The Madwoman and the Flypaper

First things first: being a fiction writer is, in my opinion, a type of fortunate madness, sanctioned by society, tolerated by family, where a lonely person locked in a room, hallucinating about figments of her imagination, playing god in a world of her own creation can claim to be a functional member of said society, and could even be gainfully employed, to the relief of said family. Continue reading

A Killer Detail: The Art of War

The Art of War - CoverI don’t remember when I bought my copy of The Art of War, but whenever I did, that copy must have been the last one in the store because the front cover is scuffed, yet I bought it anyway. It’s a beautiful book, with dark hardcovers sewn together with red, glossy thread. The words—both in traditional Chinese and English—are printed on cream-colored sheets of paper folded in half with the writing on the outside. From the note on the second page I learned that the book is bound in traditional Chinese style. To turn a page, I slip my finger underneath the thick edge where the sheet is folded. This is the kind of detail that matters if I ever wrote a story about China before the  20th century CE. Continue reading

A Killer Detail: Breaking Eggs

When a character in a historical novel looks out the window—well, what kind of window is that? Does it have shutters or panes, is it transparent or opaque, is there a window at all? Soon after I began to work on my historical novel, questions like this sent me on days-long quests before I could move my characters forward. Sometimes I just had to make an educated guess and move on, hoping I’d find the exact answer later, during rewrite. Many of those vital details were lost throughout history because contemporary people didn’t think it was worth recording such minutia, the way we don’t paint detailed pictures of the subway in today’s novels. But those are the details that make all the difference now between a realistic historical setting and a staged one. Continue reading