Tag: how to

Finish Your Book…Already

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[found on josephfinder.com; by Joseph Finder]

“1. Just write it. Fix it later. That means: don’t worry about word choice or grammar. Don’t worry about getting your facts right.

2. You do have time — if you really want to do it. You have a full-time job? A family? Carve out an hour or two early in the morning before the rest of the house gets up, or before you go to work. Or at night, if you’re not too wiped out to write. Try to make this a regular time slot — do it at the same time each day, for the same amount of time. Make it a habit. I know a number of writers who finally started making enough money from their writing to be able to quit their day jobs, only to discover that, as soon as they started writing full time, they suddenly became far less efficient. All that time stretching before them in the day — the two hours of writing per day they used to squeeze in here and there now took them eight hours. There’s something to be said for not having a lot of free time to write. It tends to make you more efficient.

3. Writing is a job. Treat it like one. I don’t work at home; I have an office, and I go there to write. If you don’t have an office, you should set aside a place that is just for you and your writing – the attic, the basement, a corner of the laundry room with a screen around it. If you treat your writing like work, your family and friends should do the same, and be more respectful of that writing time. No one thinks twice about interrupting a hobby, so make it clear that it’s not a hobby; it’s work. It’s your time.

4. Be ruthless in managing your time. This is the biggest problem most writers have. I have a big old hourglass on my desk for use on those days when I’m tempted to check my Facebook page. I upend it and don’t let myself get up until the sands of time have run out.

5. No e-mail! E-mail is truly our modern curse. It interrupts our attention span, fragments our concentration. Sign off. Do not let yourself check your e-mail or go online. Use an hourglass or a kitchen timer (if the ticking doesn’t drive you crazy) for 30 minutes or an hour, during which you may not do anything but write. In order to write you really need to get into the zone, and to get into the zone you need to be distraction-free. I love e-mail — but it’s the enemy!

6. Set interim goals. A full-length novel can be anywhere from 75,000 to 150,000 words, or even longer. If you think about having to write 75,000 words – 200 pages – you’ll freak yourself out. But if you write 1,000 words a day, you can finish the first draft of a novel in less than three months, even if you take some weekend days off.

7. Work toward a deadline. Everyone needs deadlines. Parkinson’s Law says that work expands to fill the time allotted; among my author friends, I know only one who regularly turns in manuscripts before they’re due (she was probably like that in school, too). The rest of us need deadlines. My publisher sets mine, but even before you’re published, you will find that your own life gives you natural deadlines: finish that draft before you leave for your next vacation, before you turn 40, before your next high school reunion.

8. Reward yourself. In The Fine Art of Feedback, I write about the challenges of getting and processing feedback – but while you’re writing, it’s not unusual for your brain to second-guess everything you’re doing. Override this by promising yourself rewards for getting work done. “When I hit 5,000 words, I’m going to the movies,” or even, “When I finish this paragraph, I can have another cup of coffee.” It worked in kindergarten and it works for me now.

Go to it, and good luck. Next time someone hears you’re writing a novel and tells you that they have a great idea for one, you can just smile and nod and think to yourself, Yeah, but I’m actually writing one . . .”

For more excellent information on writing from Joseph Finder, click HERE.

[found on http://www.josephfinder.com/writers/tips/just-write-the-damned-book-already]

Exercise Your Writing Muscles

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[found on writingforward.com; by Melissa Donovan]

“A compelling story speaks to us much the same way that music does, communicating thoughts, feelings, and ideas in ways that go beyond concrete language.

The result?

A click takes place within the psyche. When you hear a song or read a story that resonates in this manner, you connect with it on a deep level. It almost feels like the author or songwriter was speaking for you, about you, or to you.

Some say that truly great art communicates directly with the subconscious. That’s why the arts coexist so naturally. Where you find a buzzing music scene, you can be sure a booming literary crowd is nearby. And where filmmakers toil with scripts and cameras, you can bet dancers aren’t too far off.

Creativity breeds creativity and we are like magnets, drawn not just into our own passion, but those that complement and support our passions. Music, film, and art all enrich and inform one another. So do the musicians, filmmakers, artists, and of course, writers.

Fiction Writing Exercises

Some people say that everything has been written, every story told. But that’s not true. There’s always another angle, a different perspective that can be taken. And writers have all the tools they need to grab that perspective and run with it. You just need a starting point, and these fiction writing exercisescan help you find it. Try starting with a song.

