You Can Lead A Writer to Research...But You Can't Make 'Em Use It

There's an old saying in the writing world that the difference between truth and fiction is that fiction has to make sense. This is why research is so important in fiction writing. When I cite anachronisms, spelling errors, and other problems in a manuscript, 90% of the time, it's an error that could have been corrected with a little research.

Research is the writer's best friend. I spend a lot of time urging writers to double-check their research. Why? Because in minutes, with the magic of the Internet and my vast library of research books, I discovered a glitch in the story's timeline, the character's procedure, or a historical inaccuracy that cannot be ignored. Sometimes, what I find throws off the rest of the story, and I understand if an author's first reaction is, "I don't want to change that. It'll mean totally revising the manuscript." Yes, it's disappointing that a scene that hinges on three hundred pages is illogical or impossible. Yes, I commiserate with an author's need to protect his/her baby from deep cuts. You've already spent so much time on the story, finally feel it's perfect, and now I come along and rip it to shreds. So, of course, the author feels too protective to take a step back, consider my comments as helpful, and rise to the challenge. Since I'm a freelance editor, I don't have the power to make a writer follow my suggestions. All I can do is strongly advise. To opt against making changes is the author's prerogative, but an author shouldn't be surprised if that decision doesn't endear the book to readers.

What I discover too often are writers who write the facts around their story, rather than writing their story around the facts. Savvy readers will know the difference and will lose respect for the author who doesn't know the difference.

Last year, I wrote a post about the best habits for doing research. You can read it here. I urge you to do so and to follow these habits before committing to your story.

Are You Guilty of Character Anachronisms?

From Dictionary.com

anachronism [uh-nak-ruh-niz-uhm] 

noun

1.

something or someone that is not in its correct historical or chronological time, especially a thing or person that belongs to an earlier time: The sword is an anachronism in modern warfare.

Recently, I read a story wherein the heroine (age 28) referred to a television commercial that aired in the 1970s. The product itself hasn't been in existence (except through dealers in rare items) since 1976--nearly ten years prior to the character's birth. Needless to say, this jolted me out of the story. 

I see this a lot from contemporary authors who are at least a decade older than their characters. Their references don't jibe. They use phrases no twenty- or thirty-something would ever utter, recall television shows or popular songs they wouldn't have heard of. Their characters often come across as too savvy because they insert their personal experiences (which usually occurred much later in their lives!) into the character's much-younger background.

If you're going to write characters who are much younger (or older!) than you, be sure to research carefully. Spend time with people who are the approximate age of your characters. Use search engines wisely! Be sure the slang you use, the pop culture you reference, and the knowledge you give your characters is age-appropriate.

For example, anyone born between the years 1966-1976 are considered Generation X. Generation X children were more likely to have lived through their parents' divorce than any other previous generation. They were the first "latchkey" kids. As they aged, they've become focused on higher education, and financial and family security. They tend to use digital technology to simplify their lives through online banking and shopping. Gen X watched the OJ slow-speed car chase and the subsequent trial, which was probably their first foray into Court TV. They came of age during the AIDS crisis, the stock market collapse, and the 90s dotcom burst. This was the MTV generation (when MTV still aired music videos). Their movies reflected coming of age angst: The Breakfast Club, Reality Bites, Clerks,  Fast Times at Ridgemont High. On television, they tuned in to Beverly Hills 90210, Buffy the Vampire Slayer, and The X Files.

After 1976 to about 1994 are Generation Y, or Millenniums (also known as Echo Boomers since they are the largest segment of new population since the Baby Boomers generation). Generation Y kids had soccer moms and trophies for every player. This generation is more technologically savvy, thanks to the popularity of the PC and the Internet. For the most part, these are the bloggers and social media mavens. They're culturally diverse and more liberal in their thinking. Gen Y kids played with Transformers and Pokemon. They fell in love with Elmo. Pop music renewed the popularity of boy bands with 'N Sync and The Backstreet Boys, but added the hiphop of Eminem and Tupak. Their television shows were edgier: South Park, Family Guy, Two and a Half Men, as well as the glut of reality shows that burst from the networks. They grew up with Home Alone and The Lion King--on videos they could watch whenever they wanted--before discovering the films of Judd Apatow and The Lord of the Rings trilogy.

