Yesterday evening I sent off the final files for my new Charlie Merrick book; on Monday, I start work on the second draft of my next teen novel. The story and characters have been buzzing around in my head while I finished the illustrations for Charlie, so I'm really excited at the prospect of spending more time with them. There is however a slight caveat—now I know the skeleton of the story, this draft will need some research. For me, research sometimes feels like ‘homework’, and it’s frustrating when a ‘fact’ gets in
the way of a good story! At the same time, inaccuracies and inconsistency can push the reader out of a story, so it's important we spend the time to get it right.
Therefore, as a reminder to myself as much as anything, I decided to put together a few thoughts about research. 'Rules' might be pushing it a bit, but I couldn't resist the chance for some alliteration in the title!
1. GETTING CAUGHT UP IN THE WEB
The
spark for my second novel, Waiting forGonzo, was to explore the impact of a teenage pregnancy from the point of
view of the girl’s younger brother. The story takes place over nine months and
is loosely structured around the pregnancy, which meant I had to keep a close
eye on key moments on that timeline—hospital scan dates; changing symptoms; at what
point the ‘bump’ starts to show, and so on. All this information was readily
available online.
Something
to bear in mind when doing internet research—if you are writing a book based in
the UK, make sure the information is from a UK website, as treatment methods
and procedure can vary in different countries. For UK medical matters, the NHS
website (www.nhs.uk) is a good place to start, offering a huge database of
symptoms, treatments and a Health Encyclopaedia.
There
is probably some time-honoured rule stating that the best research comes from
first hand experience, and I wouldn’t argue with that. But sometimes, it’s
simply not possible. For example, finding out what it actually feels like during
the different stages of pregnancy was going to be tricky for me! Instead, I
talked to my wife and other female friends; I read pregnancy magazines and
borrowed a stack of books from the library.
When faced with a mouth-watering pile
of research material, it’s tempting to spend weeks scouring every page of every
book to ensure you don’t miss a single shiny nugget of information. STOP! You
have a story to write. Having fallen into this trap myself many times, I now
use the following strategy:
1.
Start with a quick scan through all your
materials—use Post-it notes to flag
any pages that look useful, but resist the temptation to start reading and taking
notes.
2.
From this initial overview, select just two
or three core volumes on which to base your research. Read these in depth and make notes.
3.
It’s likely you’ll still have gaps, but now, you can search your remaining resources for the specific pieces of information
you are missing and ignore areas you have already covered in you core research.
I
find that this technique saves time, and stops me covering the same ground with
multiple sources.
My pregnancy research quickly established that
people’s experiences vary dramatically. I collected many fascinating, and often
very funny, accounts of what it’s like to be pregnant. Unfortunately, most of
these never made it into the book. It’s always hard to leave out gems you’ve
uncovered, but you have to be ruthless—if
it doesn’t help the story, it shouldn’t go in. You can always include these extras
in a blog post, or in a DVD style bonus features section at the end of the book,
or on your website.
2. CHECKING YOUR WOUNDS
A
number of characters in Waiting for Gonzo
have accidents. Again the NHS website was a good place to check symptoms and
treatment. However, you can lose a lot of time searching the web. A good tip is
to set a timer, so you don’t spend hours chasing a link.
I
was lucky enough to find a friendly doctor via Twitter who has been kind enough
to check my stories for medical accuracy. This is invaluable when it comes to
details and specific questions you’ll struggle to answer online. For example,
knowing the questions an A&E doctor would ask; who else would be present at
a consultation, and so on.
Watching
realistic hospital dramas in films and TV can be useful in this regard too. It
also means you can watch TV and honestly claim to be working! For example, a
number of scenes in Waiting for Gonzo
take place in a Neonatal Intensive Care Unit. Due to the nature of the work
they do, I was unable to visit one, but I did find a documentary series about a
baby care unit on BBC iPlayer. The programmes revealed huge amounts of
information about what goes on, who is likely to be around, what staff wear and
how they talk. I was also able to hear what the location sounded like too,
something I wouldn’t have got from photos alone. It was the next best thing to
actually being there and gave a real feel for the location which helped
immensely when it came to writing the scenes. I then sent the pages to a friend
who works in a NICU to make sure I hadn’t made any errors.
3. CHICKENS AND EGGS
For
me, stories always start with a spark for a character or situation. Usually I
get a burst of ideas about where the story could go, but if I don’t know enough
about the subject, I’ll do some research as the results will inform what can
happen. As soon as I feel I know enough (not everything, just enough), I do a
first draft—writing what works for the story and not being afraid to add
details that may be inaccurate. This draft will usually reveal further gaps
in my knowledge, so I’ll do more research to fill these, and also check any
stuff I made up. This process repeats over numerous drafts until the story is
close to completion, at which point I recheck my facts and if possible get an
expert to read what I have written to make sure the story rings true.
4. THE IMMERSION TECHNIQUE
While
working on a book, I cover the walls above my desk with information I collect—location
photos; character castings; words and phrases that capture the mood or key
ideas of the story; reminder notes and, with Waiting for Gonzo, the timeline with all the relevant dates and
plot points.
