Listening to Aaron Smith’s explanation (in the recording of Chris Evans’ interview of Aaron and me for WRUV) of the historical situation that forms the backdrop for the novel he was writing during NaNoWriMo, I began thinking about the different ways that facts can be involved in fiction.
In the normal course of things, facts are more associated with non-fiction, and imagination with fiction. But in Aaron’s work, for example, the actions of his characters had to fit into a complex, multi-faceted historical context.
Historical fiction is one way in which a novel can meld fact and imagination and works of historical fiction are likely to be among the most fact-laden works of fiction. At the other extreme, novels can be almost entirely formed of imaginary material, with very few specific facts involved. But there’s a lot of room between the two extremes.
Here are some of the ways fact enters into the fantasy/science fiction/family/quintology that I’m writing called The Bent Parallels Quintology.
• I chose most of the character’s names based on their meaning from a little booklet called “What’s in a Name?” that was published by Ethyl Corporation in 1942. Others I found at the websites Think Baby Names, Baby Names World, and the baby names section of Mom’s Who Think.
• I’ve obtained information about animal behavior, diet, etc. from Animal Diversity Web, Newton BBS at Argonne National Laboratory, and Dog Breed Info Center (where you can find information about agoutis, bison, horsehair worms, Mahi Mahi, and many other creatures besides dogs :^).
• I did some research on castles at Castles.org.
• Information on the Nazi Occupation of the Netherlands came from the page of Linda Woolf, Ph.D., a psychology professor at Webster University.
• Home furnishings came from a variety of museum websites and catalogs, with my favorite carpet (the one in the library on the third floor) being found at Absolute Rugs website.
And that’s only a small sampling: there’s much, much more.
My story is not “about” any of these facts. But all of them, and more, enter into the telling, and in some cases, the story must work to accommodate the facts (as in choosing a plausible month for the excerpt I read on Chris’s show to enable the constellations that need to be seen to actually be visible in the sky at that time).
And I think that’s one of the key differences for me in writing fiction and non-fiction. In non-fiction, I use my imagination to gain a sense of my audience, what they know already and need to know about the topic, and how what I’ve written is likely to strike them. But since I mainly write informational text when I write non-fiction, the facts are what I’m writing about.
So the facts dominate in my non-fiction in a way that even my fact-laced fiction doesn’t approach. And one of the things I learned during NaNoWriMo, writing my first extended work of fiction, is that this makes the experience of writing a novel quite different from writing informational text.
A lot of the time I spend writing non-fiction is spent couching the facts in language that accurately conveys the meaning and making sure that every fact is in the proper relationship (time-order, importance, etc.) to every other fact. Whereas in fiction, the facts are more like a combination of foundation on which the fiction is built and decoration with which it is adorned and paths down which it travels.