Interview with Philippa Gregory on TWQ and writing historical fictio
Interview with Philippa Gregory on TWQ and writing historical fictio
2013-06-21 17:58:35
Hi
I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
How do you turn historical facts into good fiction?
A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
How do you defend historical fiction to its critics?
I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
How much input into the BBC TV series, The White Queen, did you have?
I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
How important is authenticity when filming historical dramas?
Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
Historyextra.com the official website of BBC History magazine
[accessed 21/06/2013]
Enjoy!
Elaine
I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
How do you turn historical facts into good fiction?
A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
How do you defend historical fiction to its critics?
I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
How much input into the BBC TV series, The White Queen, did you have?
I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
How important is authenticity when filming historical dramas?
Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
Historyextra.com the official website of BBC History magazine
[accessed 21/06/2013]
Enjoy!
Elaine
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 18:07:54
Yikes!
Her comments definitely sound as if they're coming from a different
universe than the one y'all live in. (I have no plans to watch the series,
myself).
A J
On Fri, Jun 21, 2013 at 11:58 AM, ellrosa1452 <kathryn198@...>wrote:
> **
>
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site,
> which is the official website of the BBC History Magazine. However, I just
> couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent,
> well-put-together novels that just happen to be set in the accurately
> researched past. I spend about two years researching my books - talking to
> people, visiting places, reading books about the subject - but I would
> never allow myself to put something in a novel just because I've found out
> about it and thought it was fascinating. It has to be relevant to the story
> and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before.
> People have to understand that it isn't bad history, and it's not history
> written by people who are making it up. Everyone has a different view of
> certain events and characters, but because I depict mine in a novel people
> are often disturbed by it. What I do find surprising is that often only the
> history side of my novels is criticised. What people don't do, and what
> they should, is also critique them as novels - neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as
> associate producer on the series. I read all the scripts, met the actors
> and visited the set; I am delighted with how it's turned out. It looks
> absolutely wonderful, and people are going to find it very compelling to
> watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series
> producers waxing lyrical about the use of horses, clothes, how people
> travelled, and so on. That sort of thing really matters. However, there are
> a number of compromises you do have to make when working in film, which can
> be very frustrating - that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
>
>
>
Her comments definitely sound as if they're coming from a different
universe than the one y'all live in. (I have no plans to watch the series,
myself).
A J
On Fri, Jun 21, 2013 at 11:58 AM, ellrosa1452 <kathryn198@...>wrote:
> **
>
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site,
> which is the official website of the BBC History Magazine. However, I just
> couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent,
> well-put-together novels that just happen to be set in the accurately
> researched past. I spend about two years researching my books - talking to
> people, visiting places, reading books about the subject - but I would
> never allow myself to put something in a novel just because I've found out
> about it and thought it was fascinating. It has to be relevant to the story
> and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before.
> People have to understand that it isn't bad history, and it's not history
> written by people who are making it up. Everyone has a different view of
> certain events and characters, but because I depict mine in a novel people
> are often disturbed by it. What I do find surprising is that often only the
> history side of my novels is criticised. What people don't do, and what
> they should, is also critique them as novels - neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as
> associate producer on the series. I read all the scripts, met the actors
> and visited the set; I am delighted with how it's turned out. It looks
> absolutely wonderful, and people are going to find it very compelling to
> watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series
> producers waxing lyrical about the use of horses, clothes, how people
> travelled, and so on. That sort of thing really matters. However, there are
> a number of compromises you do have to make when working in film, which can
> be very frustrating - that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
>
>
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 20:56:42
You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
Marie
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
Marie
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 21:07:38
Or is she just a "ditz"? She comes of like a gushing school girl.......I am silently screaming
S-T-O-P the madness.
On Jun 21, 2013, at 2:56 PM, "mariewalsh2003" <[email protected]<mailto:[email protected]>> wrote:
You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
Marie
--- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com<http://historyextra.com> site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?(
>
> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?(
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?(
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?(
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>
> Historyextra.com<http://Historyextra.com> the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
S-T-O-P the madness.
On Jun 21, 2013, at 2:56 PM, "mariewalsh2003" <[email protected]<mailto:[email protected]>> wrote:
You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
Marie
--- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com<http://historyextra.com> site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?(
>
> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?(
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?(
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?(
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>
> Historyextra.com<http://Historyextra.com> the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 21:10:14
.......... with zips (so I am told).
