Learn writting from novel fiction writters!

Writing fiction often involves finding out about things you don’t yet know
enough about, or checking things you are not sure of. Sometimes you
will use your journal to detail your research.
Here novelists Tim Pears, Patricia Duncker and Alex Garland talk about
their approaches to research.
TIM PEARS:
It’s one of the great advantages of writing a novel is that it’s an excuse to
find out about a whole world I always have that at the beginning of a book.
I think right, what do I really want to find out about for this book. I’ve got
some basic idea but, it’s got to be embedded in a world, a real world, a
world of people, and work which is something I’m kind of generally
interested in is what people do.
From everywhere, you know like a magnet, people sometimes say that,
you know the most important thing that we must do is to remember, do not
forget, you know do not forget, there’s a great a kind of a 20th Century
injunction, do not forget, do not allow things to be forgotten, and that
novelists are somehow, it’s one of our jobs, it’s a guardians of memory.
But in my own experience and for other writers that I’ve spoken to, it seems
like one of the common attributes is a poor memory, and it’s almost like you
kind of fill yourself up with things, and then you let them go, because you
move onto the next thing. So, certainly for In a Land of Plenty it was
dealing with the recent past with things that had happened in my lifetime,
but certainly I couldn’t rely on my own memory, so I would just draw on
everything; newspapers books, other people’s memories a lot.
Photographs, I think photographs are very useful, because you forget hair
style, fashion and so on and then it just all comes back, when you see a 

photograph and you think, my god we were dressed like that, and all things
come back.
PATRICIA DUNCKER:
I’ve written one historical novel which is my second novel, James Miranda
Barry. To some extent, I think all novels are historical novels because
whatever period you’re writing about, has to be thoroughly researched, and
the last novel that I wrote was a contemporary novel, that was set in our
present time. And I still found that I had to do almost as much research for
that as I did for James Miranda Barry.
With James Miranda Barry the research was fun because it was set in
the early part of the 19th Century through to about 1865/1870 and one of
the things about that period which really interests me is, the fact that you’re
moving from the Regency through to the Victorian period. So we’re
gradually becoming more and more straight-laced, and religion is
becoming more and more important in the society. So that the reading I
did was, a lot of history, an awful lot about the professions of my
characters. One was a doctor one was an actress, so I read an awful lot
about what the conditions were on the stage of that period, and about the
state of medical research in the 19th Century.
The other aspect of the book that was fascinating for me was the West
Indian content of the book. Because James Miranda Barry was a doctor
in the colonial service who worked abroad, and he spent some of his
professional life in Jamaica, which is where I come from, so it was
fascinating to read all the things that I’d vaguely heard about in history or
knew a little about, but to go into them in depth. Particularly, the slave
revolts, because there is a scene in the book which is about, the Morant
bay rebellion, about which I knew absolutely nothing, except that we
frequently commemorated it on stamps, until I’d researched it up. But I
wouldn’t say that I did less research for the novels that are contemporary,
and in fact, the research tends to be the same, it’s about professions, about
locations, and about the histories of places.

ALEX GARLAND:
I didn’t really do any deliberate research on either of the two books.
Coincidentally, I was a back packer that was what my life revolved
around in a way. Writing was always a secondary concern to me about
how I could get a ticket or a visa and where I wanted to go. The
Philippines, I was particularly fond of, I’d been there repeatedly for years
and years and years by the time I started to write The Tesseract so I
didn’t really need any research.
I think also research, deliberate research can be difficult because it’s a
kind of side step away from imagination or it can be if you’re not careful.
And that can show up in writing as well. I think very often, you know,
another one of these little truisms about writing is that a lot of writing is
about editing and about what you take out, and I think that’s very true
and if you leave a reader with a sense that something’s been too heavily
researched I think that’s bound to distance them from their emotional
contact with the narrative.

source:the open university,futurelearn.

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