Before you get started, here are a couple of tips to help you work through these exercises:

    • Make sure you aren’t familiar with the song’s video or that you don’t rewrite the video treatment.
    • Pick a song you like, something you can tolerate listening to several times over. In fact the more you enjoy the song, the greater the chance you’ll have fun with this experiment.

Exercise 1: A Story for a Song

Some of the greatest stories of all time have been told through song. Remember Janis Joplin’s “Me and Bobby McGee?” John Mellencamp’s “Jack and Diane?” What about Bob Marley’s “I Shot the Sheriff?” Each of these songs tells a clear and distinct story.

Choose a song that tells a clear story and write the story behind it. This is kind of like traveling backward and trying to find those one thousand words that represent the value of a picture.

Exercise 2: Ambiguous Tales

On the flip side, we have ambiguous lyrics, like “Hotel California,” by the Eagles or “Losing My Religion” by R.E.M. Tunes like these have inspired lively debates that ask, what are these songs about, anyway? And if we don’t know what the songs are about, why do they succeed at speaking to us? How do they become enormous hits that cross genre lines?

Choose a song that tells a vague story and write about what really happened. Your goal is to take a hazy story and make it clear.

Exercise 3: Who Needs Lyrics?

This is the biggest challenge of all: choose a piece of instrumental music (with no lyrics) and find the story in the melody, harmony, and rhythm.

Music and Fiction Writing Exercises

Throughout history, great artists have collaborated and mixed mediums and media to come up with fresh takes on ancient truths. These fiction writing exercises provide a new source for inspiration, get you working in collaboration with other artists (musicians), and give you creative license to put a new spin on something that’s been around for a while.

You can write a paragraph, a few pages, or an entire novel. You could also write a script for film or stage. If you’re strapped for time, just write an outline or a few character sketches. And if you don’t feel like writing it down, just work it out in your head. Find the connection between music and storytelling and let it capture your imagination.”

For more great information on writing and exercises by WritingForward.com, click HERE.

[found on http://www.writingforward.com/writing_exercises/fiction-writing-exercises/fiction-writing-exercises-story-for-a-song]

Edit Your Book…Before You Take It To An Editor

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[found on writersdigest.com; by Mike Nappa]

“1. The Close-In Writing
The basic method: You write a day’s worth of work (either fiction or nonfiction)—whatever that means for you. Next day, before you write anything new, you revise and edit the previous day’s work. This is the “close-in writing,” and becomes the first draft—the first time your write your book.

2. The Close-In Edit
When the entire first draft is complete, you go back through and, beginning with word one to the end, you revise and edit the entire manuscript on your computer. This is the “close-in edit,” and becomes your second draft: the second time you write your book.

3. The Distance (or “Hand”) Edit
Next, you print a hard copy of the second draft of your entire manuscript. Beginning with word one to the end, you hand-edit the hard copy, scrawling notes and profanities to yourself all the way through the margins. Then, using your hand-edit notes as a reference, you go back into your computer file and revise the manuscript as needed. This is the “distance edit,” and becomes your third draft: the third time you’ve written your book.

4. The Oral Edit
Finally, you print a new hard copy and read your entire manuscript aloud. Read it to the walls, to your spouse, to the patrons at Starbucks, to your dog, to the bowl of soggy Cocoa Puffs left over from breakfast. Doesn’t matter who’s in the room, only that you can hear yourself reading it. Start with word one and don’t stop until you read the last word. Yes, it may take you several days, but that’s OK. Keep reading every word out loud until you’re done.”

To read more on how to edit your book to its best, with tips from WritersDigest, click HERE.

[found on http://www.writersdigest.com/editor-blogs/there-are-no-rules/how-to-edit-your-book-in-4-steps]

I could have [written about the] dance all night…

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[found on egouvernaire.wordpress.com]

“Introduction : a dance scene is more about the conversation the characters are having through the medium of the action. The physical actions of your characters are really just another form of expression, like a secondary conversation, underlying the primary verbal conversation. The most important thing to figure out is what the characters’ intentions are and how your characters can express them through their dance – oriented interaction.

1) Preparation

First of all, the objective is to collect all informations you need about your dance scene (technical, history, habits etc.)

