Welcome Guest Blogger - Suzanne Adair talking about research

Research. A writer's ugly first cousin, the one no one wants to talk about. Ahh, but a necessary evil. We've chatted about research on the blog before. We know it's a "must". Yes, we make up these stories in our heads, but we must plunk them down in real places.

No one understands research better than writers of historical fiction. I was at a reading of a historical fiction that centered on the displacement of Mennonites from Europe to North America. The second the author finished reading, dozens of women wearing black kerchiefs on their heads stood up and began drilling the author with questions - all relating to the authenticity of her story and the accuracy of her research. The author, knew her stuff and managed to cool the burning questions, which is a good thing! Without her research she would have been dead in the water.

Welcome Suzanne Adair to the Fiction Matters. When it comes to research, she knows her stuff! She's here to share her wisdom with us in her article on writing Historical Fiction.

Here's a short intro: Suzanne Adair won the Patrick D. Smith Literature Award from the Florida Historical Society for Paper Woman, the first novel of her mystery and suspense series. The Blacksmith's Daughter and Camp Follower continue her fictional ventures into the Southern theater of the Revolutionary War. For more information, visit http://www.suzanneadair.com/.

Readers and Research: Obligations of the Historical Novelist

Historical fiction is a tough sell. Historical novels often fail to grip readers. Many agents, editors, and publishers look to genre historicals as a magic bullet to mitigate some of that tedium.

The scourge of historical fiction is the info dump. Many authors cannot help getting caught up with period attire, manners, food, furniture, setting, and social, religious, and political issues. And then there's that frantic obsession on getting all the details right. If you don't, an erudite reader will be certain to call you on it. Rather than entertainment, then, a historical novel can resemble a graduate student's dissertation, crammed with detail.

If you write historical fiction, I invite you to take a step back from your work and refrain from obsessing over those details. Focus first and foremost on providing your readers with riveting drama and compelling characters. Then strive to create a world in which that drama can unfold and those characters can reveal themselves.

Why do I believe precise history isn't your first and foremost obligation? Because it's boring, sterile! Furthermore, riveting drama and compelling characters allow your reader to glide past details, whether right or wrong, and keep moving through the book. What any novelist wants to achieve with plotting and characterizations, regardless of genre, is a page-turner.

So what is the role of accurate historical detail? Have I just given you my blessing to slack off on research? Not at all. You use accurate detail to shape your world with historical fact.

Make the past seem normal but not modern or exotic. For example, suppose you're writing a scene about a banker, and it's set during the American Civil War. Your banker climbs into a carriage for a ride to the other end of town. He takes details of the carriage for granted because the carriage is normal for him, not exotic, much the way we regard details of an automobile's interior. He doesn't linger over details of the carriage unless it's essential to the plot.

Also, make your characters truthful about how they see their world. Beware of extending your twenty-first century bias into the way your characters of the past regard their environment. Westerners of the twenty-first century often see the past through the lens of Victorian England. It might be appropriate for a character in a WW1 novel to have Victorian attitudes, but those attitudes aren't appropriate for a character in the French Renaissance.

Don't get distracted or carried away with detail. Make it second nature to your characters. Introduce it on a need-to-know basis.

If you obsess over detail, you lose the drama. What remains, then, if you sacrifice plot and character in favor of details, and a scholar disproves a fact that's been important in your novel?

When you start researching, make friends with your local reference librarian. Reference librarians can tell you where information is found and where to start looking. True, you can do a lot of searching online, especially preliminary inquiries, but inevitably, you'll wind up having to hold at least one real book or document in your hands. Reference librarians are the threshold guardians of special collections — often repositories of important information.

Exploit the personalities of various online search engines. If you haven't already done so, consider Amazon.com a search engine.

Sources for historical research fall into two main categories. Understand the differences between them. There are pros and cons to using both sources.

