A Quote by Debra Dean

With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
I think I'm too lazy a writer to do something like historical fiction. You have to do so much research. I just write what I know.
As much as I care about historical context - I'm very eager to read a really great historical account.
With a historical novel you know that liberties are being taken. Since Walter Scott, we know that poetic license, dramatic license, that events been conflated and that liberties have been taken, characters ditto, dates rearranged. But people don't seem to understand that movies are fictions, they are dramatizations, at least historical movies, and we should accord the moviemakers some of the same understanding and latitude. When you go to a movie you know it's a dramatization and not history.
In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.
You don't go to the movies to do historical research, unless it's historical research about the movies.
As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.
In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.
For me, the historical and genealogical library is the one I use. I'm working on, I'll say, it's a time travel novel. I haven't written very much of it. That's the dirty secret of the Cullman center: The writers don't write their fiction there, they just do their research.
Africa is going through its own historical process of state formation just as Europe and America did. It is just happening much later than other continents because of the interruption of Africa's own historical development by the colonization of Africa by Europe.
'The Borgias' is quite good because it does stick quite steadfastly to historical fact, so a lot of people who are interested in the historical element will love watching it, but they were also a ridiculously dramatic family.
Africans and persons of African descent must assume the primary responsibility and leadership in historical research....if we are to continue to leave practically all important historical research and writing concerning the black race to the white man, then we must be prepared to accept, uncomplainingly, the white man's point of view.
Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.
My process for determining which eras I'd write about was to just read history books that gave a really broad overview of Chinese history. And when I came across a historical figure or a historical incident that was especially interesting to me, ideas for characters and stories would surface.
For film, I think because it's more detailed, and especially with historical material, you really have to find the right projects. Speaking as a mixed-race woman, there aren't many historical stories about people like me. When people think of 'dual heritage,' they think it's a modern concept, but really it's not.
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