----- Original Message -----
From: mariewalsh2003
To:
Sent: Friday, June 21, 2013 8:56 PM
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
Marie
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?(
>
> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?(
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?(
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?(
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
----- Original Message -----
From: mariewalsh2003
To:
Sent: Friday, June 21, 2013 8:56 PM
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
Marie
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?(
>
> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?(
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?(
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?(
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 21:29:20
Yup. And that style of gown shouldn't have any fastenings at all. As I said, just a big tent with a very deep neck opening that went right down under the girdle. The kirtle, underneath, would have had fastenings (which is maybe Elizabeth Woodille's lavender thingie was supposed to be), but no - no lady would go out to meet the King wearing only her kirtle. The 1480s gowns fitted to the hips, with hip-level girdle, would also have had fastenings, of course, but not the "princess-line" ones of the 1460s - we can be sure of that because there are pictures of them being removed, or worn without a belt, and if you look carefully at representations you can see that they form gathers under the bust, there are no darts. Sounds pedantic but the drape is completely different. The gowns they've made just don't give the right outline, as someone else has already remarked.
And sorry, but I can't live with baggy hose/trousers making lumps at the knees either.
And, if the BBC couldn't afford to make sallets, couldn't they have approached a re-enactment company or two?
I'm just waiting with bated breath for the bit where Elizabeth Woodville goes into sanctuary actually in the Abbey crypt (yes, I'm afraid I did read The White Queen - nobody warned me).
Marie
--- In , "Stephen Lark" <stephenmlark@...> wrote:
>
> .......... with zips (so I am told).
> ----- Original Message -----
> From: mariewalsh2003
> To:
> Sent: Friday, June 21, 2013 8:56 PM
> Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
>
>
>
>
>
> You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
> Marie
>
> --- In , "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?

> >
> > A great deal of research, worn very lightly. My job is to write coherent, wellâ€`put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books â€" talking to people, visiting places, reading books about the subject â€" but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?

> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels â€" neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?

> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?

> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating â€" that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
>
>
>
>
>
>
And sorry, but I can't live with baggy hose/trousers making lumps at the knees either.
And, if the BBC couldn't afford to make sallets, couldn't they have approached a re-enactment company or two?
I'm just waiting with bated breath for the bit where Elizabeth Woodville goes into sanctuary actually in the Abbey crypt (yes, I'm afraid I did read The White Queen - nobody warned me).
Marie
--- In , "Stephen Lark" <stephenmlark@...> wrote:
>
> .......... with zips (so I am told).
> ----- Original Message -----
> From: mariewalsh2003
> To:
> Sent: Friday, June 21, 2013 8:56 PM
> Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
>
>
>
>
>
> You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
> Marie
>
> --- In , "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?

> >
> > A great deal of research, worn very lightly. My job is to write coherent, wellâ€`put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books â€" talking to people, visiting places, reading books about the subject â€" but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?

> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels â€" neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?

> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?

> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating â€" that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
>
>
>
>
>
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-21 22:27:46
"Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>
> How do you turn historical facts into good fiction?
>
> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>
> How do you defend historical fiction to its critics?
>
> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
>
> How much input into the BBC TV series, The White Queen, did you have?
>
> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>
> How important is authenticity when filming historical dramas?
>
> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
>
> Historyextra.com the official website of BBC History magazine
> [accessed 21/06/2013]
>
> Enjoy!
> Elaine
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 08:42:00
Woner what books she was reading during her "two years research", Noddy
and Aesops Fables maybe, certainly nothing to do with the period she
went on to write about. Not making anything up she says. Does she listen
to herself?
As for costumes............
Paul
On 21/06/2013 21:07, Pamela Bain wrote:
> Or is she just a "ditz"? She comes of like a gushing school girl.......I am silently screaming
> S-T-O-P the madness.
