“How do I get better at period research, or research in general, for my screenplays?”
Sometimes the subject matter and characters you’re writing about are very familiar to you and you can simply draw on what you already know. But other times you may need to write about something or someone very different from your own personal experiences, and then you’re faced with the task of research.
You could do some version of simply consuming whatever you can over a long period of time until it finally reaches critical mass and you feel like you understand the thing you’re trying to write. But that’s not always feasible, like if you’re writing on a deadline.
How to make the screenplay research process more efficient
The challenge with screenplay research often comes down to getting what you need to move forward with your project, while avoiding research rabbit holes. It’s easy to feel like you need to know everything before you can write authoritatively. And while it would be great to just Matrix that information right into your brain, that’s not possible. (Yet.)
While there are probably as many ways to approach research as there are things to research, here are a few tips that might come in handy at some point in your process.
What to look for in period research
The need to do period research is common – maybe you’ve thought about writing a period piece too. If you’re trying to be very targeted with this kind of research, there are two important places to start. With these covered you’ll have most of what you need to move forward, which – again – is the important thing.
And then you can always add to your knowledge as you go, and as you learn more about what you need to know in order to inform your story.
The 2 places to start:
- Whatever it is that’s intrinsic to your concept. i.e. if you’re writing a movie about a murder investigation in 1978, then it’ll be important to research how murders were investigated in 1978. What protocols, technologies, etc. are relevant.
- How people interact within your story world. Again, if you’re writing a movie about cops in 1978, then you want to figure out how those people interact. Things like: Are there women on the force? What’s the culture of this era, i.e. to put loyalty to each other above all else? Is there a strict hierarchy or is it more like a fraternity? And many other questions – but understanding the dynamics between people in your story world will help you write more authentic characters and scenes, which will go a long way in the overall quality of your screenplay.
Using research to build characters
Even if you’re not writing a period piece, you might want to do character and characterization research. So you’re looking for information that will inform a specific character rather than the plot or world of the story.
For example, say you’re writing a neurosurgeon character and you want to give him (or her) a little specificity, a little flavor. You could always ask around, try to get an introduction to a neurosurgeon. Or even just cold-call and see who might be willing to do an informational interview with you. (People are often pretty open to discussing what they do, if they have the time.)
These are good methods that I know have worked for writers, but I think the time investment and the delay in getting to the information you want leaves something to be desired. Remember – the point is to get what you need and move forward on your project, not get stuck in the research phase.
A character research resource you might be overlooking
So another way to approach character research? Try podcasts. There are a ton of interviews ready and waiting for you, and I’ve found they’re often full of great, specific characters and dialogue.
One that jumped out at me recently was an episode of the podcast Small Town Dicks (hosted by Yeardley Smith – Lisa Simpson herself!) It’s an expert interview with homicide detective Lt. Joe Kenda.
This guy is a character. Not only does he have distinctive speech patterns, but his point of view on the world stands out as well. (Right around minute 14 he gets into something you might not agree with personally, but would make for an interesting take on a character.)
Just think how you could mine this one interview for useful character research. You could use the jargon and procedural insights to write a more authentic detective character. You could port the worldview and characterization over to a character of a different vocation. (Other people can be crusty and cynical, not just detectives.)
What if Lt. Kenda inspired your neurosurgeon character? You might end up with a guy as colorful as House, M.D. Or juxtapose those character traits with something unexpected… A high school counselor, a grandmother, or even Santa Claus.
The possibilities are nearly endless.
The Golden Rule of screenplay research
Which is why it’s important to remember the research golden rule: get just what you need to move forward, and don’t get stuck!
Research can go on forever, but you don’t need to know everything in order to write your script. If you aim to know just enough to move forward, you’ll then be able to find the other gaps that need filling and can target your additional research as needed.