A primary research source comes straight from the horse's mouth. With this source, you get an authentic voice, often without a translator or interpretation bias. However, primary sources can be difficult to obtain, and you may end up traveling to get them. The main types of primary sources are as follows:

· Photographs, illustrations, and maps
· Newspapers and magazines
· Public documents
· Interviews
· Journals, diaries, and letters
· Autobiographies
· Hands-on
· On-site

Secondary research sources are easier to access than primary sources. However, they've been interpreted or translated, so expect a bias. To counteract bias, use a combination of different sources. The main types of secondary sources are as follows:

· Books and films
· Web sites
· Consultants and subject-matter experts
· Oral histories
· Courses and conferences

Many people who begin historical research bite off more than they can chew. Here are some tips if you're new to this:

· Narrow your focus when performing a search, and be as specific as possible. Precise information isn't available for large blocks of time. You have to break it down into segments.

· Noodle around with general Internet search tools to get you going in the right direction.

· Don't expect to find all the answers in one place. Be wary of inaccuracies when you're reading something that's online.

· Sometimes, to make your research pay off, you have to read between the lines and perform a synthesis, a melding of what you uncover.

Make no mistake; weaving historical details into a novel is a tremendous challenge. But don't forget to have fun while you're researching. Your attitude will carry over into your novel and excite your readers.

So…what specific time period do you plan to research, and where will you start?

*******

Ahh, a little fact in your fiction, but still focused on your fiction. Makes me want to jump right in!

I bid you good writing.

Welcome Guest Blogger - Craig Harms. Fact in Fiction

Research. It's foundational to writing. Fiction is no different. Within the pages of completely made up stories you will find all sorts of fact. Truth tangled in the nets of fantasy, science in among the fiction, procedure tossed in with the pretend. Author Craig harms is here to chat with us about the importance of doing your homework before you craft your fiction.

Craig Harms received his Bachelor of Arts degree from the University Of Nebraska School of Journalism and his Master of Science degree in Instructional Design from Western Illinois University.
His career choices have included advertising, research analysis at NBC television network, acting, radio announcing, and writing for a New York, NY art gallery. He is a member of American Christian Fiction Writers and Grace Marketing groups.
Craig lives in Dallas City, Il with his wife Sue, their dogs, cats, and a flock of very lively parrots.

Learn more at: www.dayomega.com

Fact in Fiction

I’m convinced there’s no such thing as pure fiction; even though the story and characters are drawn from the writer’s imagination, there must be at least a kernel of truth to make the story believable to the reader. This can only be achieved by adding a certain amount of facts to the written equation. Facts can be found through research. Research can open new doors as the work in progress develops and provides an authenticity to the story in several relevant ways:
Research provides local color. As the writer decides where the setting will take place, s/he should research the location, or even better, visit it in person. This helps provide a feel for its inhabitants, what they think, how they dress, their dialect; the layout of the area, its streets, businesses, and uniqueness; the landscape, climate, plant and animal life. Credibility flies out the window when the facts don’t mesh with the storyline, even if it is in the realm of make-believe. The locales in my novel Day Omega include Chicago, Israel, and Vatican City. Including even small tidbits of real information—the Picasso sculpture in front of the Richard J. Daley Center, the terrain and agriculture in the Plains of Esdraelon, the frescoes inside the Sistine Chapel—helped, I hope, paints an authentic picture in the reader’s mind’s eye.

Research can propel the writer into unexpected new directions. It’s not uncommon for novelists to find themselves at a literary dead-end street with nowhere else to go. Research can open new avenues in which to explore. Again, using Day Omega as an example, a global heat wave has destroyed all the world’s livestock, grains, fruits, and vegetables. The question I had was, “how can I keep the citizens from starving to death if they have no sustenance?” I stumbled upon a solution through research.

