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Cindy
Vallar
Author,
Editor, & Workshop
Presenter |
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Cindy
Vallar
Author,
Editor, & Workshop
Presenter |
|
| Read
about the latest historical novels! Editors' Choice Reviews - Historical Novels Review Historical Novels Review Online |
Save
the date for the next HNS Conference in America |
|
Historical Category
The Flight of the Sorcess by Barry S. Willdorf Tree Soldier by Janet Oakley Twins by Katherine Pym Historical Romance Category Five Card Stud by Gem Sivad For Love Is New by Jean Hart Stewart Healing Hearts by Taryn Kincaid Passages to November by Phyllis DeMarco Red Bird's Song by Beth Trissel Congratulations to the authors! The winners will be announced at EPICon in March. |
| MWSA 2011 Book Award
Winners Historical Fiction -- Event Look Long into the Abyss by A. R. Homer (2nd Runner Up) The Corydon Snow by Richard Whitten Barnes (1st Runner Up) Beyond Those Hills by MHA (Honorable Mention) Once a Knight by Walt Shiel (Bronze) Davud & the Mighty Eight by Marjorie Hodgson Parker (Silver) Victory Road by Mark Bowlin (Gold) Historical Fiction Chronicle Shall Never See So Much by Gerald Gillis (Gold) Historical Fiction Protagonist For Love of Country by William C. Hammond (Gold) |
| 2011 Langum Prize for
American Historical Fiction Julie Otsuka's The Buddha in the Attic Honorable Mention Geraldine Brooks' Caleb's Crossing Director's Mention After the Rain by John M. Archer The Mayor's Daughter by James Hoggard The Pilgrim by Hugh Nissenson Homestead by Sheila Ortiz-Taylor The Blood Lie by Shirley Reva Vernick |
| 2012 Scott O'Dell
Award for Historical Fiction Dead End in Norvelt by Jack Gantos |
History and historical fiction are necessarily not the same thing. The purpose of history is to narrate events as accurately as one can. The purpose of historical fiction is to enable a reader through the perspective of characters in the story to feel that she or he is present at the events. Such a goal obviously requires some modification of the events. - Andrew M. GreeleyFather Greeley's clarification between these two terms appears in the Author's Note of Irish Love, one of his Nuala Anne McGrail stories. James L. Nelson defines the difference in the Historical Note for The Only Life That Mattered. Sarah Bower, in her farewell Letter from the Editor column, shows how history can interefer with the story. History and fiction often conflict with each other, even while they complement each other. I believe historical fiction is a stepping stone to history, for the historical events recounted in a novel can, and do, lead readers to discover the truth behind the fiction. I also believe reading historical fiction provides us with a deeper understanding of our past.The place where the novel differs from the straight history is in the extent to which the "web of imaginative construction" is indeed imagined, or made up, if you will. The historian will tell you that Caesar traveled to Gaul. The novelist will tell you what he (most likely) ate, drank, thought, and felt along the way.... On the pages of A General History [of the Pyrates] the reader will see the bare bones of the story, the "certain fixed points" which I have used as a skeleton for this book. With this outline I have done what the novelist can do and the historian cannot, fictionalized the historical events and, I hope, come somewhat close to the truth of these three remarkable people. - James L. Nelson
I read a manuscript recently in which a seduction scene was brought to a frustrating halt as the author carefully enumerated the articles of clothing the hero was removing from his mistress, the fabrics they were made of and how they were worn. The promise of illicit sex on a beach sadly translated into a V & A catalogue entry. Historical novelists must remember they are novelists first and foremost, for whom history serves merely as a prop, a source of plots and characters and intriguing curiosities. If the past is another country, historical novelists are not so much the tour guides as the PR people who create the alluring adverts which beckon us in. We need to do the research in order to thoroughly immerse ourselves in the lives and times of our characters, in order to avoid merely writing modern novels in period dress, or -- and there should be a special circle of hell for this -- novels which patronise people from societies we perceive as more primitive than our own. But we must never become slaves to it, we must be prepared to jettison, disorder, conflate, to play as fast and loose with the facts as we need to to create good fiction. - Sarah Bower, Co-ordinating Editor (UK), Historical Novels Review
I attended many history lectures in high school and college, but rarely did the instructor present the course material in a way that fascinated me and begged me to learn more about the time period. On the other hand, historical novels did just that! As a child, my mom recommended I read one of her favorite children's stories, Snow Treasure by Marie McSwigan. It tells the story of how Norwegian children smuggled gold bullion past the Nazis to a freighter bound for Baltimore. Snow Treasure introduced me to World War II, and in high school I read several of Leon Uris' novels. Mila 18 and QB VII led me to learn more about the Uprising of the Warsaw Ghetto and the Holocaust.
