Monday, May 29, 2006
Another Agent's View of History
A couple of days ago, I lamented the discovery that one of the agents I'm considering approaching one of these days has represented three recent books with historical theme that take great liberties with facts: invented scenes and invented quotes.
Today I searched out more detail about another agent high on my list. Now I feel better.
Robert E. Shepard represents only non-fiction. He's firm enough in his conviction to include a section in his website entitled "What Are Non-Fiction Books?" Here's his answer:
"When we speak of non-fiction, we are really talking about factual works. They may report on current issues or recount history, explore the latest avenues of scientific research or provide an in-depth examination of people, places, or events, or simply provide a great deal of useful information. But in every case, non-fiction works talk about what is, was, or may become real. Every 'character' who may appear in such a book will be a real person, identified by a real name. If dialogue figures in the work, the 'speakers' will actually have uttered the quotations."
Here is an agent looking for real history, not a book juiced up with fictional scenes to "bring the characters to life."
Today I searched out more detail about another agent high on my list. Now I feel better.
Robert E. Shepard represents only non-fiction. He's firm enough in his conviction to include a section in his website entitled "What Are Non-Fiction Books?" Here's his answer:
"When we speak of non-fiction, we are really talking about factual works. They may report on current issues or recount history, explore the latest avenues of scientific research or provide an in-depth examination of people, places, or events, or simply provide a great deal of useful information. But in every case, non-fiction works talk about what is, was, or may become real. Every 'character' who may appear in such a book will be a real person, identified by a real name. If dialogue figures in the work, the 'speakers' will actually have uttered the quotations."
Here is an agent looking for real history, not a book juiced up with fictional scenes to "bring the characters to life."
Sunday, May 28, 2006
A new best-selling history
After yesterday's lament about the disappointments of "popular" history, I picked up today's Mexican edition of the Miami Herald and discovered that Nathaniel Philbrick's new book Mayflower has jumped onto the New York Times Non-Fiction Best-Seller List at #3.
I have in my library a copy of Philbrick's National Book Award-winning In the Heart of the Sea: The Tragedy of the Whaleship Essex, which I have not yet read. Off the shelf it came, and my printer spewed out information about Philbrick's new book from his website. I'm intrigued.
Here may be a writer who shows proper respect for his primary sources, who doesn't concoct scenes for the sake of story-telling. One of the early reviews of Mayflower suggest just that:
"Gripping . . . compelling . . . Philbrick has a gift for drawing telling details from the primary accounts on which much of his book is based. . . [He] seamlessly weaves into his tale much of the new understanding of native people, the environment, the impact of disease, and other topics gleaned from the previous generation of historical scholarship. . . a fascinating story, and one Philbrick tells very well.” --Jenny Hale Pulsipher, Boston Globe
A reading of the book's Preface, available online, also suggests that Philbrick treats his sources judiciously, pulling from them quoted excerpts to underscore the authenticity of the material.
I'm bookmarking Philbrick's website for future reference and retiring to bed for an evening of reading.
I have in my library a copy of Philbrick's National Book Award-winning In the Heart of the Sea: The Tragedy of the Whaleship Essex, which I have not yet read. Off the shelf it came, and my printer spewed out information about Philbrick's new book from his website. I'm intrigued.
Here may be a writer who shows proper respect for his primary sources, who doesn't concoct scenes for the sake of story-telling. One of the early reviews of Mayflower suggest just that:
"Gripping . . . compelling . . . Philbrick has a gift for drawing telling details from the primary accounts on which much of his book is based. . . [He] seamlessly weaves into his tale much of the new understanding of native people, the environment, the impact of disease, and other topics gleaned from the previous generation of historical scholarship. . . a fascinating story, and one Philbrick tells very well.” --Jenny Hale Pulsipher, Boston Globe
A reading of the book's Preface, available online, also suggests that Philbrick treats his sources judiciously, pulling from them quoted excerpts to underscore the authenticity of the material.
I'm bookmarking Philbrick's website for future reference and retiring to bed for an evening of reading.
Saturday, May 27, 2006
The Challenges of Writing Good History
After three years of archival research in Spain, Canary Islands, Mexico, Philippines, Hong Kong and Macau, I have finally started writing my historical account of the Balmis Expedition of 1803-1807. Sent out by Spain's King Carlos IV, Dr. Francisco Xavier Balmis was charged with the task of conveying the newly-discovered smallpox vaccine throughout the Spanish colonies, the first world-spanning public health campaign in history.
As I write, I'm also thinking toward publication: who is my audience, what kind of publisher will I seek, who is the best agent to represent my work? Immediately, challenging issues arise, issues particularly associated with any writing about historical subjects.
I've just spent almost a month of research into literary agents, building first a long list of agents that express interest in history, as well as several other categories related to my subject matter, and trimming that down to a short list. Two names rose to the very top.
I have managed to obtain three books about topics similar to mine that were agented by one of New York's hottest agents. I read them last week. And my heart sank. Well written, all of them, but all firmly "popular history," with invented dialogue and scenes that "might have happened." Not real history, in my view.
And now I face the issues: just what is history? how does one actually write it?
I've done a preliminary search to find what others have to say about it. There seems to be no book currently available that examines these issues. And those books from earlier years that I've tracked down deal either with esoteric historiography or simplistic guidelines for college historical essays. My search for online discussion has just begun, but early results in Google are turning up more guidelines for high school and college students.
Then, just today, I attended a workshop sponsored by my local writer's group about "The Stages of Revision." The workshop leader made an interesting comment: create a journal, she said, detailing your process of writing, the problems you encounter, the solutions you try. CLICK!
So here I am: finally with my first blog, created to follow my journey through writing my book, to identify the historical and creative issues I encounter, to record the solutions I attempt. I anticipate a grueling year of effort, and hopefully a lot of discovery about how to write a book that historians will respect and which the general public will enjoy writing.
As I write, I'm also thinking toward publication: who is my audience, what kind of publisher will I seek, who is the best agent to represent my work? Immediately, challenging issues arise, issues particularly associated with any writing about historical subjects.
I've just spent almost a month of research into literary agents, building first a long list of agents that express interest in history, as well as several other categories related to my subject matter, and trimming that down to a short list. Two names rose to the very top.
I have managed to obtain three books about topics similar to mine that were agented by one of New York's hottest agents. I read them last week. And my heart sank. Well written, all of them, but all firmly "popular history," with invented dialogue and scenes that "might have happened." Not real history, in my view.
And now I face the issues: just what is history? how does one actually write it?
I've done a preliminary search to find what others have to say about it. There seems to be no book currently available that examines these issues. And those books from earlier years that I've tracked down deal either with esoteric historiography or simplistic guidelines for college historical essays. My search for online discussion has just begun, but early results in Google are turning up more guidelines for high school and college students.
Then, just today, I attended a workshop sponsored by my local writer's group about "The Stages of Revision." The workshop leader made an interesting comment: create a journal, she said, detailing your process of writing, the problems you encounter, the solutions you try. CLICK!
So here I am: finally with my first blog, created to follow my journey through writing my book, to identify the historical and creative issues I encounter, to record the solutions I attempt. I anticipate a grueling year of effort, and hopefully a lot of discovery about how to write a book that historians will respect and which the general public will enjoy writing.
