#<- girl who's nit use to posting their crafts online

[i-like-dogs-and-apologizes-alot]

Hello Pens nation I come bringing bracelets

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From lab science to the art of the novel: historical fantasy writer Linda McCabe

Linda McCabe speaks in Oakland, CA at 2pm at the California Writers’ Club meeting at 1204 Preservation Park Way this Sunday, October 21st. Open to the public for a $10 cash donation at the door. 

More info on the Club and on Linda here. 

1. What drew you in to Greek mythology and to the story of Orlando  Furioso? Why do you think those stories have appealed to readers  throughout time? I started reading Greek mythology as a small girl. I loved the larger than life stories and characters. The first time I ever stayed awake reading until the wee hours of the night was with D'Aulaire's Book of Greek Myths. I adore that book. It is wonderfully illustrated and it introduces each member of the Greek pantheon with their own story. My favorite Greek goddess is Athena. She is powerful, respected and derives her strength from her intellect and not from beauty.  She's not only the goddess of wisdom and victory, but also of the arts such as weaving tapestries. One of my favorite stories is of a mortal who was a gifted weaver who had boasted she was more skilled than Athena. The goddess disguised herself, tried to get the girl to take back her words. The girl, named Arachne, refused to take back the boast and instead issued a challenge to the goddess. Athena threw off her disguise and accepted the challenge. They both created incredible tapestries. While Athena's depicted the Olympian gods in all of their glory, Arachne's made fun of Zeus and his various wives. Athena's wrath brought about the destruction of the irreverent artwork and transformed the talented girl into a spider who would weave for all eternity.

Harsh, but fair punishment. Pride cometh before the fall. Hubris. Greek mythology is filled with these kinds of stories. I started reading Orlando furioso in 2003 when I was engaged in online debates regarding the Harry Potter series. This was before the series was finished, and there were many various theories floating about. One theory involved the symbolic meaning of hippogriffs. I wound up reading Ariosto's masterpiece because that was the first time a hippogriff was used as a character in literature. I became drawn to the love story between Bradamante and Ruggiero, which was considered one of many subplots in this epic poem. Bradamante reminded me of Athena. She was a respected warrior who was cool under pressure. The major difference is that Bradamante fell in love, whereas Athena never allowed herself to love a man. Bradamante was the niece of Charlemagne and was a Christian. She fell in love with an honorable warrior who was a Muslim and on the opposing side of a holy war. Their love was kept secret until they could find a way to be together with honor, and there were many, many obstacles for this couple to overcome. She was even given the Call to Adventure to rescue him when he was being held captive by a wizard. It is amazing that this incredible kick-ass heroine was created over 500 years ago, but has somehow become largely forgotten over the years.

These stories become timeless because they demonstrate heroism and perseverance as well as Karmic punishments for those without honor. 2. How do you know when you've done enough research and you're ready to write? This is a gut feeling. There's a point when I feel like I am procrastinating more than I am doing research. Sometimes I just have to shift gears and stop researching if the aspect I am trying to understand isn't "knowable" or maybe isn't all that important. I spent over a week wondering about diapering in the middle ages. This was all because I wanted to have a character do some action in a scene with her baby. I started imagining the characters in my setting and thought of where would the dirty diaper would be placed. Then I wondered how the diaper would be closed, (did they have diaper pins?) How often would they wash them? How many diapers would a noble household have for a baby? Some research suggested that babies might not have been put in diapers at all. Instead, the parents would watch them carefully and hold them at arm's length over straw to absorb urine flow. I considered this matter for too long. I was obsessing over a minor detail that did not enhance or further the plot. I decided to take it out and not "go there." Instead, I described the baby as been freshly bathed in the scene.

3. Conversely, where can you go to make sure your writing doesn't contain obvious  historical errors or anachronisms? Are there 'continuity readers' or  'historical readers' available to regular authors?  I have several beta readers who have looked at various passages or  aspects of the story to give me this kind of feedback. Finding experts  for your writing can be a challenge. I suggest during the writing  process to try and identify those who may be able to provide specific feedback. I joined different list servs where I could ask experts questions that I had been unable to find answers to on my own. 

There is a wonderful internet resource for a multitude of disciplines called H-Net for Humanities and Social Services. https://networks.h-net.org/ I recommend that resource for those who wish to find experts. Go to the website, explore different listings, subscribe and read back postings to get familiar with the style of discussion before posting. Most of the subscribers are university faculty members, so being an "independent scholar" will set you apart. Don't be intimidated, but try not to ask overly broad questions showing that you haven't done research on your own first. Tell them you are a writer and have a few specific questions. Or write a post stating that you are looking for beta readers for historical accuracy who will give feedback. Many of the professors read fiction in their spare time, make an appeal asking for help in identifying errors might work.  Finding good 'continuity readers' is a more difficult nut to crack. You have to find close, careful readers who will notice nit-picky items that contradict earlier details in your story. This cannot be done effectively for beta readers who get a few pages here and there. You need critique group members who will read large chunks or the entire manuscript *and* will focus on minutiae. For example, someone who will pull up a calendar from the year your story takes place and notice if there really was a full moon on the night of the murder. That's the kind of thing I do for my critique group partners, and sometimes they appear annoyed prior to expressing gratitude for my corrections/feedback.