One of the seven bowls of wrath unleashed as predicted in the Revelation is that all bodies of water are turned to blood. By keying the words “what can turn water red?” into a search engine box, the solution became evident. Intense warm sunlight causes an explosion of red algae, which depletes oxygen content, and suffocates all living organisms in a liquid environment. Yet, it can provide nourishment, as the Japanese discovered three hundred years ago. Through research, I learned that they harvested the algae, dried it out, and called the substance nori, which was probably pretty tasteless, but very high in protein content. Finding this information helped further the story in three ways: it kept the antagonists alive until the final judgment, provided a believable interpretation for the waters turning to blood, and when the world army invades Israel for the final battle, they are given MRE’s of pressed nori stamped with a Christian cross to remind them daily of the enemy they are sent out to vanquish.

Research provides a frame of reference for the tale being told, a condition described in one dictionary as “a set of ideas, conditions, or assumptions that determine how something will be approached, perceived, or understood.” My published novel and my current WIP both deal with many complex scientific principles and terms that are critical to advancing the story, but these ideas and conditions were quite unknown to me before I began writing. Therefore, it was important that I research them, and then synthesize the information into palpable language. After this was accomplished, I could then use the frames of reference in my writing. For example, in my book, Jesus appears to everyone in a shimmering glowing figure. The optics expert dismisses the visitation as a trick of light and describes it in scientific terms; the agronomist suggests it was mass hallucinations caused by ergot—a fungus that infects grain and has a hallucinogenic effect. Experts in other fields provided rational explanations for the supernatural events that were occurring. The point is, having points of references can assist the writer greatly in approaching a subject, and then creating the arc of how it is perceived or understood.

Lastly, I don’t want to come across as self-serving, but research can make the writer seem more intelligent that they actually might be, as mentioned above! One reviewer wrote about Day Omega: “In his debut novel, Mr. Harms created a very believable interpretation of the end times of our world. His Biblical, scientific, and historical knowledge blend together into a story rich with strong characters and Christian hope”. Trust me, the biblical, scientific, and historical knowledge mentioned did not come from pre-existing knowledge, but through research, research, research. I found historical facts that were congruent with sections of the story I was creating at the time, i.e.: the Treaty of Milan (313), Hitler’s Enabling Act (1933), the structure of the United Nations. All came into play as the plots developed.

It should be noted that research doesn’t necessary require a trip to the local library or surfing the Internet. The writer should be focused enough on the project that s/he is constantly observant of sources that may help them add a depth of realism to their works in progress. It helps to keep a notebook where one can scribble down ideas that might come in handy down the writing road. Clip magazine and newspaper articles that seem apropos to your subject, perhaps you can plug the information they contain into an upcoming section, again injecting needed realism into the manuscript. Visit museums if your story is a historical piece. Research can also include studying—not just casually watching—movies and television programs. Pay close attention to plots, pacing, and character development and their emotional reactions.
I truly believe that the more resources and research a writer utilizes, the easier it is for them to write—and write better, believable fiction.

*****

How you research can be as important as what you research. I've seen writers asking other writers for inside information everything from legal procedures, to sea captaining. All well and fine, talking to colleagues can be an important first step in research, but for the hard cold facts, we must go to the source, and once there, we must take our time. Get it right! Readers can spot bad research a mile away.

I hope you're inspired to crack open some books, talk to an expert, or visit a library this week to add authentic fact to your fab fiction.

I bid you good writing.

"Christian" Publishing - The Pared Down "How to get Published"

Excuse me while I smack my forehead with the palm of my hand
.
No, it's not that I "could have had a V-8", it's just that I'm trying to remember when the word "Christian" became an adjective.

Hmmm. . .

The last time I checked "Christian" was a noun (although, truth be told, I'm trying to make it a verb in my life - but that's another issue).

We have "Christian" everything these days. Someone asked me if I had plans to go to the "Christian store" on the weekend. I gave her a blank look and asked if they were having a sale on Christians. She gave me a blank look in reply. Apparently they aren't.

