A Quote by Rachel Kushner
Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.
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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 believe in plot, in development of character, in the effect of the passage of time, in a good story - better than something you might find in the newspaper. And I believe a novel should be as complicated and involved as you're capable of making it.
The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.
I always write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story.
The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.
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.
You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.
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.
Truth is what is true, and it's not necessarily factual. Truth and fact are not the same thing. Truth does not contradict or deny facts, but it goes through and beyond facts. This is something that it is very difficult for some people to understand. Truth can be dangerous.
I feel very strongly that where the facts exist, a historical novelist should use them if they're writing about a person who really lived, because a lot of people come to history through historical novels. I did. And a lot of people want their history that way.
Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts - that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.
Indeed we may consider the engine as the material and mechanical representative of analysis, and that our actual working powers in this department of human study will be enabled more effectually than heretofore to keep pace with our theoretical knowledge of its principles and laws, through the complete control which the engine gives us over the executive manipulation of algebraical and numerical symbols.
Working on the plot/story idea for my next novel ... It always takes time.
Romantic fiction, in the broader sense, can be any novel that has a love story somewhere in it. It can be a mystery or a historical novel, as long as it has this very strong romantic thread running through it.
I've made the decision to adhere to three general truths when it comes to my novels: There will be a love-story element to the story, the novel will be set in eastern North Carolina, and the characters will be likeable. Then, I make each novel unique through differences in voice, perspective, age and personalities of the characters, and of course, plot.
There are filmmakers like me in different parts of the world that have a story they want to tell, and it's a story that comes out of a certain historical reality within their own life. Then you get committed all the way and however long it takes, stay very committed.
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