Research-- A labour of love, or just one more diversion?
Some people share a popular misconception that fictional stories appear fully formed in the mind, waiting to be dropped casually onto a page, as if the writer is nothing more than an automaton, a vehicle through which fiction can flow.
There are, in fact, many aspects to creating any written work. Take for example the art of research. I’m often asked how much research I do and what resources I use. Depending on the type of story being told, at some point most writers find themselves having to engage in research.
When I first set out to write Gold And Fishes, I was deeply moved by the subject matter. The book is set in post-tsunami Banda Aceh (Sumatra, Indonesia) and Phuket, Thailand. It leads the reader through the 30 day period immediately following the Boxing Day tsunami disaster of 2004, which claimed the lives of hundreds of thousands throughout Southeast Asia.
This fictional mystery is set against a very real backdrop of epic tragedy. I remember when I made the decision to write this book. It was January 1, 2005 and my husband and I were watching the sporadic reports that were beginning to funnel down through the Canadian news agencies. I was swept away by the immensity of the loss – even though at that time we had no real idea of how extensive it was.
To do the tragedy justice, I needed to remain true to the actual events. Before I could begin to write Ayla’s fictional tale, I laid down the chronological occurrences, relying on International and Canadian daily news reports.
Prior to Gold And Fishes, I’d never attempted research on this level. Every day during a 6 month period I scoured every fact, every detail of time, place or names that I could find. On many occasions, I had to put the facts aside temporarily, so overwhelming was the emotion attached to what I was learning.
(I should add that I also studied Bahasa Indonesian. Many people have asked why I did this. After all, I don’t get to use the language daily, and I’ve already forgotten much of what I’d learned.
Learning to speak the native language and becoming familiar with the favourite phrases of the region gave me access to my characters in a meaningful way. It made them real to me.)
By March I was ready to outline the actual true story of that event. By May I had begun to cobble together my fictional mystery. By June I was ready to write.
The end result of this labour: a story that is respectful to the survivors and victims of that terrible tragedy. A true account, based on a wide array of news resources, of the actual occurrences within that 30 day period. An introduction to a character that I came to admire for her compassion, work ethic, and sense of humanity.
The First Excellence required its own kind of research. Because the mystery is set in China, I took care to describe only those locations that I was familiar with. The story dives below the surface of Chinese culture. Alex and I adopted our youngest child from the Southern province of Guangxi Zhuang Autonomous Region. It was important to me that the story accurately depict the International adoption process, and that it be firmly grounded in an authentic base of Asian lifestyle.
Once again, I have been studying the language, although I won’t pretend I’m making much headway. Mandarin is a complicated tongue, and the 'characters' are based on ancient pictographs, rather than on phonics.
It soon became clear to me that I would have to do additional research to authenticate my protagonst. You see, Li Fa-ling is a gifted clarinettist. I had no musical background whatsoever, beyond being able to say that I do enjoy music, and really, who doesn’t?
The way I saw it, I could do one of two things: I could force Fa-ling to take up a different interest, one with which I was more familiar, or I could learn to play the clarinet.
For 2 years, I hauled my butt off to weekly lessons every Tuesday after work. Did I become a prodigy? A great undiscovered musical talent? Of course not.
But I did learn how to assemble and hold the instrument, how to create a passably appealing sound from it, how to care for it, store it… Who’s kidding whom? I love my darling ‘Buffet a Paris’. It is a lovely instrument, sleek and black, carved of the finest wood with silver keys and a clear, dark tone.
These things we writers do for the love of our craft. Some writers say their work requires little if any research. Most stories, though, demand at least some attention to detail to place them in the right context.
The next time you pick up a book that carries you away to a world you had never before encountered, please take a moment to appreciate the research that was carried out behind the scenes.
Far from being a waste of time, or a mere diversion, well-presented research really is a labour of love on the part of any writer.
Donna Carrick, October 12, 2009-10-12
Follow me on Twitter!
