the historical work with which I am occupied... my sole and only aim is to be able to establish a historical fact, on which I disagree with some eminent historians and geographers.
Only two to three per cent of an audience is interested in words and pays attention to lyrics; most of the rest of it is about image or the beat or the sound, or else it's a tribal thing - country & western, rap, heavy metal, with historical folk rock off in some kind of cult.
The first book I sat down to write was an historical romance. It was really bad and thankfully no one ever saw it.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
Sharon Kay Penman
Respect can be as elusive as the unicorn. I know something of this because I write books that are set in the Middle Ages, and the historical novel is often seen as the unwanted stepchild in the fictional family. I know even more about respect - or the lack thereof - because I live in New Jersey.
Sharon Kay Penman
Understanding the true causes of the Depression, as well as the real economic record of the United States in the 1930s, is an essential ingredient in anyone's economic and historical education.
For novelists, the imagination is everything. The trick is to guide one's imagination using research. I love using old maps. When I wrote my novels on London and New York, I found wonderful historical atlases. Paris has the most lavish maps of all.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
I've just written a very gritty, non-magical take on the King Arthur legend, 'Here Lies Arthur,' and I'm currently toying with some other historical ideas, as well as working with the illustrator David Wyatt on some sequels to my Victorian space opera 'Larklight.'
Just because a company falls doesn't invalidate what we can learn by studying that company when it was at its historical best.
James C. Collins
I taught English and history, so my education for that really helped prepare me for writing historical fiction.
One of the things I enjoy most about writing historical romance is researching inspiring backgrounds and settings.
One of the great lessons I learned about historical fiction from writing 'Loving Frank' is that you don't try to disguise what people did; my approach was to try to understand the characters and why they did what they did.
For us, universal values such as justice, morality and peace cannot be disputed and it is for this reason that we pursue the restoration of historical truth.
My father loved to take us on historical vacations, and you should have seen the stares we received in East Berlin.
Many of the things the slow food people honor were innovations within historical times. Somebody had to be the first European to eat a tomato.
Backward is just not a natural direction for Americans to look - historical ignorance remains a national characteristic.
I love historical romance, absolutely love it.
I actually worked in the general market for many years writing steamy historical romance, and I had more freedom in the Christian market than I ever did in the general market to write about any issue that I needed to write about.
We live in an era with no historical precedents. History is no longer useful as a tool in helping us understand current changes.
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
I didn't need to write historical epics, no, or science fiction, though I read a lot of science fiction as a kid and rather liked it. But I didn't have the mentality.
John F. Kennedy
A. P. J. Abdul Kalam
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