The second step in my process involves developing and researching the idea into a story concept, then testing the concept to see if it is “story-worthy.”
2. Concept Development and Research
Though this “step” in my writing process is often one of the longest in duration, it is one of the simplest to describe. I describe it here as one step because the activities happen concurrently and can affect one another, but it represents at least two major activities.
Concept Development
More than anything, developing an idea into a story concept requires time for my brain to “burn cycles” on the concept. As with the original epiphany of the idea, those cycles usually happen while actively involved in something other than writing. Though, in this case, I try to direct those thoughts by reviewing the idea and what I have developed so far before setting out on a hike or horseback ride, making a long drive, or whatever activity intended to allow the brain to burn cycles.
Developing the idea takes time and may not result in writing the story right away if ever. My bottle of ideas is full of stories at various stages of development.
Developing the idea also interacts with and is informed by research, which I do concurrently as the concept becomes story-worthy.
Primary Research
Before I dig into my research process, I want to mention that I include blog posts and articles in my newsletters that describe my research and the sources for that research. If you write in the same genre or period of history, you may want to watch for those posts or subscribe to my newsletters.
I designate this period and type of research as “primary” to distinguish it from research that comes later in the writing or editing process. If I miss something important, like a fact I need to know, in my pre-writing research, I may have to research it later. This is still primary research. I just bungled when I should have done it, or the story evolved in a direction I didn’t anticipate.
Primary research is time-intensive and can easily lead to tangents that don’t add value to the story or process. So, I try to reserve it for when I think the story concept is worth the effort. However, some level of research is often required to be able to validate the concept. My two general categories of research are facts and (what I’ll collectively call) style.
Researching Facts
Most of my stories require researching facts. Whether writing science fiction or historical fiction, factual accuracy is required to some degree or the readers will rightly cry foul. In either case, I’m writing “fiction” and take liberties with the facts for the sake of story, but I need to know the truth before bending it.
I hear and read about writers often heading down rabbit holes while researching. They start on one topic and then after a series of clicks or page-flips end up on a completely different topic. This is less of a problem for me than not knowing how deep or wide the research needs to be to improve the concept or story.
For example: If my story includes a character who was present at a particular Civil War battle, knowing how much detail about that battle or general knowledge about the Civil War I need to know to build a believable character often eludes me. So, I “over-research.” I spend more energy and effort on the research than is required for the story. This may sound like not such a bad problem. The extra research will still improve the story, but to a diminishing degree. However, it can also lead me to make more of the researched material than justified in the story to justify the research.
When possible, I also do physical research. In particular, for my westerns this means visiting historical sites and museums. Sometimes the visit is just to get a feel for the location, the lay of the land. Others have buildings, artifacts, and other tangible remnants of the past that I can inspect, photograph, crawl in, etc.
Researching Style
The combination of writing historical fiction, writing multiple genres, and my literary bent requires me to research the language, tone, tenor, pacing, etc. of a particular genre, period, or literary style. In this process, I may be trying to use a comparable style to what has been written historically or apply a different style to meet a storytelling objective.
This part of my research can be the most nebulous in determining when I am done, but is usually the most enjoyable.
Researching Specific Words
I save researching specific words or terms for the editing process. EX: (Style) Would someone in 1930 use a specific word? Or, (Fact) What terminology is used aboard a ship? However, during this part of the process I try to identify sources for the later research. EX: Bookmarking a website that lists 1930 slang, or one labeling the parts of a ship.
Research Examples
Here are a few quick examples of the research “required” for my stories. In each case, the research listed is only an illustrative subset of what I do. The wordcount for each story is included to show that even short stories may require significant research. (Links are to Kindle Vella).
Flashing Lights: Short and Weird episode 3: Souls at Sea (1K words)
Facts: 1880s: The Age of Sail, ship terminology, shipwrecks of the era, HMS Atalanta and its wreck, Bermuda Triangle mythology.
Style: Historical ship-based stories (e.g., Sackett’s Land and short stories by Louis L ’Amour).
Buffalo Chasers: A Wild West Show (12K words)
Facts: 1860s: Wild Bill Hickok, Wild West shows generally and Buffalo Chasers of the Plains specifically, firearms, Buffalo and Niagara Falls, NY, US colleges and female admissions, newspapers, printing and photographic technologies.
Style: The Sun Also Rises by Ernest Hemmingway.
Missouri Compromise: A Young Trapper’s Tale (21K words)
Facts: 1820-1845: History of US fur trapping/trading, fur trapping methods, equipment, attire, and related occupations, French voyageurs, Missouri French, Missouri Compromise of 1820, 1830s Missouri, St. Louis, western states and territories, Missouri River geography, 1830s forts and trading posts, the Chouteau family and other fur traders and mountain men, “Indian” tribe locations, languages, customs, and involvement in the fur trade. A couple visits to Fort Laramie helped get a feel for the fur trade and living conditions of the era.
Style: Adventure stories of Jack London and Louis L ’Amour.
Paradise Aside: A Jazz Noir Mystery (~50K words, incomplete)
Facts: 1920-1930: Cars, firearms, dances, nightclubs, rural buses, clothing, pop culture (music and musicians, literature and authors, movies and actors), US colleges and female admissions, Princeton.
Style: This Side of Paradise and The Great Gatsby by F. Scott Fitzgerald and Red Harvest and The Maltese Falcon by Dashiell Hammet.
