A Quote by Matthew Tobin Anderson

I feel like it's hard to get into historical novels where you know what the story is far too well. — © Matthew Tobin Anderson
I feel like it's hard to get into historical novels where you know what the story is far too well.
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.
I write novels, mostly historical ones, and I try hard to keep them accurate as to historical facts, milieu and flavor.
I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.
Historical novels are hard to do for the general public for commercial writers like myself.
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.
I write both, as you know, dozens of ecological and social scientific and historical works, dozens of novels. It's hard to describe a novel that grapples with the horrors of World War II as anything but grueling. But Codex Orféo is somehow...well, I hope, riveting for readers. Deeply provocative. Cinematic in a nearly surreal sense.
The British feel of blues has been hard, rather than emotional. Far too much emphasis on 12 bar, too little attention to words, far too little originality.
As far as benefits to reading historical novels, there are several! For one thing, you learn about life in another era. Secondly, these novels help us to develop a deeper understanding of the legacy of women who came before us and the strides made by our ancestors.
You don't get any mixtapes, you know, 'cause I don't like my voice in there. I want to be that, but that's just not me, you know. And I'm very impatient; if I don't do it right, I'll be like, well, 'Ok that's the best I'm gonna do it.' Because I feel like if you take too much time on something, you lose the motivation for it.
When I was working on a Victorian-era novel, to get in the mood, I read several historical novels set in approximately the same period and place, and really enjoyed the detective novels of John Dickson Carr.
I like to know the places I write about. I feel like it helps me ground the novel. My novels are 'realistic novels,' but they can also be fantastical, so it's nice to have a setting that grounds them a little bit.
I guess there's something about you don't know why you're attracted to a character, but you're attracted to them enough to want to - it's like when a song comes on, and you feel like dancing. You don't know why; you just want to dance. It's hard to analyze that feeling, and if you do, you get far away from it.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.
We Bengalis are querulous, arrogant, oversensitive and far, far too emotional. We cry too often and laugh too hard. We wave our passions like bright flags. Calcutta is our city.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
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