>
> On Jun 21, 2013, at 2:56 PM, "mariewalsh2003" <[email protected]<mailto:[email protected]>> wrote:
>
>
>
>
> You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
> Marie
>
> --- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@...> wrote:
>> Hi
>> I've just uploaded the entire interview from the historyextra.com<http://historyextra.com> site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>
>> How do you turn historical facts into good fiction?(
>>
>> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>
>> How do you defend historical fiction to its critics?(
>>
>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>
>> How much input into the BBC TV series, The White Queen, did you have?(
>>
>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>
>> How important is authenticity when filming historical dramas?(
>>
>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>
>> Historyextra.com<http://Historyextra.com> the official website of BBC History magazine
>> [accessed 21/06/2013]
>>
>> Enjoy!
>> Elaine
>>
>
>
>
>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
--
Richard Liveth Yet!
and Aesops Fables maybe, certainly nothing to do with the period she
went on to write about. Not making anything up she says. Does she listen
to herself?
As for costumes............
Paul
On 21/06/2013 21:07, Pamela Bain wrote:
> Or is she just a "ditz"? She comes of like a gushing school girl.......I am silently screaming
> S-T-O-P the madness.
>
> On Jun 21, 2013, at 2:56 PM, "mariewalsh2003" <[email protected]<mailto:[email protected]>> wrote:
>
>
>
>
> You know, I had a funny feeling all along that the Wardrobe Dept were advised by Philippa G. on how to make the "dresses". As a result we get a cross between Camelot and Jane Austen.
> Marie
>
> --- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@...> wrote:
>> Hi
>> I've just uploaded the entire interview from the historyextra.com<http://historyextra.com> site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>
>> How do you turn historical facts into good fiction?(
>>
>> A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>
>> How do you defend historical fiction to its critics?(
>>
>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>
>> How much input into the BBC TV series, The White Queen, did you have?(
>>
>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>
>> How important is authenticity when filming historical dramas?(
>>
>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>
>> Historyextra.com<http://Historyextra.com> the official website of BBC History magazine
>> [accessed 21/06/2013]
>>
>> Enjoy!
>> Elaine
>>
>
>
>
>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
--
Richard Liveth Yet!
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 08:48:58
On 21/06/2013 21:29, mariewalsh2003 wrote:
> I'm just waiting with bated breath for the bit where Elizabeth Woodville goes into sanctuary actually in the Abbey crypt (yes, I'm afraid I did read The White Queen - nobody warned me).
and the sons of Edward IV put straight into a dungeon no doubt instead
of the royal apartments they were lodged in?
I didn't read it. Couldn't get past the first chapter of Kingmaker's
Daughter before throwing it out.
Can I ask for my royalty contribution back?
Paul
--
Richard Liveth Yet!
> I'm just waiting with bated breath for the bit where Elizabeth Woodville goes into sanctuary actually in the Abbey crypt (yes, I'm afraid I did read The White Queen - nobody warned me).
and the sons of Edward IV put straight into a dungeon no doubt instead
of the royal apartments they were lodged in?
I didn't read it. Couldn't get past the first chapter of Kingmaker's
Daughter before throwing it out.
Can I ask for my royalty contribution back?
Paul
--
Richard Liveth Yet!
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 08:51:21
Well of course she does Elaine, she's an historian you know. Or so she
keeps shouting.....
or rather a historian. No idea about the English language either....
Paul
On 21/06/2013 22:27, ricard1an wrote:
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In , "ellrosa1452" <kathryn198@...> wrote:
>> Hi
>> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>
>> How do you turn historical facts into good fiction?
>>
>> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>
>> How do you defend historical fiction to its critics?
>>
>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>
>> How much input into the BBC TV series, The White Queen, did you have?
>>
>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>
>> How important is authenticity when filming historical dramas?
>>
>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>
>> Historyextra.com the official website of BBC History magazine
>> [accessed 21/06/2013]
>>
>> Enjoy!
>> Elaine
>>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
--
Richard Liveth Yet!
keeps shouting.....
or rather a historian. No idea about the English language either....
Paul
On 21/06/2013 22:27, ricard1an wrote:
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In , "ellrosa1452" <kathryn198@...> wrote:
>> Hi
>> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>
>> How do you turn historical facts into good fiction?
>>
>> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>
>> How do you defend historical fiction to its critics?
>>
>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>
>> How much input into the BBC TV series, The White Queen, did you have?
>>
>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>
>> How important is authenticity when filming historical dramas?
>>
>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>
>> Historyextra.com the official website of BBC History magazine
>> [accessed 21/06/2013]
>>
>> Enjoy!