    • Looking at videos for learning how the dances you’re using work and look
    • Understanding the community and history that surrounds them
    • Read some interviews, chat or book with some dancers about dancing, so you can figure out how your characters might think about it
    • Taking a dance class could also help to experience it
    • Search for references : Titles, habits, cloth etc. – I can be very useful to select a track for your scene
    • Consult various scholar references, including specialized glossaries or images about dance movement and steps etc.

2) Identify Character Intentions

See, all things flow from the characters’ intentions, objectives and desire –setting up some obstacles. So all you need to figure out then is :

    • What each character wants- define a want list for each or a clear goal (and, of course, what there is to know about it)
    • What each character knows about the other character’s intentions
    • What each character would do to get what they want
    • How each character would react to the other character’s actions
    • Define what is the nature of the conflict : an object, money, love, power, social or psychological conflict etc.
    • What each character is going to do in getting what he wants – to reach his goal – what are the intensity of their desires
    • What each character is going to Win / Loose – what is the reward

So basically, just make sure to nail down the flow of information, intention, goal and interaction between your characters on a high level.”

For the rest of the steps to writing a great dance scene, with tips from Egouvernaire, click HERE.

[found on http://egouvernaire.wordpress.com/2013/04/12/how-to-write-a-damn-good-dance-scene]

Emotions…even in the REAL

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[found on freelancewriting.com; by Catherine Franz]

“You have completed the draft of an article, but it seems flat and lifeless, even to you. It needs to have the spark that ignites that all important emotional connection to your readers but you are at a loss as to how to spruce it up. Breathing life into a nonfiction article is tough, especially if it doesn’t include a character or an emotional storyline….

…Why would you even want to add emotion to a nonfiction article? Adding emotion to your writing, any type of writing, fuels the reader’s attention, helps them connect with the action. It gives the reader an experience. Experience is why people go to the movies or watch TV. More importantly, it keeps them reading.”

To learn the steps on how to emotionally charge your writing, with tips from Catherine Franz, click HERE.

[found on http://www.freelancewriting.com/articles/article-write-nonfiction-with-passion.php]

Calling All Fiction Authors — Platform Up!

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[found on thewritepractice.com by Joe Bunting]

“What Fiction Authors Really Need to Know About Their Platform

“…Several times a month, writers  ask me, “How can I balance blogging, Tweeting, Facebooking, Goodreading, and all the other stuff I’m supposed to do to build myplatform, while also focusing on my writing? I have a full time job, a family, and a cat. I just don’t have time for all that other stuff.”

Writers today are overwhelmed, frustrated, and let’s be honest, a little pissed off.Why do we have to build a platform anyway? Can’t we just focus on writing? 

It all came to a head for me when I read Michael Hyatt’s bestselling book Platform: How to Get Noticed in a Noisy World. The book was interesting enough, but when I looked for information that related to fiction writers, I found the only advice specifically focused on helping fiction writers was tossed into an appendix in the back of the book.

An appendix! 

That’s when I realized most of the so-called “experts” who said every author needs a platform were really just speaking to non-fiction authors. They didn’t have a clue what a fiction platform would even look like.

Meanwhile, thousands of fiction writers followed their advice, creating blogs they resented, Twitter accounts that overwhelmed them, and Facebook pages with thirty-seven likes. For most creative writers, this whole platform experiment has been a waste of time.

That’s when I decided I needed to learn everything I could about how to build a platform specifically designed for fiction writers.”

There is too much excellent information on this, to put it here. To learn more about Fiction Writer’s Platforms from TheWritePractice, click HERE.

[found on http://thewritepractice.com/fiction-platform]

Vocabulary? Can’t I just write how I talk?

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[found on time4writing.com]

“Why is a Strong Vocabulary Important?

We use spoken and written words every single day to communicate ideas, thoughts, and emotions to those around us. Sometimes we communicate successfully, and sometimes we’re not quite so successful. “That’s not what I meant!” becomes our mantra (an often repeated word or phrase). However, a good vocabulary can help us say what we mean.

For example, let’s say that you are outside in your yard and see a large black car stop in the road. You can see four tinted windows on one side of the car, and you assume there are four tinted windows on the other side, too. Just then, the driver’s door opens, and a man wearing white gloves steps out. He walks to the back of the car and looks underneath. He shrugs his shoulders, climbs back into the car, and drives away. After you remember to close your mouth, which has been hanging open, you run next door to tell your friend what you saw. What do you say? If you know a couple of key words, you can quickly explain to this person what you saw. Instead of describing the number of windows and the length of the car, you could simply say that you saw a black limousine (a long, luxurious car). Then, instead of describing the man with the white gloves, you could say you saw the chauffeur (someone paid to drive a car or limousine) walk to the back of the car. Knowing these key words can help you quickly and effectively communicate your meaning.

