The plot will remain in tact; after all, I outlined this one pretty thoroughly (yet, admittedly, I'm not an outliner, per se, so "pretty thoroughly" means a couple-page plot summary I worked on for a week). Last week, I printed out my pages, sat down with my pencil, edited what I have, and realized I have questions about the backstory of two characters that I need answered before I can continue writing the story. These questions are specific to the Syrian refugee crisis.
A family vacation means I refuse to work when everyone else is awake, which means rising early to write for a couple hours before the rest of the clan wakes. The "writing" I've done this week has been looking for and e-mailing (or Facebook messaging) experts on Syria and refugee smuggling. As of this writing, I've e-mailed questions to 1) a senior fellow at the Brookings Institute, 2) a Boston College professor, 3) a University of Massachusetts professor, 4) an immigration attorney, 5) a Nova Scotia fisherman, and 6) a former deputy chief of the United States Border Patrol. That's more time networking than writing, which is the cost of doing business for a procedural writer.
I began my writing life as a newspaper reporter (two years after college), so I know how to find and cull information. (Often, I send multiple experts the same questions so I can cross-reference the answers.) And research is vital to writing fiction, especially considering today's information-savvy readers. In our genre, fact-based fiction is the primary difference between procedurals and other other sub-genres (amateur sleuth and private investigator crime fiction). For me and this project, most importantly, lots of people know something of the Syrian refugee crises; therefore, I flat out have to get these details right or the novel will collapse under the weight of failed reader-expectations.
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And that's the bottom line.
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