Authenticity in Technical Detail

When you write about a particular industry or set your book in a particular locale, authenticity is everything. Knowing details that only insiders or residents know is critical to giving your story credibility.

I knew when I wrote SHAKEDOWN that the technical detail for the financial scam had to be dead on balls accurate to be plausible to anyone in the financial industry. Systems professionals who might read the book just to see if they could find a hole in the plotting also needed to be convinced. 


When your research is complex, it's best to ask the experts.

I was lucky to know a number of systems professionals who were able to explain the technical detail I needed to construct a believable scenario by which money could move around with a false trail. It blew me away that they didn't have to think about it much -- they just pulled out their pens and started scribbling schematics on napkins! (These are the guys they need in Washington.) But they gave me insights that I wouldn't have otherwise been able to obtain. Whether you build systems, construct locks, or write regulations, you tend to know how to break them, where to find the loopholes. Experts help you establish credibility so that you sound like you know what you're talking about.    

Erasing a money trail, as it turns out, is painfully difficult, and requires a significant amount of collusion among very different divisions of a company and beyond, but this is how bad guys navigate.

While "suspension" of disbelief" goes a long way for the casual reader -- if we don't have familiarity with a technical subject, we tend to believe what's on the page in a novel -- I knew that my phone would be ringing off the hook if I got it wrong.   

There's one paragraph where the technical aspect of the financial plot is explained, in dialogue. One paragraph in 421 pages, one that most people probably skipped right over. But for those in a position to evaluate it, that paragraph was the O.K. Corral. 

So how many hours did the research take? A lot, and the plot changed over time, got less elaborate. But it didn't matter how much time it took, because it came out right in the end. That's where you need to focus. 
  
How do you articulate what you need to know if you don't know what you need? 

Explain it in terms of the plot.

What has to happen to make your story work, or to feed your other plot points? What answers do you need? And don't forget to explore options. Consult different experts, people who know their trade -- when the answers coincide, you're there.   

  • "I need someone to remain in a coma for six weeks."  
  • "What kind of internal injuries would be serious but generally not life-threatening?" 
  • "I have an arsonist character that can't get caught. How can he avoid it?"
  • "What kind of handgun would an old vet pass on to a son going to war?"
  • "What color is the blood when someone's shot near the heart -- dark red or bright red?"
The really neat thing about consulting experts is that they know their stuff and they love to talk about what they do. I called a county coroner once for information about how certain murder cases were handled. We had four-hours of conversation and exchanged several emails in which he answered countless questions. Then he sent me the manual -- a very respectful manual, actually, about how murder cases were handled and how evidence was to be preserved if a body were found in or near water -- something I specifically needed to know for a story. If you tell your local experts that you're working on a book, and organize your information ahead of time to keep your communications on track, they'll likely be willing to talk with you. Be sure to send something in thanks afterward.

Geographic and historical details are also important. Even if the facts appear momentarily, and they're not rally central to the story, they can disconnect a reader very quickly if they're inaccurate: 

  • No one drives on the lower deck of the Golden Gate Bridge because there's only one level of roadway. 
  • Marin County isn't south of San Francisco.
  • There's a hairpin turn off Presidio onto West Pacific, near the golf course.
  • What were the dates of the Zodiac killer communications in early 1974?
  • What's at the top of Nob Hill, and what's the view?

It helped to grow up near San Francisco. But if you use an unfamiliar locale as your setting, there are ways to get a sense of place -- photographs, interactive online maps that show actual street geography, reading local newspapers, public records, even a brief visit if your pocketbook will allow it. Notice these details. Pay close attention to color and sound and light, because they can bring your setting to life.  

 

 

 

 

I have to admit that it helps to have a book already under your belt to prove you're an author -- when you write mysteries and thrillers, asking questions that are related to crime and murder and arson can raise eyebrows, especially if you're not well known. 

Just be prepared for some semi-serious teasing about exactly why you want the information! 

Then go write it down.   

 

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