>> Elaine
>>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
--
Richard Liveth Yet!
Re: Interview with Philippa Gregoryon TWQ and writing historical fic
2013-06-22 14:43:14
That also fries me......where is anyone in the world of who might point out the basics of our shared language and say, um, "remember the rules for a and an"! Asking a lot, I know.
On Jun 22, 2013, at 2:51 AM, "Paul Trevor Bale" <paul.bale@...> wrote:
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
>
> On 21/06/2013 22:27, ricard1an wrote:
>> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>>
>> --- In , "ellrosa1452" <kathryn198@...> wrote:
>>> Hi
>>> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>>
>>> How do you turn historical facts into good fiction?
>>>
>>> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>>
>>> How do you defend historical fiction to its critics?
>>>
>>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>>
>>> How much input into the BBC TV series, The White Queen, did you have?
>>>
>>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>>
>>> How important is authenticity when filming historical dramas?
>>>
>>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>>
>>> Historyextra.com the official website of BBC History magazine
>>> [accessed 21/06/2013]
>>>
>>> Enjoy!
>>> Elaine
>>
>>
>>
>> ------------------------------------
>>
>> Yahoo! Groups Links
>
>
> --
> Richard Liveth Yet!
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
On Jun 22, 2013, at 2:51 AM, "Paul Trevor Bale" <paul.bale@...> wrote:
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
>
> On 21/06/2013 22:27, ricard1an wrote:
>> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>>
>> --- In , "ellrosa1452" <kathryn198@...> wrote:
>>> Hi
>>> I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
>>>
>>> How do you turn historical facts into good fiction?
>>>
>>> A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
>>>
>>> How do you defend historical fiction to its critics?
>>>
>>> I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
>>>
>>> How much input into the BBC TV series, The White Queen, did you have?
>>>
>>> I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
>>>
>>> How important is authenticity when filming historical dramas?
>>>
>>> Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
>>>
>>> Historyextra.com the official website of BBC History magazine
>>> [accessed 21/06/2013]
>>>
>>> Enjoy!
>>> Elaine
>>
>>
>>
>> ------------------------------------
>>
>> Yahoo! Groups Links
>
>
> --
> Richard Liveth Yet!
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 16:53:10
--- In , Paul Trevor Bale <paul.bale@...> wrote:
>
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
Carol responds:
Sorry about the OT response, but the choice of "a historian" versus "an historian" is by no means settled and depends primarily upon whether (or how strongly) a particular speaker pronounces the "h." Most Americans, for example, say "historian," not "istorian," so we use "a" rather than "an." Yet many of us also say "an herb" because we drop the "h" and pronounce "herb" as "erb." Here's an article that explains the situation nicely:
http://www.infoplease.com/askeds/vs.html
Regarding Philippa G, I haven't heard her speak, so I don't know which she should use. She would only be incorrect is she says "a istorian" (like a classic Cockney) or "an historian" with a strongly pronounced "h" since "an" precedes a vowel sound and "a" precedes a consonant sound. A weakly pronounced "h" gives the speaker the option of choosing either one. I personally pronounce the "h," so for me, it's "a historian." But then, I'm an American.
Carol
>
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
Carol responds:
Sorry about the OT response, but the choice of "a historian" versus "an historian" is by no means settled and depends primarily upon whether (or how strongly) a particular speaker pronounces the "h." Most Americans, for example, say "historian," not "istorian," so we use "a" rather than "an." Yet many of us also say "an herb" because we drop the "h" and pronounce "herb" as "erb." Here's an article that explains the situation nicely:
http://www.infoplease.com/askeds/vs.html
Regarding Philippa G, I haven't heard her speak, so I don't know which she should use. She would only be incorrect is she says "a istorian" (like a classic Cockney) or "an historian" with a strongly pronounced "h" since "an" precedes a vowel sound and "a" precedes a consonant sound. A weakly pronounced "h" gives the speaker the option of choosing either one. I personally pronounce the "h," so for me, it's "a historian." But then, I'm an American.
Carol
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 17:13:38
It changes with fashion Carol. It's like the composer Purcell who went from PerSELL to a certain brand of washing powder (PERsil) and then back to the former again.