Over the years many historical novels spurred me to study the history behind the novels. Those listed below evoked a strong desire in me to learn more about the historical events around which the author crafted his/her story.
The Snow Mountain by Catherine Gavin
Romanov Dynasty & Russian RevolutionA Woman Called Moses by Marcy Heidish
Harriet Tubman & Underground RailroadAngel in the Rigging by Erika Nau
U.S.S. Constitution & War of 1812Woman with a Sword by Hollister Noble
Anna Ella Carroll & American Civil WarCaptain Blood by Rafael Sabtini
Jacobite Uprisings & PiracyRide the Wind by Lucia St. Clair Robson
Cynthia Ann Parker & ComanchesTrinity by Leon Uris
Ireland's Great Potato Famine & the Easter Rebellion of 1916Over the years I also read many historical romances, but my favorite novels are always those that emphasize the history over the romance. It is why I describe The Scottish Thistle and my works-in-progress as historical novels intertwined with love stories. Both are key elements of my stories, but the reader encounters far more history than is commonly found in historical romances. While nurturing the love between the hero and heroine is an important theme in my books, they sometimes spend long passages of time apart or do things contrary to the normal roles of men and women in formula romance. For example, the Rising of 1745 separates Rory and Duncan for much of the time in the The Scottish Thistle. Alexine, the heroine in The Rebel and the Spy, exhibits many traits expected of a young woman living in New Orleans around 1812. Her brother, who raised her, is a sailor, privateer, and smuggler. Lucas, the hero, soon discovers that Alexine has many other traits society would frown on if they knew the truth.
When I write my stories, I strive to make history, time, and place come alive for readers so they feel as if they stand in the midst of the battle or feel the roll of a ship's deck beneath their feet. To achieve this sometimes requires modifications to history. Whenever I do alter historical details, I make note of them in the Author's Note at the end of the story.
Alan Gold, an Australian author of historical novels, echoed my feelings in the Author's Note of The Pirate Queen, recounts the exploits of Irish pirate and chieftain Grace O'Malley and her momentous meeting with another extraordinary woman of her day, Elizabeth I of England.
When creating a fictional work based on real characters, a novelist is often torn between real-life events and the needs of the narrative. In the case of Grace O'Malley, so little is known of her that liberties could be taken without too much risk of offence. Nonetheless, this is a work of fiction and so I have altered and omitted certain minor details of Grace's life for the sake of the plot, and ask any scholar with knowledge of Grace and her circumstances to please forgive me.Some authors and readers take exception to such changes, but I make the changes so that history doesn't take precedence over the story. If I wished to do the opposite, I would write nonfiction rather than fiction.To learn more about Historical Fiction, I invite you to read the following articles and visit the web sites that specialize in the intertwining of history and fiction. If you're interested in writing historical fiction, check out my suggestions for writers. Here's my print resources list from my Researching and Writing Historical Fiction Workshop.