When you’re faced with a writing assignment, a good vocabulary is an indispensable (very important or necessary) tool. If you have several synonyms (words with similar meanings) in your repertoire (“toolbox”), you’ll be able to choose the best word for the job. Avoid vague words like “stuff” or “things” when you write. These words do not give the reader a good sense of your meaning. Also, use strong verbs that give the reader good information.

Here’s an example:

    • POOR: People do a lot of things.
    • BETTER: People perform a lot of tasks.

Work on building your vocabulary so that you can choose the stronger, more descriptive words in your writing.

You may also want to vary your vocabulary depending on your audience. Are you writing for children? Then stick with simpler words. Are you writing for college students? Then pull the more difficult words out of your “toolbox” to avoid talking down to them. It’s important to consider your audience when writing.

You may also find it difficult to choose the best word for a sentence when you’re writing. If you have a strong vocabulary, these choices will be easier!”

For more great tips on writing from Time4Writing, click HERE.

[found on http://www.time4writing.com/writing-resources/vocabulary]

Where’s the Plot?

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[found on theunnovelist.com]

“Plot is a braid of three strands:

1. Character Emotional Development

      • The plot exists so the character can discover for himself (and in the process reveal to the reader) what he, the character, is really like: plot forces the character to choose and act.  By making choices and reaping their consequences, the character transforms from a static construct to an animate being.

2. Dramatic Action

      • Action is driven by what the characters want and the conflict that stands in their way.

Thematic Significance

      • Tie the character’s private passion to a bigger, more universal public subject, and the thematic plot line is launched.”

For more great tips and insights on writing structure from The Unnovelist, click HERE.

[found on http://theunnovelist.com/plot/plot.html]

Don’t Stay Mediocre, Success Is Waiting

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[found on copyblogger.com by Jonathan Morrow]

“5 Crippling Beliefs That Keep Writers Penniless and Mired in Mediocrity

Is it just me, or is the whole starving artist thing highly overrated?

Yes, there’s a certain romanticism to being a penniless vagabond, sacrificing material goods in the selfless pursuit of art.

Yes, it’s fun to fantasize about everyone suddenly realizing you’re a genius after you’re dead and auctioning your once-soiled toilet for nearly $20,000.

Yes, it’s hip to take a stand against evil capitalists and proselytize about constructing digital economies based on currencies of cool.

But eventually, it gets old.

I know, because I’ve been there. In college, I was the epitome of the starving artist, winning poetry competitions and acing English classes with ease and then bumming gas money to get home, but eventually I realized three things …

      • No matter how good your poetry is, girls think you’re lame when you take them out for a romantic dinner at Taco Bell
      • After sleeping in your car for a week, you don’t feel like writing a damn thing
      • Pretty much the only job available to English majors is to become an English teacher, and they’re some of the most underpaid, under-appreciated people on earth

Sooner or later, you begin to reconsider. I mean, no, you don’t have to be rich and famous, but would having your own apartment and being able to afford food be so bad? Hell, it might even help your writing.

So, you embark on your quest to make some money.

You try to write some articles for magazines and newspapers. You hire yourself out as a freelance copywriter (even though you probably have no idea what copywriting is). You start a blog and wait for the world to beat a path to your door.

And if you’re lucky, you survive. No, you’re not sitting by the beach drinking margaritas, but you have food and a bed and a car, and people don’t worry about catching weird diseases when they’re standing beside you in the elevator. It’s nice, but you still haven’t “made it,” and you wonder why.

In my experience?

It’s because you don’t have your mind right. You have these nasty little demons sitting on your shoulder, feeding you lies about the relationship between success and art. You probably picked up some of these ideas from your parents, others from your teachers, and still others from fellow writers and artists.

And if you let them, they’ll cripple you. You’ll go through your whole life knowing you’re talented but never quite making it and forever wondering why.

We can’t let that happen.

Below, you’ll find some of the most common beliefs that hold writers back. Take a look, and see if any of them look familiar:

Crippling Belief #1: It’s all about you

The most heinous lie to ever infect the mind of a writer is the belief that your work is all about you.

