Research Can Be Fun--pt 4 of 5, writing techniques

There's no denying that research is a part of writing whether non-fiction or fiction. And within the parameters of fiction, the genre somewhat dictates how much research is required. Certainly, historical fiction requires extensive research into place and time in order to be accurate with details down to the simplest clothing items or food eaten. Techno thrillers, legal thrillers, and medical themed novels need to be accurate in terminology, science, and procedures.

But there is an area of research that is often considered trivial or inconsequential in the overall scope of your story—the location where your story is set. Certainly the setting is important, but as a matter of research seldom makes it to the top of the list.

A contemporary novel set in your home town requires little in the way of research for location.  You live there so you know about the terrain, weather, the businesses, the good neighborhoods vs. the bad neighborhoods, streets and highways, tourist attractions, places of special interest and historical interest. That's easy.

But, what about setting your story somewhere that you have never been? If that is the case, you have options available. The most obvious for accuracy is to visit the location—take in the ambiance, make note of the geographic elements, study the activities of the residents, and grab the tourist brochures usually available in the hotel lobby. All major metropolitan areas have certain must see tourist attractions that are common knowledge around the world. The Empire State Building and Statue Of Liberty, the Golden Gate Bridge, Big Ben, the Eiffel Tower. Well- known tourist attractions can certainly be included in descriptive passages of your setting or become part of a scene where some action takes place. That gives the reader an immediate mental image reference to go along with your descriptive passages. But keep in mind the publisher's house rules on using brand names, the names of real hotels and restaurants, etc.

Travel and tour books can be a great help for general research information. These books include information about the major cities in that state and certainly the tourist areas in addition to hotel/motel and restaurant listings. A real estate houses for sale search of a city will give you knowledge of the various neighborhoods. A city's website will tell you about the educational system, shopping, cultural events, sports activities, tourist attractions, etc.

My most interesting research experience was for one of my Harlequin Intrigue novels, THE SEDGWICK CURSE, a mystery romantic suspense originally in print then reissued by Harlequin in ebook.

My story was set in a stereotypical English country village of the type found in the Cotswolds. A large estate inhabited by the Lord of the manor—land and a title that had been in the family for centuries. An annual festival that had been held on the estate grounds every year for over two hundred years. And murder involving the titled rich and powerful from a century ago and a family curse that's brought to fruition now.

I needed to research several things. Certainly accurate information about the physical setting I'd chosen.  And then specifics (beyond what I'd gleaned from various British crime drama series on television) about the way local law enforcement interacted with the privileged titled aristocracy when investigating a murder.

I had already been to England several times and had another trip planned, so I included spending one week in the Cotswolds to do the research I needed. [This is where the fun part of the research came in. :)] I found a charming centuries old hotel in the town of Tewkesbury and used it as my base to explore the surrounding area.

My research started when I walked into the local police station, said I was a writer doing research for a novel, and asked if there was someone I could talk to about how a local murder would be investigated. I was passed on to a Detective Sergeant who was very helpful and spent about two hours with me, which was an hour and forty-five minutes longer than expected.  I garnered far more information than I needed for that specific book, but great research material for future needs.

The next step in my research was the immediate location for my fictional Lord Sedgwick's estate. This was a major stroke of good luck. About three miles north of Tewkesbury is the village of Bredon that had everything I needed, including a large estate that hosted a village festival every year and the weekend I was there happened to be festival weekend. I was able to wander around the grounds, take pictures, and get information about the estate straight from the owner's mouth. One of the buildings on the grounds, the Tithe Barn pictured here, is part of the National Trust and dates back to the 1300s. It is accurately described and used in my book, as are many of the features of the real counterpart of my Sedgwick Estate.

Obviously, traveling to a foreign country to research a location isn't that practical. If the location is a well-known tourist area, you will have lots of research material available to you. But what if your desired setting is a typical small town or village in a specific area? That brings us to the more practical solution of creating a fictional small town as the setting for your story.

