how to do story research

The 10 Best Ways to Research for a Story

If you’re writing a story, then you’ve probably encountered this common problem before: you’ve gotten to a point in the narrative where you need to write about something you’ve never seen, experienced, or learned before. Maybe your characters venture to a part of the world you’ve never been, or they have extensive knowledge about something you really haven’t thought much about. If your characters are truly diverse, then they’re going to have hobbies, interests, and expertise that are outside the scope of what you’re familiar with. Although that can feel like a problem, it isn’t by any means a bad thing. 

Writing about something you don’t know can feel overwhelming, but with a little bit of research, you can write about it so convincingly that you can even impress readers that are familiar with the topic. By utilizing these 10 techniques for researching for your story, you can become a perceived expert on any topic in record time. Your characters will end up feeling more authentic, and your story will end up much more realistic and interesting as a result. 

Getting Started With Researching for your Story

In the early stages of conducting research, there’s no need to get overly fancy with your methods. This is the point in which you should strive to get a foundation of general knowledge on the topic, which is almost always easily accessible through the internet. 

Google is always my first choice, simply because of its convenience, versatility, and scope. If your story takes place in a location you’ve never been, you could start by simply looking at google street view to get an idea of how the location is laid out. You could read up on laws, watch their local news, and get a sense of how people behave there. Even without physically visiting the location, you can get a pretty good sense of what it’s like to live there. 

No matter what you need to learn, you can start out on google. It might not provide everything you need to know, but you could learn about time periods, sword fighting techniques, different cultures, skills, locations, and professions, all from the comfort of your couch. However, you should approach everything you read with a healthy level of skepticism. Always try to verify the information with sources, cross-referencing, and gauging the authority of the author. The last thing you want to do is to put something in your story that isn’t true—not only could that spread misinformation, but you could get called out by your more astute readers.  

2. Listen to Podcasts

Podcasts can be a fantastic source of information, and there are options out there for just about any type of knowledge you’d need to learn. If you have a character who is supposed to be an expert on old crimes, space, or even gardening, you could find a podcast or two that can provide you with a good general introduction to the topic. As a bonus, podcasts are generally entertaining and brimming with good examples. 

Podcasts are perfect for introductory research for multiple reasons. For one thing, they are easy to listen to whenever, whether you’re running, driving, drawing, cleaning, or whatever else. You can simply turn them on and have them play in the background, while they immerse you in the topic. Because they are easy to listen to all the time, it is much easier to fit the research in around your busy schedule, and to really make the learning part of your everyday life. You can utilize all your free time to learn, without feeling fatigued from reading all the same information.

3. Watch Youtube

Youtube is a great opportunity for learning a multitude of different topics. You can learn anything from how to pronounce a particular name to what the social structure of 1500s China was like. You can watch lectures, illustrated cartoons, footage of life in different parts of the world, and even medical procedures. Regardless of what you’re looking for, you can feel confident knowing that youtube is going to have what you need.

However, you need to be careful about the validity of your sources. Unlike Google, youtube shows results for searches based on the popularity of the videos, not on the correctness of the content. Always make sure to check sources and cross-reference before you apply anything you learn in your stories. 

4. Watch Documentaries

There’s a little bit of overlap with this one since documentaries can be found on youtube, but it is notable enough to draw attention to this type of video specifically. Documentaries can give you deeper insight into a topic than most youtube videos would, and can provide a lot of useful context and additional information. 

Plus, most major publishers have already fact-checked their content, so you can trust in the information they provide a little more readily than you could with youtube. Anyone can make a video about birds and post it on youtube, but it won’t have the same credibility as a documentary about birds from National Geographic . The downside to this option, however, is that documentaries are generally a lot longer than youtube videos and are more theatrically produced, so you might not get the information as quickly—even if the quality of the content is better. 

5. Read Everything

Reading is one of the best ways to learn, as I’m sure you know as a writer. With millions of books being published around the world each year, there are topics that cover just about everything you could ever want to know. There are educational books, textbooks, novels, comic books… and you could learn something from each of them, depending on the story you’re writing. 

If you’ve never written a romance before, but that’s part of the story you want to write, then the best way to learn about the genre as a whole is to read other romance novels. If you study how comic artists pace their storylines through the pages of their comic books, you could apply that to pacing and visualization in your own story. There’s so much information in books, that to overlook them as a tool for learning in the modern age is foolish.

6. People Watch

If dialogue is what you struggle with, simply go to a public place and listen to the conversations of people around you. Take notes by writing down everything you can (you can do this into your phone so you don’t look like a creep), and try to get a range of different types of conversation. 

If someone is yelling at a store clerk, take notes about the way the angry customer phrases things. If someone is talking to their spouse about the right vegetables to buy, keep tabs on how they interact with each other. If two people look like a couple, you can probably assume that they’re comfortable around each other, and would, therefore, speak to each other differently from how they would speak to strangers. When you are taking notes, try to keep the exact phrasing intact, and even format it to reflect the natural pauses and inflections of how these people speak. 

Of course, you can utilize this technique to research things besides just dialogue. You can get a feel for the way people stand and move, the way they gesture when they speak, and how they shift around when they are waiting in line. You can take notes of how people’s clothes move, how they smile, and how they behave when they think no one is looking. Of course, just be courteous to strangers, and don’t draw a lot of attention to yourself as you are doing this, since you may end up upsetting someone if you watch them too obviously. 

Taking Your Research to the Next Level

Once you have a foundation of knowledge, it’s time to delve deeper into the specific topics you need to learn. Most writers skip this part, and simply finish their story with the information they’ve skimmed online—and for some people that’s fine. Storytelling doesn’t always have to be uptight and professional. If you’re researching a character for a roleplay, a game, or for fan fiction, there’s really no need to continue your research past the introductory phase.

If you are writing a story that you intend to publish professionally, however, you really should go above and beyond what other writers are willing to do. If you put in the extra work, it’ll show in every expertly crafted and well-researched line. 

As a bonus, deeper research can also allow you to craft some truly impressive characters. If you want to learn how to apply some of these techniques to genius characters specifically, take a look at my other article: Simple Tips for Writing Genius Characters . In the meantime, here are the more in-depth techniques for researching for your story.

7. Conduct Interviews

One of the best ways to gather some authentic information is by getting it directly from the source. If you need to write a character who’s an oncologist, then interviewing a real medical doctor is going to get you the most accurate and useful information out there. If your story takes place in Scotland, but you’ve never been, then you could ask a person who lives there about the holidays, traditions, and landmarks. You could really capture the spirit of a place by listening to people describe what life is like there. If your character speaks English as a second language and you want some accurate quirks for portraying that in your story, you could ask people who have learned English later in life to use real examples instead of relying on tired stereotypes. 

Now, this is obviously easier said than done. If you’re like most people, you can’t claim to be friends with doctors or people all across the world. You aren’t always going to have the right people on hand to interview when you need them. However, you can use internet forums and communities to track down individuals that meet your specifications. Many people will be willing to help if you explain what the interview is for.

When you conduct an interview, start with several questions prepared ahead of time so you can gather all the information you need, but leave some time to simply talk to the individual about their experiences. And, as tempting as it might be to do otherwise, you should conduct the interview in person, on a call, or via video chat. Being able to hear the other person’s voice is going to give you a more authentic understanding of the topic they are discussing. 

8. Read scholarly publications

Reading up on scholarly publications can be really helpful in a lot of different situations. If you have a character that’s a scientist, skimming different science papers can give you ideas about formatting their dialogue and the ways they think about things. It can also be helpful for understanding the terms that your scientist character should be familiar with, along with some of the content itself. You could even have your character site similar kinds of studies in your story.

In addition to that, you could learn all about psychology, history, and a range of other subjects that you could use to enhance your characters and setting. Even if you don’t have anything specific to research, skimming different studies can give you ideas for characters and their hobbies, their environments, and their personal development. 

9. Take a class

If you really want to commit to learning something, one of the most hands-on ways to do that is with a class. Depending on what it is you need to research, this could just be a one-time class or a several weeks long program. For example, if you have a character in your novel that does pottery for a hobby, then you probably wouldn’t need to go more than once to get a solid grasp of the different terms and techniques. If you have a character that’s a professional chef, however, you are probably going to need to take a much longer class—or several different ones—to learn about the variety of things your character would have to know. 

Traveling obviously isn’t a good option for many people, but if you can manage it, you should absolutely go and visit the place in which your story is centered. If you want your characters to visit New York City, the only way you are going to be able to perfectly describe what that’s like is if you have experienced it for yourself. 

However, there are ways you can travel on a smaller scale. If you want to capture the feeling of a graveyard at dusk, then you should go visit one in your city. Graveyards are everywhere, and many places have a variety of different ones, like military graveyards, small family-owned graveyards, church graveyards, and large funeral homes. If you want to know how it feels to get lost in the woods, then go hiking (but try to not get lost for real). You can still learn by traveling to different places within your own city or state. It doesn’t have to be an expensive or overly time-consuming ordeal.

Take Notes to Reference Later

Regardless of how you decide to research for your story, you need to make sure that you take detailed, organized notes. Consolidate your notes from different places together, but keep similar topics grouped together to make them easier to find. No matter what, never throw anything away, even if you think you won’t need it. After all, it’s better to have too much information than not enough. And who knows, you may end up actually using those obscure facts or tidbits of knowledge in a character’s dialogue later in the story.

EH -- Researching Short Stories: Strategies for Short Story Research

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• Strategies for Short Story Research

Page Overview

This page addresses the research process -- the things that should be done before the actual writing of the paper -- and strategies for engaging in the process.  Although this LibGuide focuses on researching short stories, this particular page is more general in scope and is applicable to most lower-division college research assignments.

Before You Begin

Before beginning any research process, first be absolutely sure you know the requirements of the assignment.  Things such as  

• the date the completed project is due 
• the due dates of any intermediate assignments, like turning in a working bibliography or notes
• the length requirement (minimum word count), if any 
• the minimum number and types (for example, books or articles from scholarly, peer-reviewed journals) of sources required

These formal requirements are as much a part of the assignment as the paper itself.  They form the box into which you must fit your work.  Do not take them lightly.

When possible, it is helpful to subdivide the overall research process into phases, a tactic which

• makes the idea of research less intimidating because you are dealing with sections at a time rather than the whole process
• makes the process easier to manage
• gives a sense of accomplishment as you move from one phase to the next

Characteristics of a Well-written Paper

Although there are many details that must be given attention in writing a research paper, there are three major criteria which must be met.  A well-written paper is

• Unified:  the paper has only one major idea; or, if it seeks to address multiple points, one point is given priority and the others are subordinated to it.
• Coherent: the body of the paper presents its contents in a logical order easy for readers to follow; use of transitional phrases (in addition, because of this, therefore, etc.) between paragraphs and sentences is important.
• Complete:  the paper delivers on everything it promises and does not leave questions in the mind of the reader; everything mentioned in the introduction is discussed somewhere in the paper; the conclusion does not introduce new ideas or anything not already addressed in the paper.

Basic Research Strategy

• How to Research From Pellissippi State Community College Libraries: discusses the principal components of a simple search strategy.
• Basic Research Strategies From Nassau Community College: a start-up guide for college level research that supplements the information in the preceding link. Tabs two, three, and four plus the Web Evaluation tab are the most useful for JSU students. As with any LibGuide originating from another campus, care must be taken to recognize the information which is applicable generally from that which applies solely to the Guide's home campus. .
• Information Literacy Tutorial From Nassau Community College: an elaboration on the material covered in the preceding link (also from NCC) which discusses that material in greater depth. The quizzes and surveys may be ignored.

