Pageturners: Story Research
Research in comics was a dirty word.
Welcome to Pageturners, a book I’m writing in which I share what I’ve learnt – and am still learning – about comic writing, film writing, novel writing and how new writers can sell their stories. I’ll publish a chapter or a section per week, available for free here on Iconoblast. And I welcome your feedback or questions, so do leave a comment below!
Missed the Pageturners intro? Read it here.
Last week I talked about collaborations with artists.
Research in comics was a dirty word. It was seen as largely unnecessary, an indulgence, and an obstacle to the high-speed method of writing comics, which was the only way writers could make money – as they had no rights to their own creations. It’s also an admission that stories can’t be knocked out like fast food, so it has to be denied by publishers. It’s still the case today, but nobody talks about it.
When I started 2000AD, I needed a library of science fiction: books on space, the latest inventions, visions of the future such as Alvin Toffler’s Future Shock, illustrated histories of SF, plus classic SF novels by Harry Harrison, Isaac Asimov, Arthur C. Clarke et al. To claim my expenses, I had to get them signed off by the managing editor, and went through a time-consuming, form-filling procedure. He looked at my various book claims with barely concealed passive aggression and scepticism, like I was pulling some kind of scam. Not entirely surprising, as there has always been a lot of such corruption in comics. And it was science fiction, horror and fantasy, so why the need for research? In the end, I was so fed-up with his attitude, I gave up and just bought the books with my own money.
But research should be second nature if it’s a story or comic you care about. The problem was that, in comics, writers were conditioned by publishers not to care about their stories, rather to see them as ephemeral, disposable, and not to get angry if another writer took them over, or if an artist delayed drawing them for years – or even forever. It’s a problem that has still not gone away to this day.
John Wagner and I both cared about our stories, greatly. So I know John spent a phenomenal amount of time researching his HMS Nightshade for Battle, including talking to navy veterans. Similarly, I read everything I could find on World War One for Charley’s War, spent time in the Imperial War Museum, and collected original postcards and magazines, which I actually used in the series itself.
I wanted to continue Charley into World War Two, but I soon discovered that there are few anti-war books available – even though there are some aspects of the conflict, at least, that are ignored in comics and shouldn’t be. To quote the The Spectator: ‘Hitler didn’t start indiscriminate bombings – Churchill did.’ Veterans I’d previously talked to told me a somewhat different story to the simplistic, heroic and patriotic version of the war usually told in comics. For example, shooting fleeing Italians in the back ‘for fun’. Or how to beat up a prisoner during interrogation and make it look an accident.
My solution was to interview British Legion veterans, but this would require a research budget. The new managing editor said it was out of the question – even though no figure was discussed and even though Charley’s War was the number one story in Battle. So I walked. He’d been hoping to get me off Charley’s War – he had tried once before – so this was his opportunity. The harsh reality is that the majority of people who work in comics, back then and today, are highly conservative and don’t want controversial stories.
When I got into comics I entered a sedate, establishment media enclave, imagining it was, or could become, rock and roll, which was truly naïve of me.
The artist co-creator Joe Colquhoun had the courtesy to phone me and ask if I’d mind if he continued Charley into World War Two with another writer until his retirement. Of course I agreed and Joe did a superb job on it. But because it no longer had an anti-war tone, the new series was unpopular with the readers and was quickly killed off.
I cite this example to show just how far research is seen as a dirty word in comics. But not only is it essential: it can be fun, or at least creatively rewarding. Here is an example of how I approach research.
There are some things many male writers are unlikely to get right. I’m thinking particularly of shopping. After all, in the huge department store near where I live, there’s a sign saying ‘Man Creche’ at the entrance to a café – where wives can leave their husbands to drink coffee while they take their time shopping.
In Claudia Vampire Knight Book One (available in English on Kindle), she arrives in Hell and goes shopping for a coffin in Herods – the top vampire department store. So for the coffin-buying scene, I talked to a female friend, who I knew was an avid shopper, to tell me what she would look for if she was a vampire shopping for a coffin. If I’d written it solo, it would have been a brief scene, instead, it became a delicious three-page shopping tour-de-force! It’s those finer shopping details that count and I don’t think most men could get right! Claudia begins by asking…
Claudia: Have you got a black leather coffin, made from human skin? Padded inside with lots of support for my back. Queen size so there’s room for my victim.
Assistant: Unfortunately, madam, the Ed Guine model is very popular and we’re temporarily out of stock.
Claudia then considers a Techno coffin, which she decides isn’t feminine enough. This is followed by the Black Rose coffin, which she rejects as too girly. So the assistant suggests the Dracula special with earth imported from Transylvania. She turns that down, as it’s too messy. But the assistant doesn’t give up.
Assistant: This is the Victorian model with extra space for your crinoline so you can emerge from your coffin ready to bite.
Claudia feels it’s too old-fashioned. The assistant is exhausted, but Claudia suggests she try the Techno coffin and the Black Rose coffin on a week’s trial.
Assistant: No, Madam. Because you’ll leave your shape and odour in the coffin. It could be very difficult to sell afterwards. Not to say that you smell, of course.
Claudia: There’s no need for that. I only asked. If you don’t mind me asking.
Claudia: Oh, well, I suppose I’ll have to take the Techno, after all. It is the most expensive. I don’t suppose you could carve a black rose on it or give it a black silk lining? That would be absolutely perfect.
Claudia’s equally exhausted male vampire companion tries to hurry her out of the store, but she’s not finished yet.
Claudia: Wait! Just one last thing…Could I have a discount?
Assistant: What?!
Claudia: Well, it’s a little dusty. It’s been in the shop for some time. How many vampires have tried it already? Ten per cent would be enough. I’d be very pleased. And then we’d all be happy.
Research can take forever; so if you possibly can, write about people and places you know really well, disguising them if necessary, as science fiction or fantasy. It can cut out so much hard work.
Thus I’m currently researching steam trains for a story. It’s daunting because there are questions I don’t have the answers to. But if I was a train buff, I’d probably know. I’ve watched two authoritative documentary series on the relevant trains and found them poor on the kind of details I need.
So my solution is to go a steam train journey to get me in the zone. Research gives you an excuse to go and have fun.
I’d love to hear how you research a story or a creative project – drop me a line in the comments!
The Great Silence 1918-1920: Living in the Shadow of the Great War
by Juliet Nicolson.... That's a book that may be useful for your story, Mateo. You're right - it's a lost period that no one usually covers. It must have been tough for teenagers when their dads came home suffering from PTSD and more. Glasgow, especially, was close to revolution. The early episodes of When The Boat Comes In I recall cover the period, but don't feature the teenagers. I had a relative who would have been a teenager. He told me the soldiers in the trenches were ferocious and so they had to be dealt with brutally. Sigh! Thanks for mentioning Anzacs. I may have seen it, anyway I shall enjoy watching it again.
A great, insightful read. Your recent posts about Charley’s War have really hit home, too. I want to write something set early post WW1 but about the young men and women who didn’t “serve” but come of age amidst the backdrop of the slaughter, harsh economic conditions and the upset to social “norms” and power structures. Out of interest have you seen ANZACs? It’s an 1980s Australian TV production. It’s got Paul Hogan in it as the archetypal Aussie larakin. Really good I thought. Looking forward to your next post!