Reframing Woman in a Frame
I recently gave a talk in a friend's class on children's literature about issues in historical writing. One interesting question brought up was what would make topics in Philippine history would make good historical fiction.
A few students were familiar with Adarna's YA historical books set in important periods of history, like Martial Law. Most, however, did not know there was Philippine historical fiction for kids. To be sure, there isn't much. Apart from my own book and the series I mentioned, there's Enrique el Negro and May-i by Carla Pacis and Isang Harding Papel by Augie Rivera.
But, playing the devil's advocate, I pointed out that some of these might not be considered stories in the strict sense. They are fiction because not enough about the characters and actual events is known to write a factual story, hence gaps are filled in by the writer's imagination. But very often situations and places are just described by a character who is on the fringes of things and does not act to resolve the conflict.
To be honest, now and then I still wonder if I was right to let my creative writing class talk me into changing the ending which I felt was "more realistic" given the culture of the times. But while talking about the ideals of children's lit, I realized the new ending was the better one, because I forced my protagonist into direct involvement with the Philippine Revolution--in a small way, only, perhaps, but it was still, one student said, empowering, and realistic given the ways most actual women and children contributed to the efforts of the Katipunan. And by doing so her character was uplifted to focusing on national concerns rather than remaining fixated on her smaller personal issues.
So I'm glad I gave this talk. Also because it has started me thinking about my historical writing projects again. Among my unfinished manuscripts are a sequel to Woman in a Frame.
A few students were familiar with Adarna's YA historical books set in important periods of history, like Martial Law. Most, however, did not know there was Philippine historical fiction for kids. To be sure, there isn't much. Apart from my own book and the series I mentioned, there's Enrique el Negro and May-i by Carla Pacis and Isang Harding Papel by Augie Rivera.
But, playing the devil's advocate, I pointed out that some of these might not be considered stories in the strict sense. They are fiction because not enough about the characters and actual events is known to write a factual story, hence gaps are filled in by the writer's imagination. But very often situations and places are just described by a character who is on the fringes of things and does not act to resolve the conflict.
To be honest, now and then I still wonder if I was right to let my creative writing class talk me into changing the ending which I felt was "more realistic" given the culture of the times. But while talking about the ideals of children's lit, I realized the new ending was the better one, because I forced my protagonist into direct involvement with the Philippine Revolution--in a small way, only, perhaps, but it was still, one student said, empowering, and realistic given the ways most actual women and children contributed to the efforts of the Katipunan. And by doing so her character was uplifted to focusing on national concerns rather than remaining fixated on her smaller personal issues.
So I'm glad I gave this talk. Also because it has started me thinking about my historical writing projects again. Among my unfinished manuscripts are a sequel to Woman in a Frame.
Published on May 15, 2016 19:18
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Tags:
historical-fiction, woman-in-a-frame
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