________________________________
From: justcarol67 <justcarol67@...>
To:
Sent: Saturday, 22 June 2013, 16:53
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
--- In , Paul Trevor Bale <paul.bale@...> wrote:
>
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
Carol responds:
Sorry about the OT response, but the choice of "a historian" versus "an historian" is by no means settled and depends primarily upon whether (or how strongly) a particular speaker pronounces the "h." Most Americans, for example, say "historian," not "istorian," so we use "a" rather than "an." Yet many of us also say "an herb" because we drop the "h" and pronounce "herb" as "erb." Here's an article that explains the situation nicely:
http://www.infoplease.com/askeds/vs.html
Regarding Philippa G, I haven't heard her speak, so I don't know which she should use. She would only be incorrect is she says "a istorian" (like a classic Cockney) or "an historian" with a strongly pronounced "h" since "an" precedes a vowel sound and "a" precedes a consonant sound. A weakly pronounced "h" gives the speaker the option of choosing either one. I personally pronounce the "h," so for me, it's "a historian." But then, I'm an American.
Carol
________________________________
From: justcarol67 <justcarol67@...>
To:
Sent: Saturday, 22 June 2013, 16:53
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
--- In , Paul Trevor Bale <paul.bale@...> wrote:
>
> Well of course she does Elaine, she's an historian you know. Or so she
> keeps shouting.....
> or rather a historian. No idea about the English language either....
> Paul
Carol responds:
Sorry about the OT response, but the choice of "a historian" versus "an historian" is by no means settled and depends primarily upon whether (or how strongly) a particular speaker pronounces the "h." Most Americans, for example, say "historian," not "istorian," so we use "a" rather than "an." Yet many of us also say "an herb" because we drop the "h" and pronounce "herb" as "erb." Here's an article that explains the situation nicely:
http://www.infoplease.com/askeds/vs.html
Regarding Philippa G, I haven't heard her speak, so I don't know which she should use. She would only be incorrect is she says "a istorian" (like a classic Cockney) or "an historian" with a strongly pronounced "h" since "an" precedes a vowel sound and "a" precedes a consonant sound. A weakly pronounced "h" gives the speaker the option of choosing either one. I personally pronounce the "h," so for me, it's "a historian." But then, I'm an American.
Carol
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 18:39:24
Hi
Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
The haunting story of the mother of the Tudors, Elizabeth of York, wife to
Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
the White Queen - the young princess Elizabeth faces a conflict of loyalties
between the red rose and the white. Forced into marriage with Henry VII, she
must reconcile her slowly growing love for him with her loyalty to the House
of York, and choose between her mother's rebellion and her husband's tyranny.
Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
Elaine
--- In , "ricard1an" <maryfriend@...> wrote:
>
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In , "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?
> >
> > A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?
> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?
> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?
> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
The haunting story of the mother of the Tudors, Elizabeth of York, wife to
Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
the White Queen - the young princess Elizabeth faces a conflict of loyalties
between the red rose and the white. Forced into marriage with Henry VII, she
must reconcile her slowly growing love for him with her loyalty to the House
of York, and choose between her mother's rebellion and her husband's tyranny.
Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
Elaine
--- In , "ricard1an" <maryfriend@...> wrote:
>
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In , "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?
> >
> > A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?
> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?
> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?
> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 19:16:50
Quotes from below: Gag, cough, gagggggggggggggggggggggggggggggggg
&but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it. A great deal of research, worn very lightly.
________________________________
From: [mailto:] On Behalf Of ellrosa1452
Sent: Saturday, June 22, 2013 12:39 PM
To:
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
Hi
Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
The haunting story of the mother of the Tudors, Elizabeth of York, wife to
Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
the White Queen - the young princess Elizabeth faces a conflict of loyalties
between the red rose and the white. Forced into marriage with Henry VII, she
must reconcile her slowly growing love for him with her loyalty to the House
of York, and choose between her mother's rebellion and her husband's tyranny.
Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
Elaine
--- In <mailto:%40yahoogroups.com>, "ricard1an" <maryfriend@...> wrote:
>
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?(
> >
> > A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?(
> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?(
> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?(
> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
&but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it. A great deal of research, worn very lightly.