Join me on Facebook, too!
There are, in fact, many aspects to creating any written work. Take for example the art of research. I’m often asked how much research I do and what resources I use. Depending on the type of story being told, at some point most writers find themselves having to engage in research.
When I first set out to write Gold And Fishes, I was deeply moved by the subject matter. The book is set in post-tsunami Banda Aceh (Sumatra, Indonesia) and Phuket, Thailand. It leads the reader through the 30 day period immediately following the Boxing Day tsunami disaster of 2004, which claimed the lives of hundreds of thousands throughout Southeast Asia.
This fictional mystery is set against a very real backdrop of epic tragedy. I remember when I made the decision to write this book. It was January 1, 2005 and my husband and I were watching the sporadic reports that were beginning to funnel down through the Canadian news agencies. I was swept away by the immensity of the loss – even though at that time we had no real idea of how extensive it was.
To do the tragedy justice, I needed to remain true to the actual events. Before I could begin to write Ayla’s fictional tale, I laid down the chronological occurrences, relying on International and Canadian daily news reports.
Prior to Gold And Fishes, I’d never attempted research on this level. Every day during a 6 month period I scoured every fact, every detail of time, place or names that I could find. On many occasions, I had to put the facts aside temporarily, so overwhelming was the emotion attached to what I was learning.
(I should add that I also studied Bahasa Indonesian. Many people have asked why I did this. After all, I don’t get to use the language daily, and I’ve already forgotten much of what I’d learned.
Learning to speak the native language and becoming familiar with the favourite phrases of the region gave me access to my characters in a meaningful way. It made them real to me.)
By March I was ready to outline the actual true story of that event. By May I had begun to cobble together my fictional mystery. By June I was ready to write.
The end result of this labour: a story that is respectful to the survivors and victims of that terrible tragedy. A true account, based on a wide array of news resources, of the actual occurrences within that 30 day period. An introduction to a character that I came to admire for her compassion, work ethic, and sense of humanity.
The First Excellence required its own kind of research. Because the mystery is set in China, I took care to describe only those locations that I was familiar with. The story dives below the surface of Chinese culture. Alex and I adopted our youngest child from the Southern province of Guangxi Zhuang Autonomous Region. It was important to me that the story accurately depict the International adoption process, and that it be firmly grounded in an authentic base of Asian lifestyle.
Once again, I have been studying the language, although I won’t pretend I’m making much headway. Mandarin is a complicated tongue, and the 'characters' are based on ancient pictographs, rather than on phonics.
It soon became clear to me that I would have to do additional research to authenticate my protagonst. You see, Li Fa-ling is a gifted clarinettist. I had no musical background whatsoever, beyond being able to say that I do enjoy music, and really, who doesn’t?
The way I saw it, I could do one of two things: I could force Fa-ling to take up a different interest, one with which I was more familiar, or I could learn to play the clarinet.
For 2 years, I hauled my butt off to weekly lessons every Tuesday after work. Did I become a prodigy? A great undiscovered musical talent? Of course not.
But I did learn how to assemble and hold the instrument, how to create a passably appealing sound from it, how to care for it, store it… Who’s kidding whom? I love my darling ‘Buffet a Paris’. It is a lovely instrument, sleek and black, carved of the finest wood with silver keys and a clear, dark tone.
These things we writers do for the love of our craft. Some writers say their work requires little if any research. Most stories, though, demand at least some attention to detail to place them in the right context.
The next time you pick up a book that carries you away to a world you had never before encountered, please take a moment to appreciate the research that was carried out behind the scenes.
Far from being a waste of time, or a mere diversion, well-presented research really is a labour of love on the part of any writer.
Donna Carrick, October 12, 2009-10-12
Follow me on Twitter!
Join me on Facebook, too!
Views: 7
Comment
Welcome to
CrimeSpace
© 2024 Created by Daniel Hatadi.
Powered by
You need to be a member of CrimeSpace to add comments!