Quotes of All Topics . Occasions . Authors
I hated historical novels with fluttering cloaks.
I don't write fantasy; I write historical novels about an imaginary place.
I feel like it's hard to get into historical novels where you know what the story is far too well.
It was like a page torn from a history book, from some historical novel about the captivity of babylon or Spanish Inquisition.
The historical novel gives us perspective on our modern lives and helps us connect with the story, which we are continuing ourselves.
Historical novels, in particular, allow us to relive the past without the neatness of history, and with all the complexity of the present.
Asking the author of historical novels to teach you about history is like expecting the composer of a melody to provide answers about radio transmission.
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.
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 don't separate my books into historical novels and the rest. To me, they're all made-up worlds, and both kinds are borne out of curiosity, some investigation into the past.
After closely examining my conscience, I venture to state that in my historical novels I intended the content to be just as modern and up-to-date as in the contemporary ones.
Historical novels are, without question, the best way of teaching history, for they offer the human stories behind the events and leave the reader with a desire to know more.
I enjoy thinking myself into other times and places. I don't like some of the conventions of the 'historical novel', but I think there's a way of doing it that has a lot of merit.
I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.
You always try to do your own thing. One of the things I wanted to do was to write a book that combines some of the best traits of contemporary fantasy with some of the traits of the historical novel.
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.
Intricately plotted, beautifully paced, The Music of the Spheres is an elegant historical novel rich in detail, at times Dickensian in its description of London. Elizabeth Redfern has made an exciting debut.
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.
There are some varieties of fiction that I never touch - mystery stories, for instance, which I abhor, and historical novels. I also detest the so-called "powerful" novel - full of commonplace obscenities and torrents of dialog.
My remembrance of the past is a novel I am constantly recomposing; and it would not be a historical novel, but sheer fiction, if the material events which mark and ballast my career had not their public dates and characters scientifically discoverable.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
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.
When you read a history or biography you are entitled to imagine that it is as accurate as the authors can make it. That research has gone into it and we say "This is a history of the civil war, this is a biography of Lincoln" whatever. But you don't make any such supposition when you say "This is a historical novel."
[My wife] liked to collect old encyclopedias from second-hand bookstores, and at one point we had eight of them. When I wrote my first historical novel---back in 1980, before I was online---I used them often as a research tool. For instance, I learned that the Bastille was either 90 feet high or 100 feet or 120 feet. This led me to formulate Wilson's 22nd Law: 'Certitude belongs exclusively to those who only look in one encyclopedia.'
Whether I like it or not, most of my images of what various historical periods feel, smell, or sound like were acquired well before I set foot in any history class. They came from Margaret Mitchell, from Anya Seton, from M.M. Kaye, and a host of other authors, in their crackly plastic library bindings. Whether historians acknowledge it or not, scholarly history’s illegitimate cousin, the historical novel, plays a profound role in shaping widely held conceptions of historical realities.