When it comes to writing historical fiction, your plot, however entertaining, will only take you so far.
You also have to present a well-constructed setting that captures the culture, customs, details, and ethos of the historical period in question. In this way, histfic genre conventions have as much in common with an honours-level history class as with any other genre of fiction.
(Continued from Part 1 and Part 2)
History as a whole provides a vast collection of topics that are ripe to be made into historical novels.
Even when you’ve narrowed your interest to a specific historical era, the possibilities are virtually endless.
(Continued from Part 1)
Some writers are blessed with an abundance of ideas for future stories.
I am not one of those writers, to my great and ongoing dismay.
When I wrote my first historical novel, I made all the mistakes.
Not just those pertaining to good writing in general—and I made those big time—but also those specific to historical fiction in particular.
Apparently, I’m both a better and worse writer than I always thought.
It’s been pretty much a full year since I started my critique group, and the time I’ve spend working with my CPs has been full of revelations about myself as a writer.
I’m always taken aback when a non-writer is impressed by the act of writing a novel.
In last week’s post, I wrote about my passion for writing and how, in reality, my devotion to it presents as rather obsessive and possibly a little pathetic.
This past August, my family sold the house that I grew up in.
My dad had been living there, but passed away almost two years ago (it will be exactly two years at the start of December).