You believe your writing is a form of self-expression, an extension of your mind, a little piece of your soul imbued into the page. To write well, you just need to beauthentic, and if the world doesn’t like it, the world can go to hell.

Provocative, right? And like all the best lies, it has a grain of truth to it.

Yes, authenticity matters, but only to the extent people enjoy what you do. You’ll never find me auditioning for American Idol because, the fact is, I couldn’t carry a note to save my life. Yes, my voice is authentic, but it’s authentically bad, and that means I’ll never be a singer.

Writing works the same way. To be successful, stop worrying about who you are and start thinking about what your audience wants.

What do they like? How is it done? Only after you’ve answered those two questions are you ready to ask the third one: is it right for you?

I can’t overstress how important the order is. Them first, you second, never the other way around.

Crippling Belief #2: Building a following takes time

The last bastion of hope for any struggling writer is that building a following takes time.

Sure, life sucks right now, but if you’ll just hang in there, things will snowball, and everything will be all right.

It seems reasonable. After all, no one gets famous overnight, right? Everywhere you look, there are stories of successful people persisting when there was no hope, trudging forward one weary step at a time, unwilling to quit, clinging fiercely to their dreams, manifesting success through sheer power of will.

It’s inspiring… but it’s also deceptive.

Yes, building a following often takes time, but it’s not because people are slow on the uptake, incapable of seeing your brilliance until you’ve been around for a few years.

It’s because, when you’re a newbie, you do everything wrong, and most of us get knocked around for a few years until we figure out how to do it right.

In other words, you’re not waiting on the world. The world is waiting on you.

Yes, persistence is important. Yes, learning takes time. Yes, it’ll probably be slow and painful. But the sooner you learn, the sooner it will be over. So get busy.

Crippling Belief #3: You know what you’re doing

So, let me guess:

You’ve always been a pretty good writer, right? No, you haven’t won a Pulitzer or anything, but your teachers fawned over you in school, and your friends and family are awestruck by your skill with words.

Maybe you’ve even written for a magazine or newspaper a time or two and gotten some real credentials to put on your resume.

You believe all of that makes you different. When you start a blog or write a press release or hang up your shingle as a freelance writer, you believe things will be easier for you than all of the other bumbling writers out there. Unlike them, youknow what you’re doing.

Heh.

It never ceases to astonish me how many writers believe this. They honestly think being able to spell, write a grammatical sentence, and make a few aunties and uncles smile is enough to make them a good writer.

It isn’t. The difference between writing for free and writing to become recognized as a worldwide authority is like the difference between taking a jog after work and running an Olympic marathon. Like running events, each type of writing is also quite different, and even a legend might need years of training to switch.

The bottom line: if you want to make a career out of writing, you have to be serious about it.

You’ll need to commit years of your life to mastering it, and even then, you’ll have barely caught a glimpse of everything there is to know.

Also, if you’re not willing to make that commitment, that’s fine. Just hire someone who is. It’s far faster and much, much less painful.

Crippling Belief #4: Writing can only be a labor of love

It’s about the art. It’s about the fans. It’s about the ideas themselves.

If you start trying to squeeze money out of it, you’ll just pervert it, commercialize it, transform it into a cold and hollow substitution for what it could have been. Right?

Well, yes and no. Once again, this one is dangerous precisely because it’s partly true.

Yes, all the best writers love what they do. The thing that separates Stephen King from a lot of other horror writers isn’t the gore or the suspense or the characters. It’s the joy. When he’s chopping off heads or destroying the world, he doesn’t just tell you about it. He revels in it.

Also, Stephen King is far from broke. I think he made something like $50 million last year.

Granted, we can’t all be Stephen King, but one of the greatest fallacies in writing is that art and money are mutually exclusive. If you love something, you can’t make money from it, or if you want to make money, you can’t love the work.

That’s just silly. You can have both. In fact, I would even say you need both, or you’ll never have the staying power to become truly great at what you do.

Crippling Belief #5: You’re a writer (nothing more)

Many writers take enormous pride in what they do, and rightfully so.

We use nothing more than little splotches of ink to communicate with people across the globe.

We speak the unspeakable. We snatch ephemeral ideas from the air and bring them to life on the page.

It’s delightful. Amazing. Humbling.

But if you think it’s your only responsibility, you are horribly mistaken.

The best way I know to explain it is, imagine a mother carrying a child for nine months, religiously taking care of her body, doing everything a good mother does, and then the day she delivers it, she leaves the hospital and sets it on the side of the road. “Goodbye, sweet thing,” she says. “It was a pleasure, but now I have other things to do,” and then she walks away.