But, if I were to go to this Christian store, I would find all sorts of Christian things. Wall hangings, music, posters, nic-nacs and doodads of all kinds. And books. Shelves and shelves of wonderful books. "Christian books" published by "Christian publishers".

Recently, I enrolled in an online discussion with several Christian publishers. They discussed what they are looking for in a book proposal (they discussed fiction and non-fiction). What I came away with from that discussion was that "Christian publishers" are publishing books for the same reason secular publishers are publishing books: to make money.

That's it. No loftier goal in mind. They have to make money.

"Oh, sure," you say. "But their real goal is to spread the Gospel."

Probably many of them do, but the whole horse and pony show swings on the hinges of making money. I'm not saying this as criticism. Just stating the facts.

So, in order to make money, publishers are looking for certain things in a proposal.

Get a pen.


Go on, go find one. I'll wait.


Got one? Good.


Here is the secret to getting published:



Ready?




Seriously, I think you should write this down.



Here it is: Be amazing.



Okay, go pick up that pen you just threw across the room. You'll want it. Honest.

What a publisher is looking for is someone who can be excellent at the following things (this goes for agents as well):

1) Knows how to research specific publishers to find out what they are looking for. This is important. Really, really important. Write it down. You need to know how to research specific publisher's needs and then tailor your proposal to fulfill their requirements. You also need to know which publishers NOT to send your proposal to. Don't send you sci-fi thriller to a publisher specializing in Mennonite romance novels. Do that a few times and you'll end up with a reputation - not the kind you want.

2) Knows how to write a proposal. This is an industry unto itself and you can't figure it out by yourself. You MUST go get resources about proposal writing. If you write fiction collect resources that show you how to write fiction proposals. They are different from non-fiction. You must couple this skill with the first point (above). Now, go get your resources. Go on. I'll wait.

3) Be famous already. Painful as it is, publishers are jumping to publish people who are already famous (for something - not necessarily for writing). Not famous? Go get yourself some fame. It's called a "platform" and its the single most important selling point to getting published these days. How do you get famous? Hard work. Get online, get blogging, join groups with common goals that will allow you to showcase your work, build an audience locally, and spread out. Also, use your field of expertise (do you have a degree? have you worked in an exotic local? do you have a rare skill that others will find useful? do you have a position or title? Do people hire you to speak at events?) to play up your 'sale-ablity'. Basically, you are saying, "People will buy my books because I'm amazing and they love me!"

4) Know the rules cold - so you can break them. You need to be original in order to get noticed. But you can't simply go off and be kooky original with your proposal or your fiction. You need to demonstrate that you know the rules of writing so well that you can break them - and when you do the result is fantastic. It works. So, this step requires both a slavish dedication to the rules of style, voice, POV, characterization, plot, and all the rest, AND a distinctive flare. One could call this the perfect marriage of substance and style. You need both. Not sure you have them? The first part is time consuming, but easy enough. You can take writing classes, workshops, read books, and do research. In time you will improve. The second one is a bit trickier, as it involves both talent and personality.

5) Be interesting. It's not enough to be an excellent writer. You have to have an excellent story to tell. Yes, often the story is in the telling, but there are so many books published every year that the market is clogged. You need to be able to take readers where they haven't been taken before. Exotic locals, inside secret organizations, behind the scenes, inside the mind. Show the publisher that you have a unique perspective that is fresh, exciting, and intriguing.

6) Don't preach. The term "show, don't tell" applies to more than just a style of writing. It applies to the whole novel. If you have a message (be nice, don't lie, grace is for everyone, Jesus forgives, green beans are best, etc.) show your message by unfolding the interesting details before your reader's eyes. Publishers don't enjoy reading someones preaching.

7) Have a killer opening line. Lean how to craft excellent opening lines for your novel (and your proposal). You need to start your story in the middle - get to the point right away. Don't save your best stuff for later as a "nice surprise". The publisher or agent won't read that far down the page. You have less than a minute to grab them by the shirt front and thrill their socks off.