Things to Keep in Mind

Although a research assignment can be daunting, there are things which can make the process less stressful, more manageable, and yield a better result.  And they are generally applicable across all types and levels of research.

1.  Be aware of the parameters of the assignment: topic selection options, due date, length requirement, source requirements.  These form the box into which you must fit your work.  

2. Treat the assignment as a series of components or stages rather than one undivided whole.

• devise a schedule for each task in the process: topic selection and refinement (background/overview information), source material from books (JaxCat), source material from journals (databases/Discovery), other sources (internet, interviews, non-print materials); the note-taking, drafting, and editing processes.
• stick to your timetable.  Time can be on your side as a researcher, but only if you keep to your schedule and do not delay or put everything off until just before the assignment deadline. 

3.  Leave enough time between your final draft and the submission date of your work that you can do one final proofread after the paper is no longer "fresh" to you.  You may find passages that need additional work because you see that what is on the page and what you meant to write are quite different.  Even better, have a friend or classmate read your final draft before you submit it.  A fresh pair of eyes sometimes has clearer vision. 

4.  If at any point in the process you encounter difficulties, consult a librarian.  Hunters use guides; fishermen use guides.  Explorers use guides.  When you are doing research, you are an explorer in the realm of ideas; your librarian is your guide. 

A Note on Sources

Research requires engagement with various types of sources.

• Primary sources: the thing itself, such as letters, diaries, documents, a painting, a sculpture; in lower-division literary research, usually a play, poem, or short story.
• Secondary sources: information about the primary source, such as books, essays, journal articles, although images and other media also might be included.  Companions, dictionaries, and encyclopedias are secondary sources.
• Tertiary sources: things such as bibliographies, indexes, or electronic databases (minus the full text) which serve as guides to point researchers toward secondary sources.  A full text database would be a combination of a secondary and tertiary source; some books have a bibliography of additional sources in the back.

Accessing sources requires going through various "information portals," each designed to principally support a certain type of content.  Houston Cole Library provides four principal information portals:

• JaxCat online catalog: books, although other items such as journals, newspapers, DVDs, and musical scores also may be searched for.
• Electronic databases: journal articles, newspaper stories, interviews, reviews (and a few books; JaxCat still should be the "go-to" portal for books).  JaxCat indexes records for the complete item: the book, journal, newspaper, CD but has no records for parts of the complete item: the article in the journal, the editorial in the newspaper, the song off the CD.  Databases contain records for these things.
• Discovery Search: mostly journal articles, but also (some) books and (some) random internet pages.  Discovery combines elements of the other three information portals and is especially useful for searches where one is researching a new or obscure topic about which little is likely to be written, or does not know where the desired information may be concentrated.  Discovery is the only portal which permits simul-searching across databases provided by multiple vendors.
• Internet (Bing, Dogpile, DuckDuckGo, Google, etc.): primarily webpages, especially for businesses (.com), government divisions at all levels (.gov), or organizations (.org). as well as pages for primary source-type documents such as lesson plans and public-domain books.  While book content (Google Books) and journal articles (Google Scholar) are accessible, these are not the strengths of the internet and more successful searches for this type of content can be performed through JaxCat and the databases.  

NOTE: There is no predetermined hierarchy among these information portals as regards which one should be used most or gone to first.  These considerations depend on the task at hand and will vary from assignment o assignment.

The link below provides further information on the different source types.

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
• << Previous: Find Books
• Last Updated: Apr 19, 2024 7:27 AM
• URL: https://libguides.jsu.edu/litresearchshortstories

How To Research Your Novel – A Step-By-Step Guide

Are you ready to start your novel? Do you want to make it believable? Not all stories are scientifically sound, but even ones with magic or set in futuristic worlds have a sense of reality that captures their readers. Research is a major part of making any story feel life-like, but it isn’t always easy to know where to start. This guide will show you how!

How to begin researching

Before you start, you need to decide the overall theme or topic of your novel. Do you want to share a life lesson? Do you want to capture a sense of horror? Maybe you want to tell a story about a relationship or a historical event. 

You might have an idea what you want to write about already. Whether you do or not, take a moment to ask yourself these questions:

What kind of story do I want to tell?

Is it centered around a real-world experience?

Will it be set in a fictional world or reality?

What genre will it fall in?

Who is your target audience?

Who are the main characters?

If you have all of the answers for these already, great job! But if not, don’t worry. You don’t need them all just yet. You will find the answers as you continue through this guide. 

Let’s take the questions one at a time.

This focuses on the theme or topic of your story. It could also mean the atmosphere – is this a comfort story? Something to disturb your readers? Something to provoke thought? 

Maybe you want to talk about the effects of pent up thoughts to the human psyche. Or perhaps you want to share a comedic allegory. Whatever it may be, it is what will make your story a story.

Take some time and look at your favorite films, TV series, and novels. What do you love so much about them? What are they about? What message do they tell? Do you see a common theme between them? 

Use this information to decide where you’d like your own story to go.

This could be anything from a small interaction you had with someone to a historical event. 

While that sounds like it only applies to non-fiction novels, it doesn’t have to. A real-world experience can be translated into an essence or idea – for example, Orson Scott Card’s Ender’s Game is about military strategy and economic tensions between humans and an alien race, but it is inspired by Cold War tensions between the U.S. and Soviet Union after WWII.

You get to decide. 

Are you the type of person who finds a setting is essential to the story, and loves reading about details of places in books? Do you like the idea of making up your own cultures, norms, or an alternative society? If yes, fictional world-building might just be your thing.

If you prefer to keep it in the real world, keep in mind the time period* and location you are aiming for. Placing a smartphone in 1854 wouldn’t work, unless you were writing alternative historical fiction.

On that note, you can also place your story in the “real world” but make changes yourself. Many stories include cities and towns that don’t actually exist. Others are inspired by real places. Veronica Roth’s Divergent series is placed in a dystopian version of Chicago, Illinois – completely unrecognizable from the real city.

*If you do choose to write historical fiction, spend some time researching the years your story will span. Focus on the customs, beliefs, and lifestyles people had back then. Take lots of notes. Set up a timeline of events to help guide your story. Feel free to reach out to experts for specific questions or even read a diary or two from someone who lived during that time.

This question might not be answered until you’ve completed your novel. It can be tricky. There are so many options to choose from, and many niches and subgenres.

If you run into trouble defining which genre your story actually falls into, take a look at genre descriptions like this one for more information. If your story contains elements of multiple genres, select the one it has the most of as the one to define it, or research if there is a subgenre that combines them. 

Maybe you want to have this answered before you even start. In that case, look at genre charts now and understand what types of themes and characters occur in each one. This will help you get an idea of what kind of conflict your story will have, what the characters will be like, and what your audience will expect.

Your target audience goes hand-in-hand with your chosen genre. Are you trying to attract mystery-lovers? Horror enthusiasts?

But it also includes certain demographics. Are you writing romance for middle-aged, single women? Self-help for college students? Moral lessons for tweens? 

Select an age range that might be interested in your story. Then, break it down into more demographics if necessary – occupation, interests, income level. 

You don’t want to write a novel about your fixer-upper journey and how you became debt-free at the age of 32 for retired millionaires. That would be for young adults (just-graduated high school students entering the workforce, college students, young newlyweds) looking to gain independence, buy their first house, pay off loans, and start a new hobby or source of income.

Write down each character and start defining who they are – their personalities, their motivations, their conflicts. 

It may help you to do a quick Google search for character charts . They are often a good character-building practice and can help guide you when you feel lost.  Many of them include details you won’t need in your novel, but they can help you get to know your characters better.

A good reader will notice when there are unseen details about your characters that they might not know, but you do. Whether you realize it or not, those details will bleed into your story. They make your characters feel much more alive.

Continuing your research

As you dive into the details of your story, you’ll want to make sure the information you collect is accurate, relevant, and from trustworthy sources.

When conducting your research, be sure to use reputable sources and cross-reference your facts. This can be especially important for a work of historical fiction, science fiction, or even fantasy. 

Get in contact with an expert – not only will they give you useful information and confirm details, but they can offer a different perspective. If one of your characters is a geologist, talking to a geologist and getting their opinion on your character wouldn’t hurt. 

When you’re ready, have other people read your novel and ask them for feedback. You do a lot while writing – you won’t catch everything on your own. Readers can help you find any plot holes or inaccuracies.

Writing a novel can be hard work and it’s easy to fall into a rabbit hole while learning about new and interesting things. You can make sure you stay on track while gathering information by setting up a timeline or map of your research. Take lots of notes and write down the source of any information you gather to reference back to later.

Start with your characters. Follow a character chart to learn about their personalities, goals, and motivations. The more you understand your characters, the easier it will be to tailor your research to their stories. Then, move on to your setting. Know the location, the climate, the culture. These details will help you fill in your own story and you gather more information.

Trustworthy

You don’t want to have false facts in your story. To get the most out of your research, consider looking at primary sources like diaries, newspaper articles, or interviews with people who experienced something first-hand or are an expert in their field. You can also find credible secondary sources in books, research papers, videos, and even blog posts.

Researching a believable novel

After following these steps, your novel should be believable. The key is relevancy. 

For example, if you’re writing a crime novel, look into the criminal justice system. Interview a judge or a police officer. Read up on past crimes to study criminal patterns. Read reports from psychologists to learn different mindsets and apply them to a character. 

Focus on your characters and setting, and conduct your research based on what you know about them. Be open to asking questions and always learning more.

And most importantly, have fun with it!

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Narrative Analysis 101

Everything you need to know to get started

By: Ethar Al-Saraf (PhD)| Expert Reviewed By: Eunice Rautenbach (DTech) | March 2023

If you’re new to research, the host of qualitative analysis methods available to you can be a little overwhelming. In this post, we’ll  unpack the sometimes slippery topic of narrative analysis . We’ll explain what it is, consider its strengths and weaknesses , and look at when and when not to use this analysis method. 

Overview: Narrative Analysis

• What is narrative analysis (simple definition)
• The two overarching approaches  
• The strengths & weaknesses of narrative analysis
• When (and when not) to use it
• Key takeaways

What Is Narrative Analysis?

Simply put, narrative analysis is a qualitative analysis method focused on interpreting human experiences and motivations by looking closely at the stories (the narratives) people tell in a particular context.

In other words, a narrative analysis interprets long-form participant responses or written stories as data, to uncover themes and meanings . That data could be taken from interviews, monologues, written stories, or even recordings. In other words, narrative analysis can be used on both primary and secondary data to provide evidence from the experiences described.

That’s all quite conceptual, so let’s look at an example of how narrative analysis could be used.

Let’s say you’re interested in researching the beliefs of a particular author on popular culture. In that case, you might identify the characters , plotlines , symbols and motifs used in their stories. You could then use narrative analysis to analyse these in combination and against the backdrop of the relevant context.

This would allow you to interpret the underlying meanings and implications in their writing, and what they reveal about the beliefs of the author. In other words, you’d look to understand the views of the author by analysing the narratives that run through their work.

