Truth and Fiction

Gwen wrote to ask, "When working on historical fiction, if an author is using real people from history and not created characters, what is the author's responsibility to the character? I sometimes admit to feeling guilty of slander -- I'm using real people, but my judgments of their deeds and motivations is quite different than that of historians. What is the ethical line between historical fiction and history?"

I don't think there is a line connecting them. A novelist who is creating a story and weaving in actual people and events probably owes a debt to the reader to try and get the facts correct, I suppose (though even that is a questionable supposition, and many authors have altered facts and dates in order to tell a better story), but a novel isn't a textbook. It doesn't have a restriction that "you must have all your facts correct" or "you must accept the commonly held notions about a character's motivations."  It's a novel, for crying out loud. The author is inventing a story to entertain, maybe to explore themes and motivations, not to teach history. So, while I wouldn't create a story in which the Japanese attack Pearl Harbor on July 11, I see nothing wrong with an author creating a story depicting an interesting twist -- that Roosevelt knew about the attack ahead of time, or that it was the attack was a rogue group of Japanese military, or that it was all a mistake. With fiction, it's the STORY that counts, not the accuracy of the events. Besides, if we all knew the deeds and motivations of historical events, there would be no need to explore them further. A novel allows us to consider alternative interpretations -- that Richard III was actually a good guy, or that Sir Thomas More was a self-absorbed twit, or that Robert E. Lee wasn't the military genius he's been made out to be. Sometimes those ideas are daft (Oliver Stone's movie JFK was filled with tripe and innuendo -- which, of course, many movie viewers swallowed as gospel), other times the ideas can be reasonable (take a look at Elizabeth Peter's Murders of Richard III). But what your readers care about most is that the story is interesting, emotional, and readable.

An author I represent, Ginger Garrett, took a fresh look at Thomas More in her fabulous novel In the Shadow of Lions. A few people (including one editor) argued that she shouldn't take a well-beloved historical figure like More and paint him in a negative light. I found that notion daft. Isn't that one of the PURPOSES of fiction -- to get us to see things in a new way? There are some creepy things about More if you want to take an honest look at the historical record, regardless of his sainthood. And that's not at all on a par with a doofus like Oliver Stone just trying to do another hatchet job on someone he doesn't like. 

2. Mary wrote to ask, "As an agent, what are you looking for in a query?"

Every time I open a query letter, I'm hoping to see something I fall in love with. I want to see a great idea, supported by great writing, from an author with a great platform. I want to read an idea that makes me go, "Fabulous! Why didn't I think of that?!" An author platform that shrieks, "I can help support this book!" Writing that hooks me from the first line. It's rare, but it happens. On the flip side, the thing that makes me immediately plop the query into my "reject" pile is seeing a variation on a theme -- something that's trying to ride the coattails of a project that's already been done in a big way. (Examples include, "I was thinking we could turn the Book of Revelation into a novel" and "What about a book on making your life more purpose driven?" I've seen them both. Recently.) 

I always tell people I'm looking to be changed by a book. Nonfiction is basically written to solve a problem or answer a question, so it should share information that will change us -- help us to live more effectively. And novels are written to entertain and enlighten us, so the best novels change us by helping us see the world in a new way. All great books change us -- and that's what I'm looking for. Books that will CHANGE me. 

3. Denise wrote to ask me, "What's the worst query you ever received?"

This one is easy. All of us have pet peeves -- I happen to hate it when an author uses a query letter to sing his or her own praises: "This life-changing book will make you laugh, make you cry, make you quit your job and move to Toledo so you worship at my feet." Fer cryin out loud -- let somebody else sing your praises. The same holds true for competitive analyses in which the author basically bashes everybody else's book on the topic. Nothing will make you look more like a self-absorbed jerk than to suggest "Jerry Jenkins got it wrong but I'm doing it right." 

Of course, bad writing often wins the day. I once received a novel proposal that began with these words: "Ring, ring!" said the telephone. Barf, barf, said the agent. 

However, the worst query letter I ever received was from some prophecy nutjob in the Midwest. He claimed (and I swear I'm not making this up) that he and his son were "the two prophets foretold in the Book of Revelation." He informed me that I needed to send him "a contract and a sizable check," and warned that if I didn't do so, I was incurring God's wrath. He went on to say I could expect "severe weather patterns" and that God was "going to kick [my] ass." Really. Needless to say, I immediately leaped into action by suggesting he write to friend and fellow agent Steve Laube.

4. Andy wrote to say, "I thought you weren't doing many conferences this year." 

I'm not. I'm team-teaching a "How to Write Bestselling Fiction" seminar with Susan May Warren for a handful of people in Portland later this month, and repeating that in Denver in late June, but those are small groups. (If you'd like to know more, check out www.themasterseminars.com ). And I'll put in an appearance for a couple events at the Calvin Festival of Faith and Writing next week, but the ACFW conference is really the only big writing conference I'll be doing this year. 

However, if you'd like to interact with me, check out the marketing webinar I'm doing for Writers Digest this Thursday. We're going to be exploring marketing your books in the new economy, branding, writing good ad copy, and how to take charge of your own marketing plan. I think the cost is just $79, and you can find out all about it here: http://www.writersdigestshop.com/product/self-marketing-for-authors-webinar/?r=chipblog033010

Would love to see you at the webinar. Enjoy your Easter Monday! 

chip

Comments

[Shauna]

I read a secular novel that included Queen Victoria's murder of Prince Albert as a plot point. I think that's an example of an author taking too much liberty with a historical figure, and when it was revealed, it made the whole book seem absurd.

