A Quote by Antony Beevor

The power of historical fiction for bad and for good can be immense in shaping consciousness of the past. — © Antony Beevor
The power of historical fiction for bad and for good can be immense in shaping consciousness of the past.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
Historical fiction is actually good preparation for reading SF. Both the historical novelist and the science fiction writer are writing about worlds unlike our own.
It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.
Historical fiction is simply fiction set in the past, and should be judged as such.
Real stories - whether in pure fiction or historical - have a certain indefinable power; we are endlessly curious about the past and hungry for learning that we hope will illuminate the present.
"Hard" science fiction probes alternative possible futures by means of reasoned extrapolations in much the same way that good historical fiction reconstructs the probable past. Even far-out fantasy can present a significant test of human values exposed to a new environment. Deriving its most cogent ideas from the tension between permanence and change, science fiction combines the diversions of novelty with its pertinent kind of realism.
What 'Floating Worlds' does draw on is Holland's artistry in bringing the past to life in her historical fiction and depicting the people who inhabited that past.
As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.
History buffs expect historical background in historical fiction. Mystery readers expect forensics and police procedure in crime fiction. Westerns - gasp - describe the West. Techno-thriller readers expect to learn something about technology from their fiction.
Remember that consciousness is power. Consciousness is education and knowledge. Consciousness is becoming aware. It is the perfect vehicle for students. Consciousness-raising is pertinent for power, and be sure that power will not be abusively used, but used for building trust and goodwill domestically and internationally. Tomorrow's world is yours to build.
Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.
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.
Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.
People who wrote literary novels about the past probably didn't want them pegged as historical fiction. Certainly that was true in England.
Politicians have immense power to do harm to the economy. But they have very little power to do good.
The test of any good fiction is that you should care something for the characters; the good to succeed, the bad to fail. The trouble with most fiction is that you want them all to land in hell, together, as quickly as possible.
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