The Two Overarching Approaches

Generally speaking, there are two approaches that one can take to narrative analysis. Specifically, an inductive approach or a deductive approach. Each one will have a meaningful impact on how you interpret your data and the conclusions you can draw, so it’s important that you understand the difference.

First up is the inductive approach to narrative analysis.

The inductive approach takes a bottom-up view , allowing the data to speak for itself, without the influence of any preconceived notions . With this approach, you begin by looking at the data and deriving patterns and themes that can be used to explain the story, as opposed to viewing the data through the lens of pre-existing hypotheses, theories or frameworks. In other words, the analysis is led by the data.

For example, with an inductive approach, you might notice patterns or themes in the way an author presents their characters or develops their plot. You’d then observe these patterns, develop an interpretation of what they might reveal in the context of the story, and draw conclusions relative to the aims of your research.

Contrasted to this is the deductive approach.

With the deductive approach to narrative analysis, you begin by using existing theories that a narrative can be tested against . Here, the analysis adopts particular theoretical assumptions and/or provides hypotheses, and then looks for evidence in a story that will either verify or disprove them.

For example, your analysis might begin with a theory that wealthy authors only tell stories to get the sympathy of their readers. A deductive analysis might then look at the narratives of wealthy authors for evidence that will substantiate (or refute) the theory and then draw conclusions about its accuracy, and suggest explanations for why that might or might not be the case.

Which approach you should take depends on your research aims, objectives and research questions . If these are more exploratory in nature, you’ll likely take an inductive approach. Conversely, if they are more confirmatory in nature, you’ll likely opt for the deductive approach.

Need a helping hand?

Strengths & Weaknesses

Now that we have a clearer view of what narrative analysis is and the two approaches to it, it’s important to understand its strengths and weaknesses , so that you can make the right choices in your research project.

A primary strength of narrative analysis is the rich insight it can generate by uncovering the underlying meanings and interpretations of human experience. The focus on an individual narrative highlights the nuances and complexities of their experience, revealing details that might be missed or considered insignificant by other methods.

Another strength of narrative analysis is the range of topics it can be used for. The focus on human experience means that a narrative analysis can democratise your data analysis, by revealing the value of individuals’ own interpretation of their experience in contrast to broader social, cultural, and political factors.

All that said, just like all analysis methods, narrative analysis has its weaknesses. It’s important to understand these so that you can choose the most appropriate method for your particular research project.

The first drawback of narrative analysis is the problem of subjectivity and interpretation . In other words, a drawback of the focus on stories and their details is that they’re open to being understood differently depending on who’s reading them. This means that a strong understanding of the author’s cultural context is crucial to developing your interpretation of the data. At the same time, it’s important that you remain open-minded in how you interpret your chosen narrative and avoid making any assumptions .

A second weakness of narrative analysis is the issue of reliability and generalisation . Since narrative analysis depends almost entirely on a subjective narrative and your interpretation, the findings and conclusions can’t usually be generalised or empirically verified. Although some conclusions can be drawn about the cultural context, they’re still based on what will almost always be anecdotal data and not suitable for the basis of a theory, for example.

Last but not least, the focus on long-form data expressed as stories means that narrative analysis can be very time-consuming . In addition to the source data itself, you will have to be well informed on the author’s cultural context as well as other interpretations of the narrative, where possible, to ensure you have a holistic view. So, if you’re going to undertake narrative analysis, make sure that you allocate a generous amount of time to work through the data.

When To Use Narrative Analysis

As a qualitative method focused on analysing and interpreting narratives describing human experiences, narrative analysis is usually most appropriate for research topics focused on social, personal, cultural , or even ideological events or phenomena and how they’re understood at an individual level.

For example, if you were interested in understanding the experiences and beliefs of individuals suffering social marginalisation, you could use narrative analysis to look at the narratives and stories told by people in marginalised groups to identify patterns , symbols , or motifs that shed light on how they rationalise their experiences.

In this example, narrative analysis presents a good natural fit as it’s focused on analysing people’s stories to understand their views and beliefs at an individual level. Conversely, if your research was geared towards understanding broader themes and patterns regarding an event or phenomena, analysis methods such as content analysis or thematic analysis may be better suited, depending on your research aim .

Let’s recap

In this post, we’ve explored the basics of narrative analysis in qualitative research. The key takeaways are:

• Narrative analysis is a qualitative analysis method focused on interpreting human experience in the form of stories or narratives .
• There are two overarching approaches to narrative analysis: the inductive (exploratory) approach and the deductive (confirmatory) approach.
• Like all analysis methods, narrative analysis has a particular set of strengths and weaknesses .
• Narrative analysis is generally most appropriate for research focused on interpreting individual, human experiences as expressed in detailed , long-form accounts.

If you’d like to learn more about narrative analysis and qualitative analysis methods in general, be sure to check out the rest of the Grad Coach blog here . Alternatively, if you’re looking for hands-on help with your project, take a look at our 1-on-1 private coaching service .

Psst... there’s more!

This post was based on one of our popular Research Bootcamps . If you're working on a research project, you'll definitely want to check this out ...

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Thanks. I need examples of narrative analysis

Here are some examples of research topics that could utilise narrative analysis:

Personal Narratives of Trauma: Analysing personal stories of individuals who have experienced trauma to understand the impact, coping mechanisms, and healing processes.

Identity Formation in Immigrant Communities: Examining the narratives of immigrants to explore how they construct and negotiate their identities in a new cultural context.

Media Representations of Gender: Analysing narratives in media texts (such as films, television shows, or advertisements) to investigate the portrayal of gender roles, stereotypes, and power dynamics.

Where can I find an example of a narrative analysis table ?

Please i need help with my project,

how can I cite this article in APA 7th style?

please mention the sources as well.

My research is mixed approach. I use interview,key_inforamt interview,FGD and document.so,which qualitative analysis is appropriate to analyze these data.Thanks

Which qualitative analysis methode is appropriate to analyze data obtain from intetview,key informant intetview,Focus group discussion and document.

I’ve finished my PhD. Now I need a “platform” that will help me objectively ascertain the tacit assumptions that are buried within a narrative. Can you help?

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On the Fine Art of Researching For Fiction  

Jake wolff: how to write beyond the borders of your experience.

The first time I considered the relationship between fiction and research was during a writing workshop—my first—while I watched the professor eviscerate some poor kid’s story about World War II. And yeah, the story was bad. I remember the protagonist being told to “take cover” and then performing several combat rolls to do so.

“You’re college students,” the professor said. “Write about college students.”

Later, better professors would clarify for me that research, with a touch of imagination, can be a perfectly valid substitute for experience. But that’s always where the conversation stopped. If we ever uttered the word “research” in a workshop, we did so in a weaponized way to critique a piece of writing: “This desperately needs more research,” we’d all agree, and then nothing more would be said. We’d all just pretend that everyone in the room already knew how to integrate research into fiction and that the failures of the story were merely a lack of effort rather than skill. Secretly, though, I felt lost.

I knew research was important, and I knew how to research. My questions all had to do with craft. How do I incorporate research into fiction? How do I provide authenticity and detail without turning the story into a lecture? How much research is too much? Too little?

How do I allow research to support the story without feeling obligated to remain in the realm of fact—when I am, after all, trying to write fiction?

I heavily researched my debut novel, in which nearly every chapter is science-oriented, historical, or both. I’d like to share a method I used throughout the research and writing process to help deal with some of my questions. This method is not intended to become a constant fixture in your writing practice. But if you’re looking for ways to balance or check the balance of the amount of research in a given chapter, story, or scene, you might consider these steps: identify, lie, apply.

I recently had a conversation with a former student, now a friend, about a short story he was writing. He told me he was worried he’d packed it too full of historical research.

“Well,” I said, “how much research is in there?”

“Uhhh,” he answered. “I’m not sure?”

That’s what we might call a visualization problem. It’s hard to judge the quantity of something you can’t see.

I’ve faced similar problems in my own work. I once received a note from my editor saying that a certain chapter of my novel read too much like a chemistry textbook. At first, I was baffled—I didn’t think of the chapter as being overly research-forward. But upon reading it again, I realized I had missed the problem. After learning so much about chemistry, I could no longer “see” the amount of research I had crammed into twenty pages.

Literature scholars don’t have this problem because they cite their sources; endnotes, footnotes, and the like don’t merely provide a tool for readers to verify claims, but also provide a visual reminder that research exists within the text. Thankfully, creative writers generally don’t have to worry about proper MLA formatting (though you should absolutely keep track of your sources). Still, finding a quick way to visually mark the research in your fiction is the least exciting but also the most important step in recognizing its role in your work.

Personally, I map my research in blue. So when my editor flagged that chapter for me, I went back to the text and began marking the research. By the end of the process, the chapter was filled with paragraphs that looked like this one:

Progesterone is a steroid hormone that plays an especially important role in pregnancy. Only a few months before Sammy arrived in Littlefield, a group of scientists found the first example of progesterone in plants. They’d used equipment I would never be able to access, nuclear magnetic resonance and mass spectroscopy, to search for the hormone in the leaves of the English Walnut trees. In humans, aging was associated with a drop in progesterone and an increase in tumor formation—perhaps a result of its neurosteroidal function.

My editor was spot-on: this barely qualified as fiction. But I truly hadn’t seen it. As both a writer and teacher, I’m constantly amazed by how blind we can become to our own manuscripts. Of course, this works the other way, too: if you’re writing a story set in medieval England but haven’t supported that setting with any research, you’ll see it during this step. It’s such an easy, obvious exercise, but I know so few writers who do this.

Before moving on, I’ll pause to recommend also highlighting research in other people’s work. If there’s a story or novel you admire that is fairly research-forward, go through a few sections and mark anything that you would have needed research to write. This will help you see the spacing and balance of research in the fiction you’re hoping to emulate.

(Two Truths and a) Lie

You’ve probably heard of the icebreaker Two Truths and a Lie: you tell two truths and one lie about yourself, and then the other players have to guess which is the lie. I’d rather die than play this game in real life, but it works beautifully when adapted as a solo research exercise.

It’s very simple. When I’m trying to (re)balance the research in my fiction, I list two facts I’ve learned from my research and then invent one “fact” that sounds true but isn’t. The idea is to acquaint yourself with the sound of the truth when it comes to a given subject and then to recreate that sound in a fictive sentence. It’s a way to provide balance and productivity, ensuring that you’re continuing to imagine and invent —to be a fiction writer— even as you’re researching.

I still have my notes from the first time I used this exercise. I was researching the ancient Chinese emperor Qin Shi Huang for a work of historical fiction I would later publish in One Story. I was drowning in research, and the story was nearing fifty pages (!) with no end in sight. My story focused on the final years of the emperor’s life, so I made a list of facts related to that period, including these:

1. The emperor was obsessed with finding the elixir of life and executed Confucian scholars who failed to support this obsession.

2. If the emperor coughed, everyone in his presence had to cough in order to mask him as the source.

3. The emperor believed evil spirits were trying to kill him and built secret tunnels to travel in safety from them.

Now, the second of those statements is a lie. My facts were showing me that the emperor was afraid of dying and made other people the victims of that fear—my lie, in turn, creates a usable narrative detail supporting these facts. I ended up using this lie as the opening of the story. I was a graduate student at the time, and when I workshopped the piece, my professor said something about how the opening worked because “It’s the kind of thing you just can’t make up.” I haven’t stopped using this exercise since.

