A Quote by Mary Pope Osborne

While I was drawn to the Renaissance, my first (unpublished) novels took place in modern times. When the subject of alchemy started creeping into my stories, an astute mentor observed that the bits about alchemy might fit better in another time frame. When I finally decided to weave the pieces about the medieval science into historical settings, a successful novel began to emerge. (And I dusted off that art history book, and put it to use once again.)
What the great mentor is always looking for is a person who is willing to tap his genius, to put it through the refiner's fire, to do the hard work to develop it. Indeed, mentoring is the medieval art of alchemy-turning plain old human steel into hearts and minds of gold.
If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.
I sold my first short story while I was home on maternity leave, then began working on novels. Since I was reading and enjoying romance novels at the time, the first two unpublished manuscripts I wrote were both romances. I sold my third novel, 'Call After Midnight,' to Harlequin Intrigue after submitting it unagented.
The old alchemy, or what was just called alchemy, has a history. Most people, if they've been trained in sciences, think of alchemy as the precursor to chemistry. Back in time, people were called alchemists and they worked for kings and rich people, smelting metal and trying to change base metal into gold, because the king wanted to be richer.
My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
The real alchemy is transforming the base self into gold or into spiritual awareness. That's really what new alchemy's all about.
Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.
I started writing novels while an undergraduate student, in an attempt to make sense of the city of Edinburgh, using a detective as my protagonist. Each book hopefully adds another piece to the jigsaw that is modern Scotland, asking questions about the nation's politics, economy, psyche and history ... and perhaps pointing towards its possible future.
In 1965, when I was fourteen, I read my first adult novel; it was a historical novel about Katherine of Aragon, and I could not put it down. When I finished it, I had to find out the true facts behind the story and if people really carried on like that in those days. So I began to read proper history books, and found that they did!
I can't rightly say where deciding to write about the American Revolution came from; I had bits and pieces of information about the war and about the country at that time that I'd collected over the years and, of course, I'm comfortable in the woods, so, finally, it just all feel into place.
I started writing short stories. I tried writing horror, mystery, science fiction. I joined a little critique group here in town and ran my stories past them. After about three years, I tackled my first novel, Subterranean. It took me 11 months to write.
While driving to work, I'll choose to think about a particular subject rather than just have random thought streams landing on one subject or another. For example, I might think about the structure of an opinion. Or I might think about the first sentence of an opinion, refining it.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
I started writing my first book for young people when I was in college. I was only a couple of years out of my teens when I began; I felt closer to that experience than I did as an adult. But I've always been drawn to stories about young people.
Héctor Tobar's accomplished first novel affords a perspective that is overdue and urgently needed in North American literature- -an insider's vision of L.A. as a Third World city. The Tattooed Soldier is a riveting book that manages to be at once politically informed and at the same time a psychologically astute study of that most elemental of stories: revenge.
I don't write non-fiction because I get bored. Some of my writing is autobiographical, but not the way readers imagine. I use my memory of settings, events and people. I weave history into my stories, but my narratives are made up.
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