Keepers from my Collection of Historical Fiction
The Iron Rose
by Marsha CanhamThe Only Life That Mattered
by James L. NelsonDragonfly in Amber, Outlander, & Voyager
by Diana GabaldonLady of the Glen
by Jennifer RobersonThe Pirate Queen
by Alan GoldScaramouche & Captain Blood
by Rafael SabatiniThe Hammer of God
by James HunterThe Deadly Lady of Madagascar
by Frank G. SlaughterThe Stricklands
by Edwin LanhamYears
by LaVyrle SpencerBowdrie & Bowdrie's Law
by Louis L'AmourChildren of the Mist, The Clansman,
Gold for Prince Charlie, Macgregor's
Gathering, & The Wallace
by Nigel TranterThere Is a Wideness
by Mark McAllisterVoyage of Plunder
by Michele TorreyAngel in the Rigging
by Erika NauIsland Harp
by Jeanne Williams
300: Separating Fact from Fiction by Dr. Kaveh Farrokh
Animating History: the Challenges of Writing an Historical Novel about Josephineby Sandra Gulland, author of the Josephine B. Trilogy
The Best is History by A. N. Wilson, Financial Times, 13 August 2010
Blending Fiction and History: What Works? What Doesn't? by Paula L. Fleming, author
Book Winner Hilary Mantel on Historical Fiction by Hilary Mantel, The Guardian 17 October 2009.
Can the Language of Historical Fiction Ever be "Authentic"? by Dr. John Yeoman, Clio's Children 24 June 2010
Captain Blood: The History behind the Novel by Cindy Vallar, March-April 2009
The Case for Author Notes in Historical Fiction by Cindy Vallar, Solander May 2011
A Day in the Life Method of Writing Historical Novels by Juliet Waldron, Literary Liaisons Newsletter (November/December 2004)
Dipping Into History by Terry Whalin, The Writing Life
Do It Yourself Historical Fiction by Steven Leibo, Director of the International Studies Program at Russell Sage College
Don’t Shoot Holes in Your Credibility by John Rains, Writing-world.com 21 August 2003
Edutainment: Is there a role for popular culture in education? by Malcolm Jack, The Independent 15 January 2010
Female Characters in YA Historical Fiction by Melissa L., Wonders & Marvels, May 2010
He Disagreed with the History, but He Liked the Story by William Rainbolt, author
Front Row Antonia Fraser, Margaret MacMillan, Philippa Gregory, Hilary Mantel, Sarah Dunant, and Tristram Hunt discuss the best ways of exploring the past with host Mark Lawson, who examines the differences between fact and fiction writing when recounting our heritage, 12 August 2009.
A Guide to the Best Historical Novels and Tales by Jonathan Nield
Historical Fiction is the Genre of the Moment by Sarah Dunnett, The Times 11 June 2010
Historical Fiction or Fictionalized History? Problems for Writers of Historical Novels for Young Adults by Joanne Brown, ALAN Review, Fall 1998 (vol. 26, #1)
A Historical Fiction Roundtable (Penguin Books UK podcast featuring Harry Sidebottom, Karen Maitland, Stewart Binns, Kate Williams, and A. L. Berridge -- July 2011)
Historical Fiction: Who Rules, Researcher or Story-teller? by Caro Clarke, columnist
Historical Hysteria by Mary Altman, Redlines and Deadlines, 3 December 2007
The Historical Novel compiled by Boris Raymond
Historical Novelist's Burden of Truth by Thomas Mallon, author of Henry and Clara, a novel about the couple who accompanied President and Mrs. Lincoln to Ford's Theatre on April 14, 1865
HISTORICAL Romance vs. Historical ROMANCE by Kalen Hughes, History Hoydens 21 June 2010
History in the Faking by Suzi Feay, Financial Times 1 July 2011
History is but a Fable Agreed Upon: the Problem of Truth in History and Fiction by Richard Lee, speech given to the Romantic Novelists' Association at their annual conference in 2000
History through Fiction by Ira Socolo, 22 January 2010
How Do You Write a Historical Novel? by Stephanie Cowell, She Read a Book, 29 April 2010
How Historical Fiction Went Highbrow by Jay Parini, Atlantic Magazine May 2009
How to Do Research for Historical Fiction: Balancing Fact and Fiction by Writer's Relief Staff, 3 March 2010
Making Historical Characters Your Own by David B. Coe, Magical Words, 15 March 2010
The Master of Historical Fiction by Allan Massie, Standpoint April 2010
My Annoyance with Historical Fiction by Carrie Lofty, 26 March 2007