We have some facts; we have some lies. The final step is to integrate these details into the story. We’ll do this by considering their relationship to the beating heart of fiction: conflict. You can use this step with both facts and lies. My problem tends to be an overload of research rather than the opposite, so I’ll show you an example of a lie I used to help provide balance.

In a late chapter in my book, three important characters—Sammy and his current lover Sadiq and his ex- lover Catherine—travel to Rapa Nui (Easter Island). They’ve come to investigate a drug with potential anti-aging properties that originates in the soil there (that’s a fact; the drug is called rapamycin). As I researched travel to Easter Island, my Two Truths and a Lie exercise produced the following lie:

There are only two airports flying into Easter Island; these airports constantly fight with each other.

In reality, while there are two airports serving Easter Island (one in Tahiti; the other in Chile), nearly everyone flies from Chile, and it’s the same airline either way. On its surface, this is the kind of lie I would expect to leave on the cutting room floor—it’s a dry, irrelevant detail.

But when I’m using the ILA method, I try not to pre-judge. Instead, I make a list of the central conflicts in the story or chapter and a list of the facts and lies. Then I look for applications—i.e., for ways in which each detail may feel relevant to the conflicts. To my surprise, I found that the airport lie fit the conflicts of the chapter perfectly:

Ultimately, the airport lie spoke to the characters, all of whom were feeling the painful effects of life’s capriciousness, the way the choices we make can seem under our control but also outside it, arbitrary but also fateful. I used this lie to introduce these opposing forces and to divide the characters: Sammy and Sadiq fly from Tahiti; Catherine flies from Chile.

Two airports in the world offered flights to Rapa Nui—one in Tahiti, to the west, and one in Chile, to the east. Most of the scientists stayed in one of those two countries. There was no real meaning to it. But still, it was hard, in a juvenile way, not to think of the two groups as opposing teams in a faction. There was the Tahiti side, and there was the Chile side, and only one could win.

This sort of schematic—complete with a table and headers—may seem overly rigid to you, to which I’d respond, Gee, you sound like one of my students. What can I say? I’m a rigid guy. But when you’re tackling a research-intensive story, a little rigidity isn’t the worst thing. Narrative structure does not supply itself. It results from the interplay between the conflicts, the characters, and the details used to evoke them. I’m presenting one way, of many, to visualize those relationships whenever you’re feeling lost.

Zora Neal Hurston wrote, “Research is formalized curiosity. It is poking and prying with a purpose.” Maybe that’s why I’m thinking of structure and rigidity—research, for me, is bolstering in this way. It provides form. But it’s also heavy and hard to work with. It doesn’t bend. If you’re struggling with the burden of it, give ILA a shot and see if unsticks whatever is holding you back. If you do try this approach, let me know if it works for you—and if it doesn’t, feel free to lie.

__________________________________

Jake Wolff’s  The History of Living Forever is out now from FSG.

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Table of Contents

Tip 1: Start with Your Positioning and Outline

Tip 2: make a research plan, tip 3: ask the internet, tip 4: read books, tip 5: talk to experts, tip 6: collect survey data, tip 7: keep everything organized.

• Tip 8: Set a Deadline & Stop Early

Tip 9: Write the First Draft

How to conduct research for your book: 9 tips that work.

If you’re like many first-time nonfiction writers, you’ve probably wondered, “How do I research for my book?”

I get this question a lot, and there are plenty of tips I can share. But before I dive into it, I’m going to throw you a curveball:

Don’t assume you have to do research for your book.

Because the purpose of nonfiction is to help the reader solve a problem or create change in their life (or both) by sharing what you know. If you can do this without a lot of research, then don’t do research.

We’ve had many Authors who knew their topic so inside and out that they didn’t need research. That is perfectly fine. They still wrote incredible books.

When it boils down to it, there are only 2 reasons to do research for your book:

• You know enough to write the book, but you want to add sources and citations to make the book more persuasive to a specific audience.
• You don’t know enough, and you need to learn more to make the book complete.

We’ve had many Authors who–despite knowing their stuff–wanted to include additional data, expert opinions, or testimonials to ensure that readers would find their arguments credible. This is important to consider if you’re writing for a scientific or technical audience that expects you to cite evidence.

Likewise, we see many Authors who know their industry but have a few knowledge gaps they’d like to fill in order to make their arguments more robust.

In fact, that’s the whole key to understanding how much research you should do. Ask yourself:

What evidence does a reader need to believe your argument is credible and trustworthy?

Research can be complicated, though. Many Authors don’t know where to start, and they get bogged down in the details. Which, of course, derails the book writing process and stalls them–or worse, it stops them from finishing.

The bad news? There’s no “right way” to make a book research plan.

The good news? The basic research tips apply for either person.

In this post, I’ll give you 9 effective research tips that will help you build a stronger, more convincing book.

More importantly, these tips will also show you how to get through the research process without wasting time.

9 Research Tips for Writing Your Book

Don’t jump into research blindly. Treat it like any other goal. Plan, set a schedule, and follow through.

Here are 9 tips that will help you research effectively.

Before you start researching or writing, you need to figure out two main things: your audience and your message.

This is called book positioning , and it’s an essential part of the book writing process.

Your job as an Author is to convince readers that your book will help them solve their problems.

Every piece of research you include in the book–whether it’s a survey, pie chart, or expert testimonial–should help you accomplish that.

Once your positioning is clear, you can put together your book outline.

Your outline is a comprehensive guide to everything in your book, and it is your best defense against procrastination, fear, and all the other problems writers face . It’s crucial if you don’t want to waste time on research you don’t need.

With an outline, you’ll already know what kind of data you need, where your information gaps are, and what kinds of sources might help you support your claims.

We’ve put together a free outline template to make the process even easier.

All this to say: without solid positioning and a comprehensive outline, you’ll wander. You’ll write, throw it away, write some more, get frustrated, and eventually, give up.

You’ll never finish a draft, much less publish your book .

If you don’t know your subject well enough to figure out your positioning and make a good outline, it means you don’t know enough to write that book—at least not right now.

Your plan will vary widely depending on whether you are:

• An expert who knows your field well
• Someone who needs to learn more about your field before writing about it

The majority of you are writing a book because you’re experts. So most of the information you need will already be in your head.

If you’re an expert, your research plan is probably going to be short, to the point, and about refreshing your memory or filling small gaps.

If you’re a non-expert, your research plan is probably going to be much longer. It could entail interviewing experts, reading lots of books and articles, and surveying the whole field you are writing about.

The outline should highlight those places where your book will need more information.

Are there any places where you don’t have the expertise to back up your claims?

What key takeaways require more evidence?

Would the book be stronger if you had another person’s point of view?

These are the kinds of gaps that research can fill.

Go back through your outline and find the places where you know you need more information. Next to each one, brainstorm ways you might fulfill that need.

For example, let’s say you’re writing a book that includes a section on yoga’s health benefits. Even if you’re a certified yoga instructor, you may not know enough physiology to explain the health benefits clearly.

Where could you find that information?

• Ask a medical expert
• A book on yoga and medicine
• A website that’s well respected in your field
• A study published in a medical journal

You don’t have to get too specific here. The point is to highlight where you need extra information and give yourself leads about where you might find it. ​

The kinds of research you need will vary widely, depending on what kind of nonfiction book you’re writing.

For example, if you’re giving medical advice for other experts, you’ll likely want to substantiate it with peer-reviewed, professional sources.

If you’re explaining how to grow a company, you might refer to statistics from your own company or recount specific anecdotes about other successful companies.

If you’re writing a memoir, you won’t need any quantitative data. You might simply talk with people from your past to fill in some gaps or use sources like Wikipedia to gather basic facts.

Different subject matter calls for different sources. If you’re having trouble figuring out what sources your subject needs, ask yourself the same question as above:

Ask yourself what evidence does a reader need to believe your argument is credible and trustworthy?

Generally speaking, an expert can do their research before they start writing, during, or even after (depending on what they need).

If you’re a non-expert, you should do your research before you start writing because what you learn will form the basis of the book.

It may sound obvious, but the internet is a powerful research tool and a great place to start. But proceed with caution: the internet can also be one of the greatest sources of misinformation.

If you’re looking for basic info, like for fact-checking, it’s fantastic.

If you’re looking for academic information, like scientific studies, it can be useful. (You might hit some paywalls, but the information will be there.)

If you’re looking for opinions, they’ll be abundant.

Chances are, though, as you look for all these things, you’re going to come across a lot of misleading sources—or even some that straight-up lie.

Here are some tips for making sure your internet research is efficient and effective:

• Use a variety of search terms to find what you need. For example, if you’re looking for books on childhood development, you might start with basic terms like “childhood development,” “child psychology,” or “social-emotional learning.”
• As you refine your knowledge, refine your searches. A second round of research might be more specific, like “Piaget’s stages of development” or “Erikson’s psychosocial theories.”
• Don’t just stop with the first result on Google. Many people don’t look past the first few results in a Google search. That’s fine if you’re looking for a recipe or a Wikipedia article, but the best research sources don’t always have the best SEO. Look for results that seem thorough or reputable, not just popular.
• Speaking of Wikipedia, don’t automatically trust it. It can be a great place to start if you’re looking for basic facts or references, but remember, it’s crowd-sourced. That means it’s not always accurate. Get your bearings on Wikipedia, then look elsewhere to verify any information you’re going to cite.
• Make sure your data is coming from a reputable source. Google Scholar, Google Books, and major news outlets like NPR, BBC, etc. are safe bets. If you don’t recognize the writer, outlet, or website, you’re going to have to do some digging to find out if you can trust them.
• Verify the credentials of the Author before you trust the site. People often assume that anything with a .edu domain is reputable. It’s not. You might be reading some college freshman’s last-minute essay on economics. If it’s a professor, you’re probably safe.

Using a few random resources from the internet is not equivalent to conducting comprehensive research.

If you want to dive deeper into a topic, books are often your best resources.

They’re reliable because they’re often fact-checked, peer-reviewed, or vetted. You know you can trust them.

Many Authors are directly influenced by other books in their field. If you’re familiar with any competing books, those are a great place to start.

Use the internet to find the best books in each field, and then dive into those.

Your book will have a different spin from the ones already out there, but think of it this way: you’re in the same conversation, which means you’ll probably have many of the same points of reference.

Check out the bibliographies or footnotes in those books. You might find sources that are useful for your own project.

You might want to buy the books central to your research. But if you aren’t sure if something’s going to be useful, hold off on hitting Amazon’s “one-click buy.”

Many Authors underestimate the power of their local libraries. Even if they don’t have the book you’re looking for, many libraries participate in extensive interlibrary loan programs. You can often have the books you need sent to your local branch.

Librarians are also indispensable research resources. Many universities have subject-specific research librarians who are willing to help you find sources, even if you aren’t a student.

Research doesn’t always require the internet or books. Sometimes you need an answer, story, or quotation from a real person.

But make sure you have a decent understanding of your field BEFORE you go to experts with your questions.

I’m an expert at writing nonfiction books, so I speak from personal experience. It’s annoying as hell when people come to you with questions without having done at least a little research on the topic beforehand—especially when you already have a 3,000 word blog post about it.

Experts love it when you’ve done some research and can speak their language. They hate it when you ask them to explain fundamentals.

But once you find a good expert, it condenses your learning curve by at least 10x.