________________________________
From: [mailto:] On Behalf Of ellrosa1452
Sent: Saturday, June 22, 2013 12:39 PM
To:
Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
Hi
Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
The haunting story of the mother of the Tudors, Elizabeth of York, wife to
Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
the White Queen - the young princess Elizabeth faces a conflict of loyalties
between the red rose and the white. Forced into marriage with Henry VII, she
must reconcile her slowly growing love for him with her loyalty to the House
of York, and choose between her mother's rebellion and her husband's tyranny.
Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
Elaine
--- In <mailto:%40yahoogroups.com>, "ricard1an" <maryfriend@...> wrote:
>
> "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
>
> --- In <mailto:%40yahoogroups.com>, "ellrosa1452" <kathryn198@> wrote:
> >
> > Hi
> > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> >
> > How do you turn historical facts into good fiction?(
> >
> > A great deal of research, worn very lightly. My job is to write coherent, wellput-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books talking to people, visiting places, reading books about the subject but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> >
> > How do you defend historical fiction to its critics?(
> >
> > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels neither side is primary.
> >
> > How much input into the BBC TV series, The White Queen, did you have?(
> >
> > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> >
> > How important is authenticity when filming historical dramas?(
> >
> > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating that's why I'm a novelist, I suppose.
> >
> > Historyextra.com the official website of BBC History magazine
> > [accessed 21/06/2013]
> >
> > Enjoy!
> > Elaine
> >
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 20:01:55
I am pretty sure that when Ann Wroe came and gave a talk to our Branch she said that there was no evidence that E of Y had ever met "Perkin".
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
>
> The haunting story of the mother of the Tudors, Elizabeth of York, wife to
> Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
> the White Queen - the young princess Elizabeth faces a conflict of loyalties
> between the red rose and the white. Forced into marriage with Henry VII, she
> must reconcile her slowly growing love for him with her loyalty to the House
> of York, and choose between her mother's rebellion and her husband's tyranny.
> Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
>
> How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
> Elaine
>
>
> --- In , "ricard1an" <maryfriend@> wrote:
> >
> > "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
> >
> > --- In , "ellrosa1452" <kathryn198@> wrote:
> > >
> > > Hi
> > > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> > >
> > > How do you turn historical facts into good fiction?
> > >
> > > A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> > >
> > > How do you defend historical fiction to its critics?
> > >
> > > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
> > >
> > > How much input into the BBC TV series, The White Queen, did you have?
> > >
> > > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> > >
> > > How important is authenticity when filming historical dramas?
> > >
> > > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
> > >
> > > Historyextra.com the official website of BBC History magazine
> > > [accessed 21/06/2013]
> > >
> > > Enjoy!
> > > Elaine
> > >
> >
>
--- In , "ellrosa1452" <kathryn198@...> wrote:
>
> Hi
> Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
>
> The haunting story of the mother of the Tudors, Elizabeth of York, wife to
> Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
> the White Queen - the young princess Elizabeth faces a conflict of loyalties
> between the red rose and the white. Forced into marriage with Henry VII, she
> must reconcile her slowly growing love for him with her loyalty to the House
> of York, and choose between her mother's rebellion and her husband's tyranny.
> Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
>
> How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
> Elaine
>
>
> --- In , "ricard1an" <maryfriend@> wrote:
> >
> > "Everyone has a different view" How can you have a different view of the fact that Hastings was with Edward, when he met Elizabeth, and not Warwick? Richard was 12 and George 15 and Anne was 8 yet in White Queen they are seen as adults. My worry is that people, who don't know anything about the WOTR, are going to think that it is what happened. PG was trying very hard to give that impression in that interview.
> >
> > --- In , "ellrosa1452" <kathryn198@> wrote:
> > >
> > > Hi
> > > I've just uploaded the entire interview from the historyextra.com site, which is the official website of the BBC History Magazine. However, I just couldn't resist sharing these gems!
> > >
> > > How do you turn historical facts into good fiction?
> > >
> > > A great deal of research, worn very lightly. My job is to write coherent, well‑put-together novels that just happen to be set in the accurately researched past. I spend about two years researching my books – talking to people, visiting places, reading books about the subject – but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it.
> > >
> > > How do you defend historical fiction to its critics?