One More Way to Avoid Anachronisms by Melissa L., Wonders & Marvels, March 2010
A Passion for the Past: 2011's Best Historical Fiction an interview with Sharon Penman on All Things Considered, 24 December 2011
Preface (to the Historical Nights Entertainment) by Rafael Sabatini
Prithee, How Should I Tackle Historical Fiction, Fair Lady? by Nicola Morgan, Help! I Need a Publisher! 15 January 2010
The Purpose of the Historical Novel by Lion Feuchtwanger (translated by John Ahouse), "Vom Sinn des historischen Romans," Das Neue Tage-Buch, 1935
Publishing Revolution: Historical Fiction Evolves in Digital Age by Robin Maxwell, The Huffington Post 10 February 2010
Research Flaws in Romance Novels by Anne M. Marble, Writing-world.com, 2001
Seminar: What Is Historical Fiction? at Oregon State University, 2003
A Research Primer for Historical Fiction Writers by Erika Dreifus, Writing-World.com, 2004
Roger Hudson Discusses Plausibility in Historical Fiction by Julie Lomoe, Musings Mysterioso, 12 March 2010
Seven Rules for Writing Historical Fiction by Elizabeth Crook, novelist
Signposts: Historical Fiction by Jerome de Groot, History Today 62:1, 2012
Some People Don’t Like Historicals by J. M. Hochstetler, Favorite PASTimes Blog, 28 November 2006
Story vs. Realism by Giles Kristian, 7 May 2010
Ten Rules for Writing Fiction by Rose Tremain, Go Into the Story, 26 March 2010
The Uncertainties of Writing a Historical Novel by James Champ, The National 12 October 2010
Ten Themes Shared by Historical Fiction and Science Fiction by Annalee Newitz, io9.com, 17 November 2011
Those Pesky Little Rivet Counters by Anne Gilbert, 16 February 2009
Thoughts on Accuracy in Historical Fiction by Lynne Connolly, 22 March 2009
What are the Rules for Historical Fiction by Sarah Nesbeitt, Assistant Professor, Eastern Illinois University, part of a panel discussion on historical fiction at the Associated Writing Programs annual conference, March 2002
What Is It with Wars?: Overrepresented Areas in Historical Fiction by Melissa L., Wonders & Marvels, March 2010
When a Spiffy Literary Vehicle Turns out to be a Book of Lemons by Trace Edward Zaber
Where to Draw the Accuracy Line by Nan Hawthorne, 17 February 2009
Why & How I Teach with Historical Fiction by Tarry Lindquist, National Elementary Social Studies Teacher of the Year
Writing Backward: Modern Models in Historical Fiction by Anne Scott Macleod, Horn Book Magazine, January/February 1998
Writing Historical Fiction transcript of a chat with Jane Buchanan, author of historical novels for children, on 19 September 2002
Writing Historical Fiction by John Gorman
Writing Historical Fiction by Alisa Libby, 12 January 2010
Back to learning more about historical fiction
Sites devoted to Historical Fiction
Back to learning more about historical fiction
- Language is one of the most important tools writers use. Its importance in historical fiction is paramount. Avoid using modern terms, especially when a character speaks or thinks. Choose words your characters would be familiar with in his or her time period, rather than relying on a comparison or descriptor you would use. If your character has a specialized trade, such a seaman or lawyer, learn that profession's specific vocabulary so your character comes across as actually being what he or she professes to be.
- History doesn't just mean the events that occurred in any given age. It also involves culture, clothing, food, and every other aspect of life during that time period.
- Don't rely on the "facts" you uncover while reading a historical novel. Use what you learn about the historical period or event as a stepping stone to discover the truth behind the fiction. The facts within a story may not be accurate. Use original resources or trustworthy secondary resources to gather information.
- Today, we often tend toward using words that don't offend others. When writing historical fiction it's okay to use politically incorrect words common to the times in which your story unfolds. Don't overload characters' dialogues and thoughts with them. Rather pepper the story where they are most appropriate to provide the flavor a reader needs to be in that time period.
© 2003-2010 Cindy Vallar