To figure out who you need to talk to, think about the kind of nonfiction book you’re writing.

Is it a book about your own business, products, or methods? You may want to include client stories or testimonials.

In Driven , Doug Brackmann relied on his experience with clients to teach highly driven people how to master their gifts.

Is it a book that requires expert knowledge outside your own area of expertise (for example, a doctor, IT specialist, lawyer, or business coach)? You might want to ask them to contribute brief passages or quotations for your book.

Colin Dombroski did exactly that for his book The Plantar Fasciitis Plan . He consulted with various colleagues, each of whom contributed expert advice for readers to follow.

It’s much easier to contact people who are already in your network. If you don’t personally know someone, ask around. Someone you already know may be able to connect you with the perfect expert.

If that doesn’t work out, you can always try the cold call method. Send a polite email that briefly but clearly explains what your book is about and why you’re contacting them.

If you do this, though, do your research first. Know the person’s name. Don’t use “To whom it may concern.” Know their specialty. Know exactly what type of information you’re seeking. Basically, know why they are the person you want to feature in your book.

Some Authors like to collect surveys for their books. This is very optional, and it’s only applicable in certain books, so don’t assume you need this.

But if you want to include a section in your book that includes how people feel about something (for example, to back up a point you’re making), you might want to have survey data.

You might have access to data you can already cite. The internet is full of data: infographics, Pew data, Nielsen ratings, scholarly research, surveys conducted by private companies.

If you don’t have access to data, you can conduct your own surveys with an online platform like SurveyMonkey. Here’s how:

• Consider your research goals. What are you trying to learn?
• Formulate the survey questions. Most people prefer short, direct survey questions. They’re also more likely to answer multiple-choice questions.
• Invite participants. If you want a reliable survey, it’s best to get as many participants as possible. Surveying three family members won’t tell you much.
• Collect and analyze the data.

That will work for more informal purposes, but surveys are a science unto themselves. If you require a lot of data, want a large sample size, or need high statistical accuracy, it’s better to hire pros. Quantitative data is more effective and trustworthy when it’s properly conducted.

Don’t go overboard with statistics, though. Not all books need quantitative data. There are many other ways to convince readers to listen to your message.

Organize your research as you go. I can’t stress this enough.

If you research for months on end, you might end up with dozens of articles, quotations, or anecdotes. That’s a lot of material.

If you have to dig through every single piece when you want to use something, it’ll take you years to write.

Don’t rely on your memory, either. Three months down the line, you don’t want to ask, “Where did I find this piece of information?” or “Where did that quotation come from?”

I suggest creating a research folder on your computer where you collect everything.

Inside the main folder, create subfolders for each individual chapter (or even each individual subsection of your chapters). This is where your outline will come in handy.

In each folder, collect any pdfs, notes, or images relevant to that section.

Every time you download or save something, give the file a clear name.

Immediately put it into the correct folder. If you wait, you might not remember which part of your book you found it useful for.

Also, be sure to collect the relevant citation information:

• Author’s name
• Title of the book, article, etc.
• The outlet it appeared in (e.g., BBC or Wired) or, if it’s a book, the publisher
• The date it was published
• The page number or hyperlink

If you have photocopies or handwritten notes, treat them the same way. Label them, file them, and add the necessary citation information. This will save you a lot of time when you sit down to write.

Some Authors use programs like Scrivener or Evernote to keep track of their research. I personally use the software program Notion, which is similar to Evernote.

These programs allow you to collect references, notes, images, and even drafts, all in one convenient place.

They save you from having to create your own digital organizational system. They also make it easier to consult documents without opening each file individually.

Once you’ve got a system in place, don’t forget: back up your data. Put it on the cloud, an external hard drive, or both. There’s nothing worse than spending hours on research just to have it disappear when your computer crashes.

All of this takes time, and it may seem tedious. But trust me, it’s a lot more tedious when you’re racing toward your publication deadline, and you’re hunting down random data you quoted in your book.

Tip 8: Set a Deadline & Stop Early

Research is one of the most common ways Authors procrastinate.

When they’re afraid of writing or hit roadblocks, they often say, “Well, I just need to do a little more research…”

Fast-forward two years, and they’re still stuck in the same spiral of self-doubt and research.

Don’t fall into that trap. Learn when to stop.

When I’m writing, I set a research deadline and then stop EARLY. It’s a great way to beat procrastination , and it makes me feel like I’m ahead of the curve.

Here’s the thing: there’s always going to be more information out there. You could keep researching forever.

But then you’d never finish the book—which was the point of the research in the first place.

Plus, excessive research doesn’t make better books . No one wants to read six test cases when one would have worked.

You want to have enough data to convincingly make your case, but not so much that your readers get bogged down by all the facts.

So how will you know when you’ve done enough?

When you have enough data, anecdotes, and examples to address every point on your outline.

Your outline is your guide. Once it’s filled in, STOP .

Remember, the goal of data is to support your claims. You’re trying to make a case for readers, not bludgeon them with facts.

If you feel like you have to go out of your way to prove your points, you have 1 of 2 problems:

• You’re not confident enough in your points, or
• You’re not confident enough in your readers’ ability to understand your claims.

If you’re having the first problem, you may need to go back and adjust your arguments. All the research in the world won’t help support a weak claim.

If you’re having the second problem, ask yourself, If I knew nothing about this subject, what would it take to convince me? Follow through on your answer and trust that it’s enough.

When you think you have enough research, start writing your vomit draft.

If it turns out you’re missing small pieces of information, that’s okay. Just make a note of it. Those parts are easy to go back and fill in later.

Notice: I said “later.” Once you start writing, stop researching.

If you stop writing your first draft to look for more sources, you’ll break the flow of your ideas.

Research and writing are two completely different modes of thinking. Most people can’t switch fluidly between them.

Just get the first draft done.

Remember, the first draft is exactly that—the first draft. There will be many more versions in the future.

It’s okay to leave notes to yourself as you go along. Just be sure to leave yourself a way to find them easily later.

I recommend changing the font color or highlighting your comments to yourself in the draft. You can even use different colors: one for missing data and another for spots you need to fact-check.

You can also use the “insert comment” feature on Microsoft Word, Google Docs, or any other writing software you prefer.

Another useful tip is to simply type “TK.” There’s no word in the English language where those two letters appear together. That means, when you’re ready to go back through your draft, you can use the “Find” option (Control+F). It will take you back to all the spots you marked.

Whatever method you choose, don’t stop writing.

Also, don’t worry about how “good” or “bad” it is at this point. No one ever wrote an amazing first draft. Not even bestselling Authors.

Just keep at it until you have a complete first draft.

That won’t be hard because you won’t be missing any huge pieces. The whole point of the outline was to zero in on exactly what you want to write for the exact audience you want to reach. If you followed that outline when you researched, you’ll be able to stay on track during the writing process.

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How to Research a Historical Novel: Escape the Research Rabbit Hole

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It doesn't take any research to know that historical fiction writers love spending time in history books, digital archives, museum exhibits, and library collections—and that's just in our spare time!

But how do we keep that research from overshadowing the actual writing of our books? How do you research a historical novel without getting lost in the research rabbit hole?

This guest post is by Susanne Dunlap, author of twelve works of historical fiction for adults and teens. You can find her newest book The Portraitist here and find all her books and courses on her website susanne-dunlap.com. 

Face it, none of us would write historical novels if we didn’t love the research. If we’re lucky enough to go to historical archives, the very smell of the dust, the idea that the materials and primary sources were handled by people decades or centuries ago, gives us a thrill.

And when we discover something others have overlooked, maybe that little fact that gives us something to hang an entire plot on—pour the champagne! History inspires us, it amazes us, it fascinates us—it torments us.

Research is wonderful and essential. But it can so easily commandeer all our time and energy.

How far do you need to go to track down a person or a date? What if you can’t go to places or get ahold of archival material? Do you have to know everything about the historical period and place and characters in your novel?

Won’t readers be waiting with red pens to circle any little thing you get wrong, or take exception to your interpretation of a historical character’s motives?

And what about the sheer volume of material we now have access to, thanks to the Internet and online archives? One thing leads to another and then another and then another. Before we know it, weeks have passed and we’ve got tons of research but haven’t put a word on a page.

How to Escape the Overwhelm of Research

I had to let go of that tendency to remain mired in research in a hurry when I was forced to research and write a complete manuscript in a year. It had been sold on a one-page proposal.

As I wrote, I remember being certain that someone would take me to task for changing the year a composition by Chopin was published, which I had to do in order to make my story work. But no one cared in the end.

That’s when I first learned that the story comes first, history comes second—a lesson I've had to learn over and over. Story first, history second.

That may sound like sacrilege coming from someone who started writing historical fiction after being in the academic world—a PhD in music history from Yale.

In academic articles, it really mattered that I’d consulted every known source, verified everything and didn’t categorically state something unless I knew it was backed up with historical sources and facts. I learned that the hard way, submitting articles for peer review. Ouch.

When I chose to start writing historical fiction, the research obsession was still deeply ingrained. For the sake of readers and my own sanity, though, I had to learn how to subjugate research to story.

I don’t mean being inaccurate or anachronistic (when a detail is in the wrong time period such as a television in 11th century Europe). I mean becoming comfortable with the necessary limits and with using my own imagination to fill in any gaps.

When My Research Turned Into a Rabbit Hole

My novel The Portraitist is a good example. I started working on it—on and off—seven years ago. Then, I was researching Elisabeth Vigée Le Brun, the bitter rival of Adélaïde Labille-Guiard (protagonist of The Portraitist ), thinking she would be the focus of my story.

There was so much material about her, so many paintings, a Metropolitan Museum exhibition of her work, and her own three-volume autobiography—published when she was very old.

Not only that, but because she was the official portraitist to Marie Antoinette, I felt obliged to research everything about the doomed queen and the true events surrounding Louis XVI’s court.

Through that research, I discovered a close friend of Elisabeth’s, another artist: Rosalie Bocquet Filleul. What a story there!

She married the concierge of the Château de la Muette and became concierge herself after his death. She produced several pastel portraits of royals, and—perhaps more interesting—took a number of likenesses of her neighbor in Passy, Benjamin Franklin.

When I discovered that little fact I had to start researching Benjamin Franklin, his life and politics and how he ended up in that diplomatic residence next door to Rosalie Filleul—of whom he became very fond, not least of all because she was stunningly beautiful.

The rest of Rosalie’s story was poignant and tragic. She ended up guillotined because she auctioned off some chairs that belonged to the Château (I argue she was destitute and nearly starving).

So I wrote a manuscript that encompassed the stories of all three of these remarkable women. How could I leave anything out?

Turns out, I should have. That manuscript was a monster. Too long, too complicated, and I couldn’t do justice to any of the women. I had Too. Much. Information.

How to Set Research Limits

Now, of course we love stumbling on all that good stuff, those intriguing tidbits and interconnections. I’m not saying you shouldn’t do that—there’s no “should” about this.

My point is that at some juncture, you have to let go of the idea of “everything,” or the idea that you have to be the expert, and set your limits.

What limits? You might ask. There are several ways you can rein in your research so it really serves your story.

Once you’ve done enough research to figure out the primary story you want to tell, map it out. I mean that both literally and figuratively. I’m not an outliner by nature, but I’ve learned—again, the hard way—that it’s important to know a few basic things:

1. The time period of your story present.

This may seem obvious. Of course you know what time period you’re writing in!