In regard to historical errors or anachronisms, I have had some instances where I balance historical accuracy versus dramatic needs. I initially try to find a way to make the historical record work, but there are times when it would lessen the drama. Or it would cause the narrative to become immensely more complicated. In those occasions, I will choose dramatic necessity over historical accuracy and write a disclaimer in my author notes to detail the reasons behind my decision. I feel that the greatest sin a writer can commit is to bore readers. 

An example of this type of decision regarded the Medieval walls around the city of Paris. The poets described a complex set of ramparts that were first built by King Philippe Auguste in the 12th century.  The story of Charlemagne and his knights is set in the 9th century. I considered removing the historically inaccurate walls, but quickly realized that my already complicated plot would become exponentially worse. I decided to keep the walls and mention my dilemma in my author notes. After all, I am retelling a grand story originally written to entertain one noble family in Italy and it featured wars that never took place with mostly fictional characters, magical realms and flying hippogriffs. Therefore, know that I took care in telling this tale, so please just enjoy the ride! 4. I notice you also write essays and editorials in addition to your  historical fiction. Would you agree with the advice I myself heard as an aspiring novelist, to get other pieces of writing published before you  go out there to agents and publishers with a first novel? While I believe that having publication credits is important to demonstrate your authority as a writer, it isn't as important to an agent as the sample pages of your completed novel. Writing an article or short story is like running a 100 yard dash while writing a novel is more like running a marathon.  Perfecting the art of the query letter or verbal pitching to an agent in order to get the request to submit sample pages is a different skill set than regular writing. Once you get the go-ahead to send your manuscript and synopsis, your overall craft will be on full view. The agent and subsequent potential publishers will only green light a publishing contract based on the strength of your finished product and not because you had an op-ed published in the LA Times. Honestly, I think getting a pithy book description will do more for you with agents and publishers than having multiple credits to your name. However, it is a different matter if you are writing non-fiction. If you had publication credits in magazines or peer-reviewed journals and you were submitting a book proposal on the same topic - it might help influence the decision of the agent/publisher to sign you as a client/author.

5. How do your feel your "day job" has influenced your writing? And what is your educational background? While I love writing, my education is in the sciences. My undergraduate degree is in Laboratory Medicine and my master's degree is as an Historian of Science. I also have training in competitive public speaking from high school and acting in plays. My only creative writing classes were in screenwriting and those were taken without being applied to any degree program. Screenwriting helped me analyze scenes in movies to determine how best to distill narrative and reveal characters into scenes that further a plot. Participating in debate and drama helped me understand how to craft a strong argument and then overlay my steel girder like-logic with pathos to stir the emotional senses. As a laboratorian, over the years I have developed a keen analytical mind. One of my previous jobs, I managed the organ recipient list of over one hundred patients for a laboratory in downtown Detroit. I reviewed and monitored changes and updates to the statewide list published by the Organ Procurement Agency of Michigan. Soon after I took over that responsibility  I discovered and corrected numerous errors on our list of patients . Learning to have a scope of memory to track and manage so many details helped prepare me for adapting a story of epic grandeur with a massive cast of characters.

Similarly, having been trained in historical methods of researching for my master's degree, I feel obligated in learning about the time, place, cultural practices, etc., in my story. I have done my best to ground this story in a real time and place, giving my narrative the historical details of ninth century Francia. So once I decided on doing an adaptation of Orlando furioso, I had to learn about Medieval history and the life of Charlemagne. I immersed myself in research while simultaneously trying to determine parts of the story to retain and parts to cut. After doing an intense analysis of my source material, I discovered continuity errors. One enchanted castle was located in three (!) separate and distinct locations. The narrative is immensely complicated, and I doubt the patrons noticed the discrepancies let alone raised any objections. However, I am well aware of L.O.O.N.s (the League of Obsessive Nitpickers) and so I had to fix one location for this enchanted castle and made this determination based on my plot necessities. I also moved several locations of other plot points that I felt made more logical sense.

The Carolingian legend cycle spanned several centuries in the south of France and north of Italy. The jongleurs and troubadours told and retold these legends for the nobles and the masses. By the time Ludovico Ariosto and Matteo Maria Boiardo wrote their masterpieces, these characters were popular. My contribution in this legend cycle is to transform a portion of these stories into a tale for modern day audiences using current storytelling techniques. ***side note*** The Italians do not capitalize the second word in the title of the poems. I'm not sure why, because I do not speak Italian or know the particulars of Italian grammar rules. So my use of Orlando furioso and not Orlando Furioso is not accidental, it is purposeful. If you do a quick Google search, the results for capitalization are not consistent. However, once this was pointed out to me, I have endeavored to follow the Italian convention.

More about Linda McCabe and her current works here.