I’ve enrolled in “Plagues, Witches, and War”—a free on-line Coursera class on historical fiction. It’s awesome! I’m busy right now preparing for our move south, but I always have time for reading. You can see the course reading list here.
I read two of the “core” articles yesterday, both of them excellent, ones I would recommend to anyone interested in historical fiction.
Here’s from the excellent article by Ian Mortimer (who is both an academic, and writer of historical fiction under the name James Forrester), on “Why Historians should Write Fiction“:
“It teaches you how little you really know about the minutiae of the past, and destroys professional complacency. It humbles even the most experienced researcher. It demands that you think deeply about human character, and how it is formed, and how people integrate. But most of all it shows you that there is a different sort of truth beyond the measurements of facts and dates: truths about human nature which are timeless, or, at least, very slow-moving. And it leaves you thinking that these truths, although they are unproveable, are probably the most important historical conclusions of all, for they reflect what we are, and what we can be, both as individuals and as a society.”
The other article is a New Yorker profile of Hilary Mantel: “The Dead are Real.” It moved me profoundly.
Mantel on character development
Right now, between drafts, I’m often simply thinking and making notes about Hortense and her world, exploring character. A technique Mantel sometimes uses for getting to know her characters interests me:
“When she’s starting a new book, she needs to feel her way inside the characters, to know what it’s like to be them. There is a trick she uses sometimes, which another writer taught her. Sit quietly and withdraw your attention from the room you’re in until you’re focussed inside your mind. Imagine a chair and invite your character to come and sit in it; once he is comfortable, you may ask him questions.”
(A technique which dovetails nicely with another “course” I’m taking, on learning to meditate.)
Mantel on making changes to the historical record
The following passage reverberated for me especially because I recently had to sort out quite a tangle in THE SHADOW QUEEN because I had tightened the narrative timeline for dramatic purposes.
“She couldn’t always be sure that a character was in the place she said he was in at the time she put him there, but she spent endless hours making sure that he wasn’t definitely somewhere else. “Once you play around with history, it trips a whole load of consequences,” she says.”
Mantel on a certain type of writer’s block
This passage expresses a fear I often have, and most writer have as well:
“I don’t think one ever quite learns to trust the process,” she says. “I feel, What if I wake up tomorrow and I can’t do it anymore? I know I’ll always be able to write, in the sense of having a robust style that’s sufficient to the occasion, and I know that books can be got onto the page by craft, but the thing that makes a phrase that fizzes on the paper—you always fear that may not be there any longer, because, after all, you did nothing to deserve it. You did nothing to contrive it. It’s just there. You don’t understand it, it’s out of your control, and it could desert you.”
Fortunately, I’m not a writer of phrases that fizz, but there is a certain passion and energy that one brings to a story and I do worry about fatigue. The cure for that, for me, is invariably research and inspiring reading. I’ve chosen to read A Tale of Two Cities by Charles Dickens for the class: such a passionate writer!