It’s a horrifying thought, right?

Yet, as writers, it’s something we do every day. We finish working on a piece, publish it, and then prop our feet up, praising ourselves for a job well done. “Finally, I’m finished,” we think. “On to the next project.” And then we watch from afar as it struggles to gain attention, weakens, and finally dies.

It’s a morbid metaphor, I know, but this point is absolutely essential for you to understand:

If you want to be successful, you can’t be a writer and nothing more.

You also have to be a constant caretaker, a shameless promoter, a fearless champion. You have to fight for your ideas the way a mother fights for her children.

Your job isn’t over the day you publish. On the contrary, it’s just beginning. More than likely, you’ll spend weeks, months, and years fighting to get your words the attention they deserve, and it’ll be the most tiring, nerve-racking, and yet unquestionably rewarding experience of your life.

Don’t neglect that responsibility. Don’t try to outsource it to someone else. Don’t rob yourself of the experience.

The truth is, the joy of writing isn’t the writing itself. It’s seeing your ideas spread. It’s seeing them touch other people. It’s seeing them take root within the minds of those people, where they continue to grow into something more wonderful than you could have ever imagined.

Do you want that?

If you do, then be more than just a writer. The world already has enough of those.

What we need are more warriors. What we need are more heretics. What we need are wordsmiths with the courage to change the world.

Words aren’t just words, you see. They’re the medium through which writers accomplish change.

Great writers don’t just inform you. They don’t just entertain you. They don’t justpersuade you. They change you, leaving you a slightly different person than you were before you read their work.

If you ask me, change should be the standard we hold ourselves to, not merely scribbling words down upon the page.

Then again, what do I know?

I’m just a writer. Nothing more.”

For more excellent posts from Jonathan Morrow, click HERE.

[found on http://www.copyblogger.com/crippling-writing-beliefs]

How To Write Historical Fiction

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[found on caroclarke.com]

“…The realities of the everyday things in your chosen time period will shape what your characters can and can’t do. This will constrain your own plot choices. It’s part of the challenge and joy of writing historical fiction to share with your characters the real problems, the real world, they live in. It stretches your imagination. If you aren’t fussy about your details, if you think it’s all right to have Willem know latitude and longitude or for Maria Dolores to carry a purse, then you aren’t up to the demands of historical fiction. Your characters will not be real, your story will have no life, and you will have failed your readers. If you’re that kind of writer, you’ll have stopped reading this essay as soon as you hit the word ‘research’. But you’re that other kind of writer, the historical novelist, the one who cares. You’ll have done your mountain of research both for the love of it and for the love of your story. What to do with all those cherished, hard-won facts?

…Once you’ve created your plot, you begin to write. Knowing the realities of the small, everyday things of your time period now allows you to conjure an authenticity into Willem’s and Maria Dolores’ lives. Long skirts swept the floor. Willem knows she’s hiding in the courtyard because he sees the lines her skirts have made in the sand his sister sprinkles on the paving tiles. Maria Dolores seizes a tankard to brain him – it’s leather, not metal, and her escape attempt collapses in laughter. When a Calvinist mob, incited by Willem’s sister, bays for the blood of the Catholic woman hidden in their midst, Willem and Maria Dolores are able to escape across the ice in the harbour, for this is the time of the Little Ice Age, when broad rivers froze.

Notice that the sand on the paving tiles, the material of the tankard, the unusually cold winter, are only included because they help propel the plot. As much as you’d love to discuss the construction of the typical Dutch house or the rise of Calvinism in the Netherlands, these aren’t pertinent to the actual events in the story. It’s pertinent that the leader of the mob has skates, it’s pertinent that the gunpowder in Willem’s pistol cakes when soaked with ice-water, it’s pertinent that the woolen skirts of the time were thick and heavy enough to stop a bullet. But if a beloved fact (the wheat for their bread came from Poland) doesn’t propel the action of the story, it doesn’t belong. You’ll use less than 20% of the facts you’ve researched in the events of your story, but the other 80% filling your head will give you a heightened understanding of the period, illuminating your characters and their world for you so that what the reader sees is the distillation of your sympathetic imagination, a richness condensed….”

For more great insights about historical fiction from Caro Clarke, click HERE.

[found on http://www.caroclarke.com/historicalfiction.html]