I have set many of my Harlequin and Wild Rose Press books in fictional small towns. But the one thing these fictional small towns have in common is that they are all patterned after a real place that I've been in the state where I've set the story. And in lieu of that, there's always the ability of taking something like a beach town or mountain village you've been to and transplanting it to another state for the purposes of your story.

If there's someplace you've been, a vacation you enjoyed, and you want to recreate the feel and ambiance for your story setting without fear of getting some of the facts wrong about the real place, the best way to handle it is to create a fictional location. Do some basic research on the general type of location you've selected for your story such as a fishing village on the coast of Maine. That will give you basic generic facts for that type of setting. Then you can take the feel of the real life place you visited and impose those memories and impressions on top of your researched facts for a fully realized story setting. Your characters can then impart that sense of place to the readers with the words and actions you give them in addition to your descriptions.

Secondary Characters And How To Use Them

A couple of days ago I was watching on old movie, the 1974 production of Agatha Christie's Murder On The Orient Express with its all star cast where almost everyone in the movie was a major character.  It occurred to me that there were very few characters other than the many primary ones (isolated on a train trapped by the snow is akin to a locked room mystery with no new characters added or current ones removed).  So I started thinking about secondary characters and how they can be used to prod, shove, and push the main characters into and along the necessary path for the story line.

So, let's talk a bit about secondary characters.

When I say secondary characters, I'm not referring to the minor characters that decorate a scene and maybe have a couple of lines of dialogue or only appear in one or two scenes.  I'm talking about the characters who have a prominent place in your story but are not your main characters.  These are the characters you can use to maneuver your main characters into and along the path toward achieving the story goal.  They are a key factor in moving your story along and determining what direction it takes.

In developing these characters, they need to do more than merely be there—more than just someone for your main character to have lunch with. You need to decide what you want them to accomplish and how you want them to relate to and interact with your main characters in addition to each other in order to move your story line along to its conclusion.  Let's take a look at how a set of secondary characters can be used to move a story line in a specific direction.  Remember, it's not who they are, it's what they do and how they relate to the main characters and how the main characters respond to them.

Example:  You have a story about a teenager who is the leader of a gang that has been stealing cars for some mobsters.  You have two ways you can go with your main character, in other words, two directions your story line can take and you must choose one of them.  #1: he wants to leave the gang and make something of his life OR #2: he runs his gang with a iron hand and threatens anyone who wants out.

With scenario #1 your secondary characters who will influence the story line can be his girl friend, his little brother, and one of his teachers.  That tells you who they are (what their relationship is to your main character), but doesn't tell you how they move the story.  His girl friend fears for his safety and finally gives him the ultimatum to leave the gang or she's leaving him.  His little brother idolizes him and wants to be just like him, but he doesn't want his little brother to make the same mistakes he did.  His teacher is mentoring him by helping him with his studies and finding him an after school job.

With scenario #2 your secondary characters can be his girl friend, a rival gang leader, and his contact with the mobster who pays him for the stolen cars.  Again, that tells you who they are and what their relationship is to your main character but not what they do to move the story in a specific direction.  His girl friend demands more and more in the way of material things so he needs the money from stealing cars to keep her happy.  The rival gang leader is trying to take over his stolen car business so he has to watch his back at all times to protect himself and his own interests.  The mobster gives him access to the easy money he needs to keep his girl friend happy and the promise of being able to move into their organization and advance in the criminal world.

Each scenario has a girl friend, but her function is different in the two scenarios so that her character helps move the two story lines in two different directions.

One of the great things about secondary characters is that you can make them as outrageous, unconventional and over-the-top as you want.  You don't have the same parameters and cautions with secondary characters as you do with your main characters.  The main thing you need to be careful with in creating your secondary character is to not make them more interesting than your main characters so that they don't steal the show and shove your main characters into the background.

Any comments about developing and using secondary characters in your writing?  Or any television shows, movies, or books where the secondary characters stood out in your mind with the way they were able to guide and manipulate the story line?