What I’m suggesting here is that you take a good, hard look at how much of that stretch of time you really want to use.

While there may be a case for covering the entire real life of a historical figure, that sort of endeavor is best left to a biographer. You’re looking for the period bounded by the exact moment that triggers the action in your story, and the exact moment when your protagonist’s arc of change is complete.

Put another way, the moment at which the story question is answered.

You’ll no doubt have researched things around this historical time period, and that’s good background information. But you only really need to look in depth at the historical events that directly affect your protagonist.

2. The places where the story is set.

This is possibly a little easier. I’ll give you a simple example: The Portraitist takes place before, during, and after the French Revolution. But it’s set entirely in or near Paris.

To get even more precise, the primary locations are the Louvre, Versailles, the Château de Bellevue, and a suburb of Paris called Pontault en Brie.

No doubt a lot was going on in other parts of France, and of course, there’s that whole American Revolution that had an impact on the French, but it didn’t impinge on my protagonist’s life. Not Adélaïde’s, in any case. (I axed Benjamin Franklin when I focused the story away from Rosalie.)

Once you have that all mapped out, you can get the vital everyday life information about how your characters get from place to place, how long it takes, whether it was comfortable or a huge pain, how much it might have cost, etc.

I did say you still have to do a lot of research, didn’t I?

3. The main characters.

Another obvious one, but if you keep reminding yourself that the focus is on your protagonist and one or two others, you might avoid amassing research that would only bog down your story if you tried to include it.

And maybe you’ll stop yourself from digging into the life of an interesting but peripheral character (did I mention Benjamin Franklin?) when you should be working on getting those words on the page.

4. Finally, give your research the necessity test.

This is simple: Ask yourself as you start diving into that rabbit hole if what you’re looking for is absolutely necessary.

If you don’t have that piece of information you’re looking for, will something important be missing from your book? Think it over. If the answer is no, then you're likely creating the dreaded info dump.

Once you’ve set your limits, organization is your best friend.

How to Organize Your Research

I have one word for you (and I’m not being paid to say this): Scrivener .

Even if you don’t want to use it as a drafting tool, it has so many great features, not the least of which is that you can use it to gather and organize all your research, even import Web pages so you don’t have to go hunting for that bookmark you forgot what you called or where you put it.

If you’re tech savvy, you can also add metadata to make it easy to search.

And if you’re REALLY tech savvy, you can sync it with another great tool, Aeon Timeline . It would take a long time to explain all the benefits of this app for historical novelists, so I’ll leave it to you to go and check it out. The good news is that neither of these apps is very expensive.

Of course, spreadsheets work too, if that’s your comfort zone. But I recommend at least giving these tools a look.

What you’ll probably find when you start organizing all your research is that having to do so gives a good view of what’s essential and what’s not. You can keep it all, but putting it in folders by priority or time span is a sanity preserver.

Do the Research, but Write the Book

My tips above won’t let you off the hook for doing good, solid research. But they may help you give yourself permission to be more focused, to not have to know absolutely everything.

Sure, you’ll write along and discover a gap in your knowledge that you need to fill in order to tie something together or provide a motivation—or just move your characters around from place to place. So be it.

Do that research when the need arises, don’t try to anticipate every eventuality at the start. It’s all about giving yourself permission.

You want to get that draft written. I want you to get that draft written. So embrace the limits and get organized!

Where do you get stuck in the research process? What tips have helped you learn when to stop, so you can get back to your writing? Share in the comments .

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10 essential research tips for historical fiction writers

by Andrew Noakes

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Research stories share your research in a way that is understandable and interesting to a non-expert, public audience. Unlike a research report, a research story focuses on telling the narrative of your process, the significance of your research to others, and your personal engagement with your research. This handout will help you frame your research in an engaging way.

Story Structure

The overall structure of a research story is slightly different than a general research report. Scientific reports usually summarize a completed research project, which is why they emphasize the methods and results as separate sections. A research story, however, can describe completed research or research that is still in process. As such, the methods and results are briefly described in one section called the research process. Instead, a story format emphasizes the introduction and discussion, where most of your story will take place.

Catchy Introductions

Your introduction should be catchy to establish a story-like tone that can be carried throughout the rest of the document. A good research story introduction establishes the importance and relevance of the topic and gradually incorporates the scientific aspects. The next two examples are from Napoleon's Buttons: 17 Molecules that Changed History , which discusses scientific concepts in an engaging, story form.

Consider the opening sentences from Napoleon's Buttons :

In June 1812, Napoleon's army was 600,000 strong. By early December, however, the once proud Grande Armee numbered fewer than 10,000. The tattered remnants of Napoleon's forces had crossed the Berezina River, near Borisov in western Russia, on the long road of retreat from Moscow. —Jay Burreson and Penny Le Couteur, Napoleon's Buttons: 17 Molecules that Changed History

You'll notice that the story does not jump into the science immediately. Instead, it uses history to identify the topic's significance and draw the reader in. Two paragraphs later, the authors draw the audience towards the science of the book:

What caused the downfall of the greatest army Napoleon had led? Why did Napoleon's soldiers, victorious in previous battles, falter in the Russian campaign? One of the strangest theories to be advanced can be captured by paraphrasing an old nursery rhyme: "all for the want of a button." Surprising as it may seem, the disintegration of Napoleon's army may be traceable to something as small as the disintegration of a button - a tin button, to be exact, the kind that fastened everything from the greatcoats of Napoleon's officers to the trousers and jackets of his foot soldiers. When temperatures drop, shiny metallic tin starts to change into a crumbly nonmetallic gray powder - still tin, but with a different structural form. —Jay Burreson and Penny Le Couteur, Napoleon's Buttons: 17 Molecules that Changed History

Here is an additional example from the first-place winner of the 2015 Science Writing Contest. The author vividly describes a scene that immediately establishes the importance of studying acid rain and draws the reader into their story.

Dead fish. Blistered skin. Statues with their faces grotesquely weathered. For many Americans, these are the images that come to mind when we hear the words "acid rain." Many of us are vaguely aware of the danger of this phenomenon—yet few people fully understand how acid rain forms and why it has such devastating effects. Recently, scientists have found that acid rain is even changing the way microbes interact with their soil environment, altering nutrient cycles and changing ecosystems from the ground up. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

Research Process

Whether your research has been completed or not, describing your research process makes your topic and hypotheses/conclusions more clear to readers. The process can include the methods you have used or are considering, your results if they have been collected, or the types of results you are hoping to collect based on your methodology or hypotheses.

The following example describes the research process in a story format:

We are using several techniques to test the effects of calcium levels on microbial respiration. To measure the amount of carbon respiration in each sample, we are using a method in which the carbon dioxide emitted from the soil microbes reacts with a solution so we can capture it in solid form. We are also distinguishing between leaf litter and soil organic matter as carbon sources for the microbes by analyzing chemical signatures in the captured solid. More carbon emitted from a sample would indicate that its microbes respired at a higher rate, recycling more rapidly from the organic form. When we compare the amounts of carbon with the amounts of calcium in the soil samples, we hope to see a relationship that will tell us more about how calcium is affecting microbial respiration of organic matter in the soil. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

The author had not completed their research, but they described their methodology for conducting research, articulating their goals for analysis and the potential results. You can be at any stage of your research as long as you creatively and engagingly tell the story of your research and its significance.

Your discussion, then, can discuss your results (if you have already analyzed your data), or the next steps for your research and the information they might reveal. The discussion should still inform your general audience about the importance of such research (and potential future research).

The following example is a discussion section from a research story:

This experiment has important implications for the future of ecology. Many people believe that acid rain's effects have been largely reversed by the passage of the Clean Air Acts of 1970 and 1990 (Hubbard Brook Research Foundation, 2001). These acts required a reduction in emissions of sulfur dioxide, an important contributor to acid rain. However, nutrients continue to be depleted from soils in the Northeast (such as those tested in the HBEF). While rates of depletion have slowed substantially, results show that acid rain's nutrient leaching abilities have continued decades after such environmental legislation was passed. A legacy of acid deposition has been left in soils because the depletion of calcium and other nutrients from soils has not been reversed even where deposition has been markedly reduced. If we can better pin down the dynamics of nutrient-microbial relationships, we may be one step closer to understanding how to help damaged ecosystems recover from the ravages of acid rain and other human-caused disturbances. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

The author discusses why we should care about this research, why it matters to us. While the author had not yet finished their experiment, they were still able to discuss the potential implications of their work.

Audience and Tone

A research story is written for a general (rather than scientific) audience, so pay attention to your language choices. Note the differences in language use and audience awareness in the next two examples on acid rain.

The first example is from a scientific article published in the journal Science. The author takes a formal approach in order to appear professional and credible with other specialists in their field. The writer uses terms like "biogeochemistry of sulfur," "nitrogen," and "sulfuric acid" without explanation or context, because their audience is already familiar with these concepts. They also dive right into the problem at hand.

Research on the effects of acid rain in the United States and Europe has focused primarily on the biogeochemistry of sulfur, and to a lesser extent on that of nitrogen. The emphasis was because sulfuric acid is the dominant acid in precipitation throughout the eastern United States and Europe where acid rain is a serious environmental problem. —G.E. Likens, C.T Driscoll, and D.C. Buso, "Long-Term Effects of Acid Rain: Response and Recovery of a Forest Ecosystem" .

The second example is from a research story on acid rain. The author uses first-person "we" to relate to audiences unfamiliar with the topic and uses familiar or creative words to catch readers' interest, such as "business," "noxious," and "spew," while still incorporating the science aspects of "acid rain," "water," "oxygen," and "acidic compounds." This writer begins with background information on her topic by clearly and simply explaining what acid rain is and how it forms.

One of the main contributors to acid rain is a business we can't live without: the fossil fuel industry. The issue begins with the noxious gases that coal-burning power plants spew into the air (Hubbard Brook Research Foundation, 2001). Once in the atmosphere, these emissions interact with water and oxygen to form acidic compounds that eventually fall to the earth as acid rain. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

As mentioned earlier, you want to establish an engaging tone in the beginning that will last throughout the rest of the story. Tone can have an important effect on your audience's experience with and interpretation of your voice and story. Consider the following types of tone:

• Conversational

The following examples model what different kinds of tone look like; it's up to you to write in a tone that works for the story you are telling.

The excerpt below from a New York Times article on Global Warming adopts a serious and stern tone. The seriousness of death statistics attempts to draw compassion from the audience and persuade them to take a stance on global warming. A stern tone reinforces the seriousness of this issue and its effect on others.

The question is important because while a gradual increase in average temperatures can have profound ecological consequences, it is weather extremes that have the greatest effect on human society. A 1995 heat wave in Chicago killed hundreds of people, and a 2003 heatwave in Europe killed an estimated 70,000. Scientists believe both were made more likely by the human emissions that are warming the planet, and heat on that scale will become commonplace if emissions are allowed to continue unabated. For now, though, such heat extremes — Chicago temperatures were near or above 100 degrees for four days running that July — are still rare, which makes them difficult to study in a statistical sense. —Justin Gillis, "New Study Links Weather Extremes to Global Warming"

For those familiar with Edgar Allen Poe, the next passage establishes an excited yet terrified tone. Phrases such as "I gasped for breath" and "as if excited to fury by the observations of the men" establishes an excitable, frantic tone, while "they were making a mockery of my horror" establishes the feeling of terror.

