Monthly Archives: January 2012

The Joy of Research

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When writing a novel involving places that actually exist, you need to get the details exactly right or the boat won’t float. And the details aren’t just in the names and locations. It’s the sensory data that pulls the reader in.

I’m currently in the process of writing such a novel. The story takes the main character on a treasure hunt from the dusty archives of Barcelona to the ramshackle seaport of Lisbon and finally to the humid jungles of South America.

Suffice it to say there’s lots of research is involved in such an undertaking. But that’s not to say it’s drudgery. Quite the opposite, actually; the joys will be familiar to many fellow travelers, trip planners, and history buffs.

The details of the various locals matter, big time; I’ve needed to get a sense of the atmosphere of these places to portray them on the page. Take for example one of the books early settings: The Archivo General de Indias in Seville, Spain. The building houses the world’s biggest repository of documents about the Spanish Empire’s expeditions during the Age of Discovery.

I had to be there to breathe in the mustiness that hangs in the air. I had to smell the dust from the ancient, historic parchments flanked by soaring pink marble columns. I had to feel the stale air settle into my lungs as the leather of an old journal’s binding cracks under my fingers as I open it. I had to watch other researchers trawl through yellowing documents, handwritten by real people lost to time. I had to wander the opulent library as historians pore over documents in hope that the faded ink scratches will yield insight.

The majestic old archive in Seville was, as in so many cases, merely the starting point of a larger and greatly enriching journey.

Some call book research “work”. I call it the fun part.

The What-ness of Travel

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My college philosophy professor was fond of the term “what-ness.” As in, the “what-ness” of a place or feeling. Meaning, the core essence of it. Being a callow young man, at first I rolled my eyes and thought, “He’s nuts. That’s not even a word!”

But in time I became a fan of the concept, because it was really the perfect way to approach description. Now, as a professional writer, the concept is at the heart of my daily work. As I write my new novel—the plot of which involves a travel writer gallivanting through several countries—I’m well aware of the importance of capturing the soul of the locations. I stop myself from reaching for the same old clichés and hackneyed phrases and focus on the “what-ness”.

Just as my old professor taught me to.

The challenge is straight forward, but not easy. Our mandate is to render the location in vivid detail using all the sensory data we can muster.

The what-ness is comprised of the facets that add up to the whole impression. The good news is there’s no secret formula to reach the what-ness. The tools needed to render these places in almost-flesh-and-blood are in already us. They’re all around us, and they’re free.

Just focus on the sensory data.

For example, does the location of the given scene have a particular smell, perhaps giving clues to the dominant agricultural or commercial activity of the neighborhood? Or a noise that’s indicative of the place’s character? What are the visuals of the place—are the buildings fairly humdrum or are they freshly coated in an array of pastels? How are the people dressed? Do you dodge well-dressed professionals striding along, absorbed in their own cares? Or do you pass under lines of drying laundry hung from lines suspended from apartment balconies while grandmothers lean out open windows chatting with their neighbors?

These are just a few examples to give a sense of what I mean.

In future posts I’ll be expanding on ways to imbue these places with the magic necessary to touch the reader’s senses and emotions. By doing so, you are not just presenting the reader with a laundry list of facts; you are leading them to their own satisfying discovery of the “what-ness”.

The challenge is straight forward, but not easy.

I know, it’s tempting to try to bottle the soul of an entire city and give it to your audience to feast on. The instinct is noble but the end result usually does a profound disservice to the city itself. Such attempts will more than likely lead to a watering down of the place you’re trying to describe. And no place deserves a shallow generalization.

More importantly, such an attempt often does profound disservice to the reader. The reader has come to your words trusting your experience. They come for a taste of a place they’ve never been before—or at least a sample of a neighborhood they didn’t have the chance to get to know on their last visit.