4 Things I've Learned About Writing Reading Historical
It is already known that I love romance. Historical romance is my jam, especially Regency period stuff, though it must be said that I minored in history for my undergraduate degree because I loved it so much. Which means, I just like history. Period books—when done well—are wonderful and have the potential to be powerful. And as a writer, here are a few lessons I’ve take from reading in this category:
It all comes down to R-E-S-E-A-R-C-H!
Research comes up over and over—in every category. And if a writer is writing historically, they better take the time to really understand the world they are building around true events (or a time period). That research becomes the roots from which every element of literature grows: setting, characters, conflict, and theme. Get those roots wrong and intelligent readers will be able to sniff out those inconsistencies. Look, like readers of every category, historical readers are, in many circumstances, voracious readers of specific time periods (i.e., Regency romance anyone? WWII? Civil War & Reconstruction? The Wild West?). They know! They are smart. Treat them that way. Talented historical writers trust their readers. And that’s a critical lesson.
Because here’s the truth there are some major strikes that move a book toward my DNF pile (and I don’t think I’m alone here):
Information dump in the first chapters. There is a better way to tell the story . . .
Inconsistencies (language, behavior, details)
I’m bored. If I can’t get into the story by page 100, I’m out.
Whether a book is historical or not, inconsistencies in setting or character behavior, anachronism, or colloquialism that doesn’t fit, misrepresenting a job, missing important details take a reader out of the story. And that’s why research is so important. It is the roots from which the story grows.
Because let’s face it . . .
Details can get a writer mired in information dump or they can elevate the work to the perfect escape. They can also get you in trouble with readers who are in the know, so getting those details right is crucial. The key is knowing how to use those details and when. Good historical writer’s do this, but so do good writers of any category. Understanding how to drop in those details is a balancing act.
Because there’s a perfect dance between:
Have you read In the Shadow of the Wind by Carlos Ruis Zafon? Or Morning Glory by Lavyrle Spencer? How about The Book Thief by Markus Zusak. Or To Kill a Mockingbird by Harper Lee? I highly recommend these reads. Why? Because they pull this dance off to perfection. It is a “Just Right” kind of presentation of details that immerse the reader in the world but still hold true to the forward movement of a story. *chef’s kiss.
Which brings us to…
Forward movement is key. That plot line that moves a reader from the beginning to the end at a pace that’s perfect for the tone and intention is what keeps the reader invested and turning pages. When a writer gets mired in the backstory, the details, the plot stalls out. Instead of the story being about the narrative, it becomes about the research. And that’s where the reader stalls out, disconnects, closes the book, and never picks it up again.
And now we’re full circle, back to the beginning: Research is the roots of a good story.
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