No doubt I now grew very pale; --but I talked more fluently, and with a heightened voice. Yet the sound increased --and what could I do? It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. I gasped for breath --and yet the officers heard it not. I talked more quickly --more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now --again! --hark! louder! louder! louder! louder! —Edgar Allen Poe, "The Tell-Tale Heart"

The next piece by Hemingway is sparsely written, so the tone is very calm, reserved, and content. It does not raise alarm; rather, it describes and clearly paints a picture for readers. However, it is not as exciting as the previous example.

It was very late and everyone had left the cafe except an old man who sat in the shadow the leaves of the tree made against the electric light. In the day time the street was dusty, but at night the dew settled the dust and the old man liked to sit late because he was deaf and now at night it was quiet and he felt the difference. The two waiters inside the cafe knew that the old man was a little drunk, and while he was a good client they knew that if he became too drunk he would leave without paying, so they kept watch on him. —Ernest Hemmingway, "A Clean, Well-Lighted Place"

This next example by Dickens also implies a darker, more terrified tone with words such as "evil," "forlorn," "clammy," and "unwholesome."

There was a steaming mist in all the hollows, and it had roamed in its forlornness up the hill, like an evil spirit, seeking rest and finding none. A clammy and intensely cold mist, it made its slow way through the air in ripples that visibly followed and overspread one another, as the waves of an unwholesome sea might do. It was dense enough to shut out everything from the light of the coach-lamps but these its own workings, and a few yards of road; and the reek of the labouring horses steamed into it, as if they had made it all. —Charles Dickens, A Tale of Two Cities

Use Active Voice and Get Personal

Take action in your writing! Don't let "the passive voice be avoided by good writers": let "good writers avoid passive voice." Active voice can help drive your story along and keep your reader intrigued. It can show action being done, progress being made, and the persons contributing to scientific efforts. Here are some examples of how passive voice might be revised in active voice:

My first lab report will always be remembered by me. (passive) I'll always remember my first lab report. (active)

Examination of patients was accomplished by me. (passive) I examined patients. (active)

Here's a way to remember active versus passive voice: if you can insert "by zombies" after the verb, then you're using passive voice. For example:

I was run over by a truck. (You could say "I was run over by zombies" so this sentence is passive.) A truck ran me over. (It would not make sense to say "A truck ran me over by zombies" so this sentence is active.)

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The Loneliness Curve

New research suggests people tend to be lonelier in young adulthood and late life. But experts say it doesn’t have to be that way.

By Christina Caron

When Surgeon General Vivek Murthy went on a nationwide college tour last fall, he started to hear the same kind of question time and again: How are we supposed to connect with one another when nobody talks anymore?

In an age when participation in community organizations , clubs and religious groups has declined, and more social interaction is happening online instead of in person, some young people are reporting levels of loneliness that, in past decades, were typically associated with older adults.

It’s one of the many reasons loneliness has become a problem at both the beginning and end of our life span. In a study published last Tuesday in the journal Psychological Science, researchers found that loneliness follows a U-shaped curve: Starting from young adulthood, self-reported loneliness tends to decline as people approach midlife only to rise again after the age of 60, becoming especially pronounced by around age 80.

While anyone can experience loneliness, including middle-aged adults , people in midlife may feel more socially connected than other age groups because they are often interacting with co-workers, a spouse, children and others in their community — and these relationships may feel stable and satisfying, said Eileen K. Graham, an associate professor of medical social sciences at the Northwestern University Feinberg School of Medicine and the lead author of the study.

As people get older, those opportunities can “start to fall away,” she said. In the study, which looked at data waves spanning several decades, starting as early as the 1980s and ending as late as 2018, participants at either end of the age spectrum were more likely to agree with statements such as: “I miss having people around me” or “My social relationships are superficial.”

“We have social muscles just like we have physical muscles,” Dr. Murthy said. “And those social muscles weaken when we don’t use them.”

When loneliness goes unchecked, it can be dangerous to our physical and mental health, and has been linked to problems like heart disease, dementia and suicidal ideation.

Dr. Graham and other experts on social connection said there were small steps we could take at any age to cultivate a sense of belonging and social connection.

Do a relationship audit.

“Don’t wait until old age to discover that you lack a good-quality social network,” said Louise Hawkley, a research scientist who studies loneliness at NORC, a social research organization at the University of Chicago . “The longer you wait, the harder it gets to form new connections.”

Studies suggest that most people benefit from having a minimum of four to six close relationships, said Julianne Holt-Lunstad, a professor of psychology and neuroscience and the director of the Social Connection and Health Lab at Brigham Young University.

But it’s not just the quantity that matters, she added, it’s also the variety and the quality.

“Different relationships can fulfill different kinds of needs,” Dr. Holt-Lunstad said. “Just like you need a variety of foods to get a variety of nutrients, you need a variety of types of people in your life.”

Ask yourself: Are you able to rely on and support the people in your life? And are your relationships mostly positive rather than negative?

If so, it’s a sign that those relationships are beneficial to your mental and physical well-being, she said.

Join a group.

Research has shown that poor health, living alone and having fewer close family and friends account for the increase in loneliness after about age 75.

But isolation isn’t the only thing that contributes to loneliness — in people both young and old, loneliness stems from a disconnect between what you want or expect from your relationships and what those relationships are providing.

If your network is shrinking — or if you feel unsatisfied with your relationships — seek new connections by joining a community group, participating in a social sports league or volunteering , which can provide a sense of meaning and purpose, Dr. Hawkley said.

And if one type of volunteering is not satisfying, do not give up, she added. Instead try another type.

Participating in organizations that interest you can offer a sense of belonging and is one way to accelerate the process of connecting in person with like-minded people.

Cut back on social media.

Jean Twenge, a social psychologist and the author of “Generations,” found in her research that heavy social media use is linked to poor mental health — especially among girls — and that smartphone access and internet use “ increased in lock step with teenage loneliness .”

Instead of defaulting to an online conversation or merely a reaction to someone’s post, you can suggest bonding over a meal — no phones allowed.

And if a text or social media interaction is getting long or involved, move to real-time conversation by texting, “Can I give you a quick call?” Dr. Twenge said.

Finally, Dr. Holt-Lunstad suggested asking a friend or family member to go on a walk instead of corresponding online. Not only is taking a stroll free, it also has the added benefit of providing fresh air and exercise.

Take the initiative.

“Oftentimes when people feel lonely, they may be waiting for someone else to reach out to them,” Dr. Holt-Lunstad said. “It can feel really hard to ask for help or even just to initiate a social interaction. You feel very vulnerable. What if they say no?”

Some people might feel more comfortable contacting others with an offer to help, she added, because it helps you focus “outward instead of inward.”

Small acts of kindness will not only maintain but also solidify your relationships, the experts said.

For example, if you like to cook, offer to drop off food for a friend or family member, Dr. Twenge said.

“You’ll not only strengthen a social connection but get the mood boost that comes from helping,” she added.

Christina Caron is a Times reporter covering mental health. More about Christina Caron

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Reproductive rights in America

Despite state bans, abortions nationwide are up, driven by telehealth.

Elissa Nadworny

Abortion rights activists at the Supreme Court in Washington, D.C. on March 26, the day the case about the abortion drug mifepristone was heard. The number of abortions in the U.S. increased, a study says, surprising researchers. Drew Angerer/AFP via Getty Images hide caption

Abortion rights activists at the Supreme Court in Washington, D.C. on March 26, the day the case about the abortion drug mifepristone was heard. The number of abortions in the U.S. increased, a study says, surprising researchers.

In the 18 months following the Supreme Court's decision that ended federal protection for abortion, the number of abortions in the U.S. has continued to grow, according to The Society of Family Planning's WeCount project .

"We are seeing a slow and small steady increase in the number of abortions per month and this was completely surprising to us," says Ushma Upadhyay , a professor and public health scientist at the University of California, San Francisco who co-leads the research. According to the report, in 2023 there were, on average, 86,000 abortions per month compared to 2022, where there were about 82,000 abortions per month. "Not huge," says Upadhyay, "but we were expecting a decline."

Shots - Health News

What's at stake in the supreme court mifepristone case.

The slight increase comes despite the fact that 14 states had total abortion bans in place during the time of the research. According to the report, there were about 145,000 fewer abortions in person in those states since the Dobbs decision, which triggered many of the restrictive state laws.

"We know that there are people living in states with bans who are not getting their needed abortions," says Upadhyay. "The concern we have is that that might be overlooked by these increases."

Florida, California and Illinois saw the largest surges in abortions, which is especially interesting given Florida's recent 6-week ban that started on May 1.

Abortion rights opponents demonstrate in New York City, on March 23. Some states' abortion bans are known as "heartbeat bills," because they make abortion illegal after cardiac activity starts, usually around six weeks of pregnancy. Kena Betancur/AFP via Getty Images hide caption

Abortion rights opponents demonstrate in New York City, on March 23. Some states' abortion bans are known as "heartbeat bills," because they make abortion illegal after cardiac activity starts, usually around six weeks of pregnancy.

The latest report also captures for the first time the impact of providers offering telehealth abortions from states with protections for doctors and clinics known as shield laws – statutes that say they can't be prosecuted or held liable for providing abortion care to people from other states.

Between July and December 2023, more than 40,000 people in states with abortion bans and telehealth restrictions received medication abortion through providers in states protected by shield laws. Abortion pills can be prescribed via telehealth appointments and sent through the mail; the pills can safely end pregnancies in the first trimester.

The report includes abortions happening within the U.S. health care system, and does not include self-managed abortions, when people take pills at home without the oversight of a clinician. For that reason, researchers believe these numbers are still an undercount of abortions happening in the U.S.

Tessa Longbons Cox is a senior research associate at Charlotte Lozier Institute, a research organization that opposes abortion. She says the WeCount report, "highlights a concerning trend" that policies around mail-order abortion pills are boosting abortion rates. "By recklessly removing in-person medical visits and safeguards, abortion advocates have put women's health and safety last," Longbons Cox says in a statement.

Accounting for the increases

A major factor in the uptick in abortions nationwide is the rise of telehealth, made possible in part by regulations first loosened during the coronavirus pandemic.

According to the report, telehealth abortions now make up 19% of all abortions in the U.S. In comparison, the first WeCount report which spanned April 2022 through August 2022 showed telehealth abortions accounted for just 4% of all abortions. Research has shown that telehealth abortions are as safe and effective as in-clinic care.

"It's affordable, it's convenient, and it feels more private," says Jillian Barovick, a midwife in Brooklyn and one of the co-founders of Juniper Midwifery , which offers medication abortion via telehealth to patients in six states where abortion is legal. The organization saw its first patient in August 2022 and now treats about 300 patients a month.

A Supreme Court abortion pill case with potential consequences for every other drug

"Having an in-clinic abortion, even a medication abortion, you could potentially be in the clinic for hours, whereas with us you get to sort of bypass all of that," she says. Instead, patients can connect with a clinician using text messages or a secure messaging platform. In addition to charging $100 dollars for the consultation and medication – which is well below the average cost of an abortion – Barovick points to the cost savings of not having to take off work or arrange child care to spend multiple hours in a clinic.

She says her patients receive their medication within 1 to 4 business days, "often faster than you can get an appointment in a clinic."