I
also gather the research photos for my current project into a screen saver folder
on my computer. This means that when I’m not actually typing, the machine
starts displaying reminders of my locations, characters etc. It’s a great way
to stay immersed in the story world, and because the slideshow chooses images
at random, it sometimes throws up an aspect I’d forgotten about, which in the
past has triggered a helpful idea.
 |
| The man in the milk bottle mask! |
5. ALL IN THE NAME OF RESEARCH
The
most unusual piece of research I’ve ever undertaken was for the Nyctal masks worn by Oz and Ryan at
Fight Camp in Waiting for Gonzo. I
researched mask making on the internet, and then adapted one for the creature I
had invented for the story. But I had to check it would work, so found myself
actually making a mask from a plastic milk bottle. Then I wore it round the
house for an hour—just to see how it felt. Did it smell? Get sweaty quickly?
What could I see and hear while I was wearing it? Information that really
helped when writing the scene.
6. LOCATION SCOUTING
I
like to invent place names for my stories, but my imaginary locations are
usually based on somewhere real. Crawdale in Waiting for Gonzo is a mixture of North Yorkshire and Mid West
Wales. I treat this research like scouting for film locations, and take lots of
photos and video—walking Oz’s route home from school for example.
 |
| Researching Oz's walk home in Wales. |
Video
is useful because you capture sounds too — birds, traffic, a nearby stream, the
crunch of feet on gravel. I try to look around and focus in on things I might
want to include later. I’ll often dictate notes out loud as I’m recording,
which draws funny looks from people, but is useful for capturing details that
won’t be on the film—the fact my knees ached from the steepness of the hill;
the way the wind felt like it was trying to tear my clothes! Months later I can
watch these location videos before writing a scene, and it takes me right back
there.
Google Maps Street View is great for checking
routes and what places look like without actually visiting! The 360° feature
means you can literally look around and take screenshots—almost as good as
being there with a camera in your hand. Of course you don’t get the full sense
of a location, but it’s a superb way to visit places quickly and cheaply!
7. YOU'LL NEED A COAT ON TODAY …
Stories
often take place in a non-specified time of year, but make sure you don’t
forget crucial calendar events that would register in your character’s lives.
For example, Waiting for Gonzo took
place over 40 weeks, which meant I had to acknowledge Halloween and Christmas.
I find that these events often provide a setting for a scene, or even a useful
plot-point. Anchoring your story to real calendar events can give it a strong
sense of reality.
I
also find it useful to keep in mind what time of year my story is taking place.
Knowing whether an evening scene happens on a dark winter’s night, or a balmy
summer’s evening will affect the mood and how the events unfold. For example, a
car’s headlights dazzle your heroine and cause her to crash her bike. But it’s
a summer evening and still light—you’ll need to rethink the cause of the
accident. www.timeanddate.com is useful for finding out
what time it gets dark at a particular time of year. (Click on the Sun&Moon
tab and enter the month, year and location.) It’s a detail, but getting it
wrong can pull the reader out of the world you have created. Plus, taking a
moment to consider these things before starting a scene can really draw you into
the moment and inject greater depth into your writing.
A
few years ago I started keeping a weather diary—daily notes on what the light was
like; how the trees looked; how cold it was and what people were wearing. Now, I’m
not suggesting you should include ‘weather reports’ in every scene—unless it is
crucial to your story, of course—but deciding what conditions are like will
inform how your characters feel and what could happen to them.
8. AND FINALLY …
Research
can be great fun, it can bring our characters to life and inform what happens
in our stories, it can provide us with settings so real, our readers will be
able to smell the air as they turn the page. But don’t get lost in its maze of magical
mysteries—research is there to support our stories, not the other way around.
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I hope some of the above will be of interest. I'd be interested to hear other people's thoughts on research. Why not leave a comment below with your top research tip.
Dave Cousins is the author of a number of award-winning books for teenagers and children. For a more information, sounds and videos, visit davecousins.net
EDGE
Author Sara Grant shares the life lesson she learned from one of her characters
Long
about chapter thirteen my main character Devie decided to give me a little
advice. She’s having a bad day. You know one of those days that goes from miserable
to epic disaster. No matter what she tries, she can’t quite turn it around; she
actually only makes matters worse. (I’m not a sadist. That’s what writers are
supposed to do to their characters.) I’ve had a few of those days recently, but
Devie – instead of giving up or wallowing in self-pity – discovers another
option. She says, “When life hands you lemons, give someone else chocolate.” 
And
I’m not alone in my lemon-to-chocolate philosophy. I was preparing the session
I’ll host at this weekend’s British Society of Children’s Book Writers andIllustrators (SCBWI) conference. I’m facilitating a discussion on what authors
can do to market their work. I asked a few editor friends: What’s the most
important thing writers/illustrators can do to promote their books? (I
think the real answer is: write the best book they can, but let’s assume
they’ve done that.) One editor’s response was surprising. “Spread positivity.
Take a karmic approach – give love, get love.” 
