The Feelings Behind The Facts

How facts can shape character and conflict

By Marti M. McNair - Core Contributor

ISSN 2977358x (online)

The Feelings Behind The Facts

Research is often treated as a box to tick – something writers do to avoid errors, anchor a story, or keep knowledgeable readers happy. But at its best, research works in quieter ways. It seeps into character, sharpens conflict, and influences every emotional decision on the page. When approached with care, research stops being a list of facts and becomes a way of understanding how characters behave.

I try not to get lost in the research itself. It’s easy to drown in details, but knowing when to step back is just as important. Research should serve the story, not the other way around. With that in mind, I’d like to share my outlook on research through the following steps.

Step one – define what the story needs to feel like

Before you dive into a topic or start digging through archives, take a moment to be clear about the emotional tone you want to create. Is your story tense, oppressive, hopeful, romantic, or confusing? Your research should support that feeling. If you’re writing about life under surveillance, for example, the technical details are less important than understanding how being watched all the time changes trust, memory, and the way characters express themselves.

George Orwell’s 1984 works well because his political research was shaped by real-life experience. His insights into propaganda and state control show how fear takes root in everyday thinking. As writers, we should strive for that same effect. Instead of just focusing on getting the facts right, ask yourself what the emotional weight of those facts will play out on your characters.

Step two – research people, not just systems

It’s easy to get caught up researching systems – laws, technology, history – but what often gets missed is how people lived through them. I find personal accounts like diaries, letters and interviews invaluable for understanding the human experience behind the facts.

For example, if you are researching strict immigration controls, look beyond laws and policies. Focus on personal stories – families separated, ongoing anxiety, and small acts of hope. Understanding how these laws impact identity and trust will deepen your characters’ conflicts and motivations.

A habit I find invaluable when writing dystopian scenes is to record my emotional responses alongside the facts I gather. I note what surprises, unsettles, or resonates with me personally. These feelings serve as vital clues – if something affects me deeply, I hope it resonates with readers as well.

Step three – ask better research questions

Don’t just ask, ‘How did this work?’ Also ask – who gained from this system, and who was left behind? What was seen as normal back then, even if it feels shocking now? What choices did people actually have, and which choices were never considered?

Questions will highlight the conflict beneath the facts. Laws shape behaviour, technology shifts power, and hopes or fears influence actions or silence. When characters face limits, conflict naturally arises.

The Handmaid’s Tale by Margaret Attwood is rooted in real historical practices. What guided her research wasn’t just whether something had happened, but how people explained or justified it at the time. Those justifications reveal the mindset behind the actions – and understanding that mindset is key to shaping believable characters.

Step four – let research challenge your assumptions

One of the best things research can do is make you feel uneasy. When the facts challenge your original idea of a character or situation, it’s worth leaning into that discomfort instead of ignoring it. Real people are full of contradictions – they sometimes act against their own beliefs, go along with harmful situations or orders, and make choices they later regret. It’s these complexities that make characters feel genuine.

Let research reshape your characters instead of trying to make the facts fit a set story. Sometimes a historical figure isn’t as heroic as you first thought. Or a social system might be more subtle and sneaky than openly brutal. These kinds of discoveries bring depth and make your story feel more authentic.

Step five – translate facts into behaviour

When you’re drafting, try not to use research simply to explain things. Instead, think about how each fact changes what a character does. A medical diagnosis might change how someone plans their future. A new law could change what they’re allowed to say. A natural or enforced barrier might limit their chance to escape. Not every piece of research needs to be on the page. If a fact doesn’t affect how a character acts, feels, or what happens next, its best left out. That doesn’t mean the research was wasted – the understanding you gain still shapes the story beneath the surface.

Step six – reflect on why the research matters to you

Finally, I think it’s important to consider your own connection to the subject. I’ve found that my strongest writing comes when research sparks curiosity, anger, empathy, or even unease. It’s that emotional engagement that shapes how I interpret facts – and how I place them into the story to provoke feelings and emotions – not only for my characters, but for the reader too.

Before your next research session, ask yourself – when a new fact changes your view of the world you’re writing about, how might it affect your characters’ inner lives? I’d love to hear how this influences your story

Author Bio

Susan McVey is an award-winning writer with a lifelong passion for storytelling. Writing YA fiction under the pen name Marti M. McNair, she explores dystopian worlds with dark political themes and high-stakes challenges. She is a Partner in Auscot Publishing and Retreats and serves as Vice President of the Scottish Association of Writers, where she has also been placed in competitions for several consecutive years.

https://www.martimmcnair.com