What a difference a few years makes! 

To fully connect with your reader, be sure to research your characters, their pasts, and their experiences before creating their fictional journeys.

Let's Talk Research

Research can be a writer's greatest tool, but can also be the harshest monster to tame. I've seen lots of authors make mistakes with research. Some writers research too much and pile facts into their manuscript in awkward info dumps. Some writers don't research enough and make crucial mistakes in credibility. Some writers do both. Here are some tips to help you avoid these traps. 

Collecting Research

1. Do not rely solely on the Internet. This might come as a shock to you, but not everything you read on the Internet is true. Yes, it's a fabulous source and allows you to have information at your fingertips but any idiot with a keyboard and Internet access can type information into various websites that then becomes part of the digital "public record," with no verification necessary. 

2. Go to the library. Ask the staff at the Reference Desk for help. They can direct you to books, periodicals, digital material, etc. that will help you find the facts. Intimidated? Start in the children's department! You can find a lot of information, written in very basic language and often with illustrations. The simpler you keep your research, the less likely you will be to overload your reader when you insert the info into your story.

3. Do not "cut and paste." Avoid the possibility of plagiarism. Write notes in ink, in your own private form of shorthand, in a notebook or steno pad. 

4. Locate an expert. Over the years, I've contacted vineyard owners, winter sports rehab experts, 911 operators, private pilots, chocolate experts, doctors and nurses, glassblowers, ghosthunters, car mechanics, time management specialists, Jane Austen experts, costumers, and dozens of other people who have knowledge I need for a story I've written. I have never had anyone tell me, "Buzz off, I don't want to talk to you." Most people are flattered and excited to share their knowledge with you. It's almost like a brush with celebrity. You can find experts by using online search engines, contact info from books, local colleges, craft fairs, and programs offered by your school or library. 

5. Remember the Rule of Three. Use at least three different styles of research (i.e. website, book, expert). When using books and/or the Internet, verify info through at least three different sources.


Inserting Research Into Your Story

1. Only include the information that is pertinent to your scene. The biggest mistake most writers make is putting in too much data. Just because your hero works for the CIA doesn't mean we need to know the CIA was founded in 1947. You only need to know this info if you planned to have your CIA agent start working for the organization in 1879. If your agent is employed after 1947, you're good, and the reader doesn't need to know at all.

2. Avoid the "As you know, Bob..." scenario. Writers often rely on dialogue between characters to provide backstory and information to the reader. It's a great tool. I use it a lot. But you have to dance a fine line. Your characters cannot discuss something they both know as fact as if one of them doesn't. This is called "As you know, Bob..." because the dialogue will go something like this: "Since Jake is having a heart attack, we should give him an aspirin. As you know, Bob, aspirin is a reliable way to slow down the formation of platelets, which create blood clots, and a blood clot could be causing Jake's heart attack..." Does anyone really say this while their friend is having a heart attack? Of course not! What will they say? Probably something like, "Call 911! Does anyone have aspirin?" That's it. That's all you need (which correlates with Rule #1 in this segment.)

3. RUE: Resist the Urge to Explain. Tease your reader. Drop in subtle hints without going into gobs of detail. If you’re unsure if you need particular information in a scene, try reading the scene without the passages detailing that information. Did you lose anything in the translation? Was the scene hindered in any way by its absence? If the answer to these two questions is “no,” take the information out. Save it for another time, if you need to use it at all. 

This is where a reliable editor is crucial. (S)he should pick up and question those areas you might have overlooked, or let you know when you’re banging info into your reader’s head.