[Laura Droege]

I enjoy historical fiction, and I've recently read some that change key historical facts around (for example, switching the order the USSR's head honchos were in power).

But in each case, the author had an endnote explaining what liberties he/she took and what the historical facts are. And in each case, it was necessary for the plotline and the twist on historical facts weren't completely improbable. Queen V's murder of Prince A? Different story.

[Melissa]

Your example of Oliver Stone and JFK is exactly why I think authors need to tread lightly when changing known historical facts. It's one thing to take supposition and play "what if" or to guess about the motivations behind decisions or to invent a life beyond the facts. But it's quite another to simply rewrite history. Not only do I think it's ethically dodgy -- you never know who will take *your* "facts" and run with them -- but as a reader, I find it sloppy. I don't know whether the author was taking creative license, or if he just didn't do his homework. I'm more likely to assume the latter, which doesn't put the author in my good graces at ALL.

[AimeeLS]

"..."Ring, ring!" said the telephone. Barf, barf, said the agent."

Die, laughing, said the reader.

Oh, and if you get any more letters from prophets in the Midwest holding Portland weather to ransom, direct their queries to me. My protag will send them a form-rejection. She's just as fictional, and just as capable of unleashing the wrath of God on their sorry...er...rear ends.

[Theresa Lode]

Gee. I may need to rethink the "Wrath of God" approach I was going to use on folks at the Erma Bombeck conference next week.

Seriously....another read aloud to hubby post in response to his "NOW why are you laughing?" (He loves it when I sound like a mental case at the computer.)

[Bethany]

Regarding answer 3, section lambasting as self-aggrandizing: I take it you don't represent Nicholas Sparks. *ba-dum-dum*

And I will just never get tired of hearing stories about nutjobs!

[Sharon A Lavy]

When a fiction writer thinks and says "but what if . . ." then the book begins to take off. So yes we write about alternate worlds. What if Winston Churchill knew about . . . could he have stopped . . . and we are off.

[Hyaline]

Good points about historical fiction. I do think that authors have a responsibility to their audience and the historical personages they portray to be as authentic as possible with their representation. It's one thing to fill in the blanks or to present an alternative viewpoint or interpretation, but I do have a problem with switching around or ignoring established facts. It's a unique challenge, but I do feel that if a writer doesn't want to step up to it (like the writer who had Queen Victoria knocking off Albert) they probably shouldn't write historical fiction. Or at least don't use real historical characters--make up your characters and you get a bit more freedom (but not free rein--they still have to behave as historical men and women, not moderns in costume).

[Rosslyn Elliott]

I agree with Laura about the importance of an afterword if an author changes history. That way, you don't turn into Oliver Stone.

My first series, just contracted by Thomas Nelson, is based on a real family.

I altered historical fact in a few ways to improve the narrative, but I use an afterword to explain my departures from the record.

I consider how I would feel (you know, the old Golden Rule) if someone wrote a novel about me one hundred years from now and made me up as a different person--perhaps even a villain.

If I have good resources available to tell me about a historical figure's character, then I may use her name. But for most of my townspeople, I alter their real names slightly to make them fictional.

I don't think most of us would think it ethical to write about living people and tell a false story, especially one that implied they were guilty of murder. Dead people don't sue, but for me the principle is the same. Unfortunately, as the Stone movie demonstrates, we live in a time when many people are ignorant of history and will actually believe anything you tell them about Queen Victoria, unless you use an afterword. :-) For me, part of the appeal of writing historical fiction is saving the past from oblivion. Historical fantasy is a different genre, though it can be fun.

[Marcus Brotherton]

Chip, excellent thoughts on historical fiction. Thanks much, --M

[Dan Walsh]

My novels are historical fiction, and I'm in the camp of keeping them as accurate as possible. But my goal isn't a history lesson. I pick an interesting time in history as a backdrop for a great story that's totally made up. But I'd still want history buffs of that time period not to keep tripping over goofs I've made, because I got lazy.

Then you've got the camp of guys like Jeff Shaara, who really do their homework and write historical novels that even history professors say are as accurate as textbooks. For this crowd, it better be right.

There's the alternative history camp (like Newt Gingrich has been writing). Usually the covers make this genre crystal clear. Not my thing, but you know what you're getting into going in.

For me, the only other choice is the Oliver Stone approach. Most of the people I know who read historical fiction are looking for a great ride through time, and probably wouldn't buy a 2nd book if they felt the author really played loose with the facts.

My 2 bits.

[patriciazell]

I sure hope my non-fiction book meets your requirement in #2--to help people live more effectively. That's has been my goal and I hope I am effective in reaching it. As always, excellent information presented in a way that keeps us chuckling. Thanks again, Chip!

[patriciazell]

Typo: That has been my goal... (not, that's has been). Sorry!

[Celesta Hofmann]

Chip,

A couple of times over the last several weeks you've mentioned author platforms and how important they are. Can you elborate on what an author platform is and why it is so important?

Thanks!
Celesta