> > >
> > > I find I have to defend historical fiction less now than ever before. People have to understand that it isn't bad history, and it's not history written by people who are making it up. Everyone has a different view of certain events and characters, but because I depict mine in a novel people are often disturbed by it. What I do find surprising is that often only the history side of my novels is criticised. What people don't do, and what they should, is also critique them as novels – neither side is primary.
> > >
> > > How much input into the BBC TV series, The White Queen, did you have?
> > >
> > > I was keen to have as much input as possible and ultimately worked as associate producer on the series. I read all the scripts, met the actors and visited the set; I am delighted with how it's turned out. It looks absolutely wonderful, and people are going to find it very compelling to watch.
> > >
> > > How important is authenticity when filming historical dramas?
> > >
> > > Terribly important! You should see the notes I sent to the series producers waxing lyrical about the use of horses, clothes, how people travelled, and so on. That sort of thing really matters. However, there are a number of compromises you do have to make when working in film, which can be very frustrating – that's why I'm a novelist, I suppose.
> > >
> > > Historyextra.com the official website of BBC History magazine
> > > [accessed 21/06/2013]
> > >
> > > Enjoy!
> > > Elaine
> > >
> >
>
Re: Interview with Philippa Gregory on TWQ and writing historical fi
2013-06-22 21:05:25
Hmm...if PG manufactures a meeting with Perkin Warbeck rather than Simnel, it's already been done beautifully in the made-for-tv "Princes in the Tower." (Can be found on YouTube here: http://youtu.be/8mM_BKT5mtQ )
The actors portraying Elizabeth of York and Perkin made it believable, even if H7 never would have allowed their meeting.
If she's manufactured a meeting between EoY and Simnel...I guess with PG anything is possible. I just wish they'd not call it historical anything.
When the heck did the Simnel rebellion become EW's rebellion?
~Weds
--- In , Pamela Bain <pbain@...> wrote:
>
> Quotes from below: Gag, cough, gagggggggggggggggggggggggggggggggg
> …but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it. A great deal of research, worn very lightly.
>
>
> ________________________________
> From: [mailto:] On Behalf Of ellrosa1452
> Sent: Saturday, June 22, 2013 12:39 PM
> To:
> Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
>
>
>
> Hi
> Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
>
> The haunting story of the mother of the Tudors, Elizabeth of York, wife to
> Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
> the White Queen - the young princess Elizabeth faces a conflict of loyalties
> between the red rose and the white. Forced into marriage with Henry VII, she
> must reconcile her slowly growing love for him with her loyalty to the House
> of York, and choose between her mother's rebellion and her husband's tyranny.
> Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
>
> How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
> Elaine
>
The actors portraying Elizabeth of York and Perkin made it believable, even if H7 never would have allowed their meeting.
If she's manufactured a meeting between EoY and Simnel...I guess with PG anything is possible. I just wish they'd not call it historical anything.
When the heck did the Simnel rebellion become EW's rebellion?
~Weds
--- In , Pamela Bain <pbain@...> wrote:
>
> Quotes from below: Gag, cough, gagggggggggggggggggggggggggggggggg
> …but I would never allow myself to put something in a novel just because I've found out about it and thought it was fascinating. It has to be relevant to the story and not simply included for the sake of it. A great deal of research, worn very lightly.
>
>
> ________________________________
> From: [mailto:] On Behalf Of ellrosa1452
> Sent: Saturday, June 22, 2013 12:39 PM
> To:
> Subject: Re: Interview with Philippa Gregory on TWQ and writing historical fiction
>
>
>
> Hi
> Amazon is advertising Gregory's new novel out in August called The White Princess, which is yet another take on Elizabeth of York. We've recently had Weir and Amy Licence, now Gregory. The blurb says:
>
> The haunting story of the mother of the Tudors, Elizabeth of York, wife to
> Henry VII. Beautiful eldest daughter of Edward IV and Elizabeth Woodville -
> the White Queen - the young princess Elizabeth faces a conflict of loyalties
> between the red rose and the white. Forced into marriage with Henry VII, she
> must reconcile her slowly growing love for him with her loyalty to the House
> of York, and choose between her mother's rebellion and her husband's tyranny.
> Then she has to meet the Pretender, whose claim denies the House of Tudor itself.
>
> How is Gregory going to manufacture a meeting with the Pretender? And she says factual accuracy is important! Evidently she says one thing and does another.
> Elaine
>
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