A study published in JAMA Internal Medicine on Monday followed about 500 women who had medication abortions with the pills distributed via mail order pharmacy after an in-person visit with a doctor. More than 90% of the patients were satisfied with the experience; there were three serious adverse events that required hospitalization.

In addition to expansions in telehealth, there have been new clinics in states like Kansas, Illinois and New Mexico, and there's been an increase in funding for abortion care – fueled by private donors and abortion funds.

The impact of shield laws

During the period from October to December 2023, nearly 8,000 people per month in states with bans or severe restrictions accessed medication abortions from clinicians providing telehealth in the 5 states that had shield laws at the time. That's nearly half of all monthly telehealth abortions.

"It's telemedicine overall that is meeting the need of people who either want to or need to remain in their banned or restricted state for their care," says Angel Foster, who founded The MAP, a group practice operating a telehealth model under Massachusetts' shield laws. "If you want to have your abortion care in your state and you live in Texas or Mississippi or Missouri, right now, the shield law provision is by far the most dominant way that you'd be able to get that care."

Foster's group offers medication abortions for about 500 patients a month. About 90% of their patients are in banned or restrictive states; about a third are from Texas, their most common state of origin, followed by Florida.

"Patients are scared that we are a scam," she says, "they can't believe that we're legit."

Since the WeCount data was collected, additional states including Maine and California have passed shield laws protecting providers who offer care nationwide. The new shield laws circumvent traditional telemedicine laws, which often require out-of-state health providers to be licensed in the states where patients are located. States with abortion bans or restrictions and/or telehealth bans hold the provider at fault, not the patient.

The NPR Politics Podcast

One small pill — one big court case.

Existing lawsuits brought by abortion opponents, including the case awaiting a Supreme Court decision, have the potential to disrupt this telehealth surge by restricting the use of the drug mifepristone nationwide. If the Supreme Court upholds an appeals court ruling, providers would be essentially barred from mailing the drug and an in-person doctor visit would be required.

There is also an effort underway in Louisiana to classify abortion pills as a controlled substance.

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Broad Public Support for Legal Abortion Persists 2 Years After Dobbs

By more than 2 to 1, americans say medication abortion should be legal, table of contents.

• Other abortion attitudes
• Overall attitudes about abortion
• Americans’ views on medication abortion in their states
• How statements about abortion resonate with Americans
• Acknowledgments
• The American Trends Panel survey methodology

Pew Research Center conducted this study to understand Americans’ views on the legality of abortion, as well as their perceptions of abortion access. For this analysis, we surveyed 8,709 adults from April 8 to 14, 2024. Everyone who took part in this survey is a member of the Center’s American Trends Panel (ATP), an online survey panel that is recruited through national, random sampling of residential addresses. This way nearly all U.S. adults have a chance of selection. The survey is weighted to be representative of the U.S. adult population by gender, race, ethnicity, partisan affiliation, education and other categories. Read more about the ATP’s methodology .

Here are the questions used for the report and its methodology .

Nearly two years after the Supreme Court overturned the 1973 Roe v. Wade decision guaranteeing a national right to abortion, a majority of Americans continue to express support for abortion access.

About six-in-ten (63%) say abortion should be legal in all or most cases. This share has grown 4 percentage points since 2021 – the year prior to the 2022 decision in Dobbs v. Jackson Women’s Health Organization that overturned Roe.

The new Pew Research Center survey, conducted April 8-14, 2024, among 8,709 adults, surfaces ongoing – and often partisan – divides over abortion attitudes:

• Democrats and Democratic-leaning independents (85%) overwhelmingly say abortion should be legal in all or most cases, with near unanimous support among liberal Democrats.
• By comparison, Republicans and Republican leaners (41%) are far less likely to say abortion should be legal in all or most cases. However, two-thirds of moderate and liberal Republicans still say it should be.

Since before Roe was overturned, both parties have seen a modest uptick in the share who say abortion should be legal.

As in the past, relatively few Americans (25%) say abortion should be legal in all cases, while even fewer (8%) say it should be illegal in all cases. About two-thirds of Americans do not take an absolutist view: 38% say it should be legal in most cases, and 28% say it should be illegal in most cases.

Related: Americans overwhelmingly say access to IVF is a good thing

Women’s abortion decisions

A narrow majority of Americans (54%) say the statement “the decision about whether to have an abortion should belong solely to the pregnant woman” describes their views extremely or very well. Another 19% say it describes their views somewhat well, and 26% say it does not describe their views well.

Views on an embryo’s rights

About a third of Americans (35%) say the statement “human life begins at conception, so an embryo is a person with rights” describes their views extremely or very well, while 45% say it does not describe their views well.

But many Americans are cross-pressured in their views: 32% of Americans say both statements about women’s decisions and embryos’ rights describe their views at least somewhat well.

Abortion access

About six-in-ten Americans in both parties say getting an abortion in the area where they live would be at least somewhat easy, compared with four-in-ten or fewer who say it would be difficult.

However, U.S. adults are divided over whether getting an abortion should be easier or harder:

• 31% say it should be easier for someone to get an abortion in their area, while 25% say it should be harder. Four-in-ten say the ease of access should be about what it is now.
• 48% of Democrats say that obtaining an abortion should be easier than it is now, while just 15% of Republicans say this. Instead, 40% of Republicans say it should be harder (just 11% of Democrats say this).

As was the case last year, views about abortion access vary widely between those who live in states where abortion is legal and those who live in states where it is not allowed.

For instance, 20% of adults in states where abortion is legal say it would be difficult to get an abortion where they live, but this share rises to 71% among adults in states where abortion is prohibited.

Medication abortion

Americans say medication abortion should be legal rather than illegal by a margin of more than two-to-one (54% vs. 20%). A quarter say they are not sure.

Like opinions on the legality of abortion overall, partisans differ greatly in their views of medication abortion:

• Republicans are closely split but are slightly more likely to say it should be legal (37%) than illegal (32%). Another 30% aren’t sure.
• Democrats (73%) overwhelmingly say medication abortion should be legal. Just 8% say it should be illegal, while 19% are not sure.

Across most other demographic groups, Americans are generally more supportive than not of medication abortion.

Across demographic groups, support for abortion access has changed little since this time last year.

Today, roughly six-in-ten (63%) say abortion should be legal in all (25%) or most (38%) cases. And 36% say it should be illegal in all (8%) or most (28%) cases.

While differences are only modest by gender, other groups vary more widely in their views.

Race and ethnicity

Support for legal abortion is higher among Black (73%) and Asian (76%) adults compared with White (60%) and Hispanic (59%) adults.

Compared with older Americans, adults under 30 are particularly likely to say abortion should be legal: 76% say this, versus about six-in-ten among other age groups.

Those with higher levels of formal education express greater support for legal abortion than those with lower levels of educational attainment.

About two-thirds of Americans with a bachelor’s degree or more education (68%) say abortion should be legal in all or most cases, compared with six-in-ten among those without a degree.

White evangelical Protestants are about three times as likely to say abortion should be illegal (73%) as they are to say it should be legal (25%).

By contrast, majorities of White nonevangelical Protestants (64%), Black Protestants (71%) and Catholics (59%) say abortion should be legal. And religiously unaffiliated Americans are especially likely to say abortion should be legal (86% say this).

Partisanship and ideology

Democrats (85%) are about twice as likely as Republicans (41%) to say abortion should be legal in all or most cases.

But while more conservative Republicans say abortion should be illegal (76%) than legal (27%), the reverse is true for moderate and liberal Republicans (67% say legal, 31% say illegal).

By comparison, a clear majority of conservative and moderate Democrats (76%) say abortion should be legal, with liberal Democrats (96%) overwhelmingly saying this.

Views of abortion access by state

About six-in-ten Americans (58%) say it would be easy for someone to get an abortion in the area where they live, while 39% say it would be difficult.

This marks a slight shift since last year, when 54% said obtaining an abortion would be easy. But Americans are still less likely than before the Dobbs decision to say obtaining an abortion would be easy.

Still, Americans’ views vary widely depending on whether they live in a state that has banned or restricted abortion.

In states that prohibit abortion, Americans are about three times as likely to say it would be difficult to obtain an abortion where they live as they are to say it would be easy (71% vs. 25%). The share saying it would be difficult has risen 19 points since 2019.

In states where abortion is restricted or subject to legal challenges, 51% say it would be difficult to get an abortion where they live. This is similar to the share who said so last year (55%), but higher than the share who said this before the Dobbs decision (38%).

By comparison, just 20% of adults in states where abortion is legal say it would be difficult to get one. This is little changed over the past five years.

Americans’ attitudes about whether it should be easier or harder to get an abortion in the area where they live also varies by geography.

Overall, a decreasing share of Americans say it should be harder to obtain an abortion: 33% said this in 2019, compared with 25% today.

This is particularly true of those in states where abortion is now prohibited or restricted.

In both types of states, the shares of Americans saying it should be easier to obtain an abortion have risen 12 points since before Roe was overturned, as the shares saying it should be harder have gradually declined.

By comparison, changes in views among those living in states where abortion is legal have been more modest.

While Americans overall are more supportive than not of medication abortion (54% say it should be legal, 20% say illegal), there are modest differences in support across groups:

• Younger Americans are somewhat more likely to say medication abortion should be legal than older Americans. While 59% of adults ages 18 to 49 say it should be legal, 48% of those 50 and older say the same.
• Asian adults (66%) are particularly likely to say medication abortion should be legal compared with White (55%), Black (51%) and Hispanic (47%) adults.
• White evangelical Protestants oppose medication abortion by about two-to-one (45% vs. 23%), with White nonevangelicals, Black Protestants, Catholics and religiously unaffiliated adults all being more likely than not to say medication abortion should be legal.
• Republicans are closely divided over medication abortion: 37% say it should be legal while 32% say it should be illegal. But similar to views on abortion access overall, conservative Republicans are more opposed (43% illegal, 27% legal), while moderate and liberals are more supportive (55% legal, 14% illegal).

Just over half of Americans (54%) say “the decision about whether to have an abortion should belong solely to the pregnant woman” describes their views extremely or very well, compared with 19% who say somewhat well and 26% who say not too or not at all well.

Democrats (76%) overwhelmingly say this statement describes their views extremely or very well, with just 8% saying it does not describe their views well.

Republicans are more divided: 44% say it does not describe their views well while 33% say it describes them extremely or very well. Another 22% say it describes them somewhat well.

Fewer Americans (35%) say the statement “human life begins at conception, so an embryo is a person with rights” describes their views extremely or very well. Another 19% say it describes their views somewhat well while 45% say it describes them not too or not at all well.

(The survey asks separately whether “a fetus is a person with rights.” The results are roughly similar: 37% say that statement describes their views extremely or very well.)

Republicans are about three times as likely as Democrats to say “an embryo is a person with rights” describes their views extremely or very well (53% vs. 18%). In turn, Democrats (66%) are far more likely than Republicans (25%) to say it describes their views not too or not at all well.

Some Americans are cross-pressured about abortion

When results on the two statements are combined, 41% of Americans say the statement about a pregnant woman’s right to choose describes their views at least somewhat well , but not the statement about an embryo being a person with rights. About two-in-ten (21%) say the reverse.

But for nearly a third of U.S. adults (32%), both statements describe their views at least somewhat well.

Just 4% of Americans say neither statement describes their views well.

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