A little about the research that is going into the Newirth Trilogy.
(visit Read Between the Lines, click here)
QUESTION:
What research went into writing the Newirth Mythology Trilogy?
THANKFULLY, Mark Twain issued the foundational dictum giving we fiction scribblers at least one starting scenario when faced with a blank page: âWrite what you know.â At least weâve got that. Of course, the imagination has a lot to say about what goes on the page also, and its content is rooted in mainly liesâall of that wonderful made-up stuff. And thereâs the magic trickâone must incant a tale with some plausible believability (and reveal some human truth), while lying oneâs ass off. Simple, right? Thus, we research.
As the The Newirth Mythology plot began to unfold and the pages piled up, I started a list of the storyâs subject matter: mythology, poetry, the lifestyle of a portrait painter and his craft, the day-to-day of a clinical psychologist, medieval Europe, overseas travel, the 70âs rock scene, good scotch, fatherhood, writing, and of course, sword fighting. I wasnât too terribly surprised to see that the list closely resembled a menu of my personal obsessions and pursuits. So, sure, I am a rock musician and Iâve toured all over the world, Iâm a lyricist, Iâve published some poetry, Iâm a painter, I know a little about psychology, Iâm a dad, and a writer that loves the occasional dram, and yes, I co-founded a sword fighting consortium. Write what you know, indeed. A few chapters into Part One, The Invasion of Heaven, however, I discovered that I wasnât writing what I know, but rather, I was writing what I wanted to learn more about, which makes research my favorite part of the scribbling process.
Of course there are volumes written on research methodâqualitative craft and strategic procedureâand Iâm certain that my humble approach is nothing new. But the best pieces of advice I received on research were collected at different times in my life. My dad said Ask, my uncle said Read and my dearest friends say Do.
1. ASK. My dad always says, âIf you donât know, ask someone and talk about it.â
When I didnât know how to work out a particular problem in school, Dad encouraged me to ask my teacher. A teacher himself, Dad had a lot of experience assisting with the how to questions. The advice stuck with me. Working through Part One, The Invasion of Heaven, I engaged in daily conversations on mythology, medieval history, science and psychology with college professors, professionals, artists and friends. For what conversations are better over breakfast or a glass of scotch than those examining the relationship between art and psychology, or the possible existence of an afterlife, or the strides toward immortality through genetics? Talking it over and keeping good notes has provided me a working vocabulary, a wider point of view and some relatively provocative story ideas. Whatâs more, Iâve had the opportunity to spend time with amazingly talented and smart people. The best part, I think, is that this research hasnât yielded as many answers as it has questions. Thankfully, there will always be more to ask about.
2. READ.
My uncle Stan encouraged a healthy diet of books. Another habit built in childhood. Through the influence of my college professors I was exposed to the books that would become the stepping stones for my own work. Classical mythology, medieval literature, and poetry both old and new, seduced and transported me. Because the Newirth Mythologyâs plot parallels historical events, I also delved into the history books.
The wonder of the internet, too, was extremely helpful in learning specifics I could not find in texts, as well as allowing me to keep up with the latest scientific advances. Sections in Leaves of Fire are dedicated to genetic engineering and DNA research.
Most importantly, I let the style and expertise of my favorite authors wash over me. Like listening and watching my favorite musicians, reading the books of the authors I admire always teaches craft, voice and structure. Their story telling magic is just outside the scope of research. The old suspension of disbelief bit. Magic a little difficult to catch if youâre trying, and seemingly simple if you forget youâre holding a book. That telling the truth while lying thing they do so well.
3. DO. If you donât know, go do. Friends are the best instigators. (However, do the stuff that wonât get you into trouble–or at least, not too much trouble.)
The five sensesâthe best research.
When my dear friend Monte brought two swept hilt rapiers to my house one winter afternoon, long ago, he made this introduction, âIâve never fenced with these beforeâI thought it would be fun if we gave it try together.â So my study of fencing began. Since I was a kid with a branch for a sword and trashcan lid shield, Iâve loved the idea of swords and sword fighting. I had not entertained pursuing it in adulthood until Monteâs gift.
Itâs one thing to discuss the idea of being caught up in a sword fightâyet another to read about characters in a famous duel. But to actually feel the sword hilt in your hand, the weight of the heavy armor, the ache of your legs and the burning in your lungs as you struggle to keep your opponentâs blade from stabbing into your bodyâwell, thereâs nothing quite like it. The real research. Sure, everyone loves a good sword fight, but until the point of a blade is thrusting toward your eye, all of that talk and all those books are mere shadows. Several times while writing a particular sword fight I would choreograph the exchange with another fencer. Not only fun, but itâs incredibly informative, and it reveals a view into true-to-life duelist movements.
The Newirth Mythology challenged me to do a lot of things well out of my comfort zone. To understand more about the storyâs portrait artist, Basil Fenn, Iâve took up oil painting after years as a watercolor artist. Iâve traveled to countries surrounding the Mediterranean Sea as the ghosts in the stones and ancient temples appeared in the narrative. Main character Loche Newirth, at the beginning of the tale, falls fifty feet into ice cold waters. I made myself try that, too. Okay, so maybe it wasnât quite fifty feet (and it was summer), but still, it was a little scary. The notes I scribbled about the experience made it into the book. The icy waters and the terrible height was where the lying came in.
Then thereâs the return to my personal day-to-day. My experiences as a rock musician informed the 1972 backstage, rock concert scenes in Part Two, Leaves of Fire. Watching my son grow from a toddler to a little boy defined the characters of young William of Leaves and Edwin Newirth. Relationships, stories from friends, things people say, and moreâI try to catch as much of it as possible.
I like to think that Mark Twainâs write what you know really means share the things you learn.
Itâs an invitation to we scribblers to go out and know something. Ask questions, read about itâto get in there and experience it for yourself. And then, we get to do what we love to do, write it down. Ultimately, the research going into The Newirth Mythology serves a higher goal. A goal not surrounded by facts or figures, but rather, the infused magic of fiction. The thing our favorite authors conjure for usâhow they transport usâdeliver us. Through all of the conversations, books and experiences we use as a foundation, we scribblers are really working toward knowing how to write magic into our tales, and become better liars.
MBK, July, 2015