8) Know your genre. Sure, your book is one of a kind, no one has ever written anything like it. Get over it. It has to fit in a category. All publisher's are category driven. You must know what it is you're writing, where it fits, and who else is writing in the genre. Simple explanations of your work are the best. As one publisher I listened to put it, "Beaches in South Africa" says so much. Right away the publisher knows its a friendship story, someone will die, and it's set in exotic South Africa. A winner!

9) After doing all else, be persistent. Persistence is great - but it shouldn't be your first step. First, be amazing, then be persistent. Don't allow rejection letters to stop you from shopping your novel. Much of this is about being in the right place and the right time with the right manuscript. That takes persistence, and perseverance (The Left Behind series was rejected by publishers)

Ok, off you go. There's much to do.

Everything Changes - Even Readers

I was browsing a large bookshop in Saskatoon and nearly tripped over a table pushing a debut novel called Notes on the Refrigerator Door by Alice Kuipers (a fellow ‘Toontown dweller). I flipped through and discovered the entire book is a collection of short (even weensy) notes between a teenage girl and her mother. I thought – perfect bathroom reading.

I checked at the cash register. “How’s this one been selling?” The answer was the proverbial ‘hot cakes’ one.

While I don’t think it should be said the novel is being re-invented, I do see it is evolving (or de-evolving depending on your point of view) into something even Yann Martel hadn’t expected. It’s the dawning of the hyper-novel. Devoid of setting, descriptive, and, to a large extent, context, these hyper-novels take time to explore only the essentials. They get to the story and they drive it home fast.

And they sell just as fast. Why?

Because the hyper-novel didn’t just invent itself. It has come about in reaction to the changing demands of the reader.

Some say that the world is an increasingly busy place and busy people aren’t as inclined to take the time to read like they used to. I suppose so, but I think that is only part of the picture. The larger chunk – the one that commands most of the attention is the internet.

Today’s book buyer is not just an internet user; she is internet savvy. She is adept at creating universes in her imagination in milliseconds. She shops online, mentally creating a pleasant store environment where she can browse, buy, and leave with ease. When she requires information she can query international resources within seconds, tracking and comparing answers until she finds what she needs. She chats online with friends and strangers, interacting in space and time without benefit of an actual meeting place. She simply creates the environment in her head and then mentally and emotionally moves around in it.

She doesn’t need help creating the world in which characters can meet, interact, and live out a story line. She can do that herself. Just give her the essence and she will run with it.
Writers are responding to the shift. We hear the drum beat in the jungle pounding out the command: Get to the action! We stop –mid sentence – writing the glorious details of the country garden in which we have place our characters and go in search of short, pithy, pointed descriptions that give the reader the feel of a country garden without clonking the reader over the head with the red, red roses.

We search our brains for what Spunk & Bite author Arthur Plotnik calls the ‘megaphore’. That one-of-a-kind kapow metaphor that sums up (in as few scant words as possible) the universe of which we write. While Virginia Woolf fans weep, and D.S. Lawrence spins in his grave, we, the writers, slice off descriptive. We, as they say in the movies, ‘cut to the chase’. We do so, not because it’s the best way (is it?), but because, if we have hope of being published, it’s what we must do.

There are limits, of course. If your hero needs to dismantle a bomb –timer counting down – you can hardly have him fiddle with some wires and Ga-Zonk! Save the day. Still, it’s enough to know your hero is travelling on a speeding train that’s set to go up like a fireworks factory; the reader doesn’t want you to tell her what color the train is.

The affect of the internet on readership cannot be underestimated. Spend time online, and as you do, think like a writer. Catalogue your experience regarding your ability to create an environment in which you move through cyber-space. Notice how intuitive it is. Examine the few clues you need in order to fully understand and navigate through what is, essentially, a make believe place. And keep this information in mind when you sit down to write.