Gathering Of Dedicated Scribblers discussion

I'm getting to the place in my novel where what's happening exceeds my personal knowledge. If I stuck to what I know, I'd be writing children's books. So, my question is, how do you educate yourself enough to be believable in your writing?

I will need a decent understanding of criminal and contract law, federal investigations, setting up a takedown (is that even what it's called?) and of course there's the all important verbiage for everything. Part of me wants to engross myself in John Grisham novels and the Godfather or Perry Mason to gather ideas, but.... is there a better way?

I would talk to someone with a decent understanding of white collar crime if you can swing that.

If that's not an option, I would suggest Grisham's "The firm", but it's dated by now and some things might have changed.

Perhaps news stories about federal sting operations could be a place to start, to get familiar with the terminology.

Then there's the series "FBI," but I haven't seen it yet so I can’t really recommend it.

I had a similar problem with a tech subplot. Even after a ton of research, I went one way and it turned out to be a dead end - I chose the wrong technology. It actually made me rewrite three chapters, but the result is much better, I think.

So I would do rudimentary research before writing these chapters, but I wouldn't go too deep -- not to lose the momentum you've developed. Then, after the first draft is complete, you can always revise. Who know, maybe some Coursera reviewers will be able to help with that?

Your title is actually very fitting advice. Admittingly you don't know about the LE side of things which is completely fine. Don't let it hinder your progress in the story. Describe things to the best of your ability because the verbiage and vernacular are not what's important. What's important is your story, characters and plot.

So when you write, you put they did a 'takedown operation'. During your 2nd draft, when the story is complete you will start to polish a completed story. Beta readers will then come in to help and say, "Change take down to 'Sting or Sting Operation'" unless you're writing about a hacking program then you might want to use 'HoneyPot'.

My point is, stick to what you know. Write the story. The most important thing is you complete it. Then you can go back, research and polish. If you try to research while writing you often get mislead by facts. These will tend to divert your story down side plots as finding or learning new words/events/places/people sparks imagination. Then when someone fixes the specifics, it derails the entire side plot that associated with that research.

A big example of this is writing sex scenes. We're grown ups, we know how it happens. So when we write a scene we might tend do say:

Then under the low light of moon reflecting from the placid surface of water did they enter into it together. The brisk chill gave her gooseflesh propelling her into his body, into harnessing his warmth. With the buoyancy of the water she wrapped her legs around him and he carried her.

Right, we describe the scene, we don't go into details of what is exactly happening. When you write this way your readers know what your writing about. When someone picks up your book they are reading a suspense/mystery/romance. They are not picking up your book to read about the innerworkings of the FBI. Write about what you know and it will work out. Don't write about criminal law if you don't know about it because when you get technical is when readers start nit picking at your story specifics.

I agree with Andres that you should not let yourself get bogged down with research. To quote Brandon Sanderson: “Write it badly, write it badly, write it badly… let it become good later. Write it down now. Otherwise, it will die in your head.” If your lack of sufficient knowledge is creating a writer’s block, just write what you know and fill in the blanks in “postproduction.”

That said, there is a point that neds to be made: Detail is what makes fiction believable, authentic and immersive. Especially in realist settings, where you are confronted with a world that already exists in your reader’s mind. In the example of the sex scene, you draw on your reader’s understanding of what is essentially part of every adult’s life. I would not go as far as to say that the inner workings of law enforcement is something most people are familiar with. So it won’t do to just wave your hands and say: “And then they did what all agents do and that’s how they caught the guy.” If I’m not familiar with something, I want specifics, I want detail, not just the broad strokes. I want to see and to understand.

So yes, research is essential to get things right, but you don’t have to get it all right straight away. The easiest way to make sure your story makes sense is to ask a person familiar with the area you’re describing. You can work out the nuts and bolts of the subplot after you’ve completed the first draft. Or you can workshop your problem. Ask the question on a brainstorming forum (e.g. Scribophile has such a group), e.g. how would an agent set up a sting operation targeting a human trafficking ring? Or even more specific. I’m sure there are plenty of people with enough expertise to help you out.

Also, getting new ideas while you’re doing research is unavoidable, but it doesn’t mean it’s a bad thing. It can propel your story towards something unexpected and sometimes even better. Going back to my earlier example. I originally used a cloud server for something that had no business being on a cloud. I asked some experts and with their help I figured out how to solve the subplot. I had to rewrite some scenes but that added yet another layer to my main story arc and I am much happier with it now.

To reiterate: if you are afraid research will take you down a rabbit hole, write what you know now, and leave placeholders for your first round of revisions. Yes, too much research can be distracting and it can derail your entire process. You know your writing process best so you have to decide whether it is something you want to do now or after completing the first draft.

Marcia wrote: "I'm getting to the place in my novel where what's happening exceeds my personal knowledge. If I stuck to what I know, I'd be writing children's books. So, my question is, how do you educate yoursel..."

Hi Marcia, I have worked in policing for 40+ years so have a little understanding of matters criminal. There are several things you can do. 1. Contact your local police agency and ask to speak with a detective who handles financial crimes, etc. 2. Then contact your local FBI field office (there is a list on FBI.gov) or if you are elsewhere than the United States just Google your federal or national police agency and talk to their PR department. They are usually very willing to help. 3. Remember that research is both fun (I totally love it) and draining. 4. Sometimes it is better to just write like crazy and get your plot on paper, then research the gaps (called gap analysis in criminal intelligence) If I can offer any words of encouragement ... my good mate and former tennis coach in Australia, Klaus Klatt, wrote a published novel which had a lot of FBI stuff in it and he persevered for two years and got tons of help from the FBI and DEA. He knew nothing about law enforcement. But he not only got it published by a company (not himself) his book has been picked up for a movie! So go hard even though you know little. Just do it and love it.

Quoting David Gaughran, one of the most-famous "self-pub" gurus:
"writers hate being asked where they get their ideas, because the answer is obvious: they make them up. I’ve never fired a musket, eaten a horse, or banged a sailor, but I’m pretty sure I could imagine what these feel like. And if you can imagine it, you can write about it."

Thank you for all the advice. Rabbit holes are what I do best so the research will absolutely have to wait a while. I really like the idea of just making everything up as a I go... Although shooting the MC in the head and starting over also sounds really enticing (and easier).