How To Write Conspiracy Fiction
by Justin Oldham

Definition: [Source is www.wikipedia.org] "The term conspiracy theory may be a neutral descriptor for a conspiracy claim. Conspiracy theory is also used to indicate a narrative genre that includes a broad selection of (not necessarily related) arguments for the existence of grand conspiracies, any of which might have far reaching social and political implications if true."

Forward

Conspiracy Theory is a modern form of literature. The art form has developed to such an extent that it has been classified as a true genre. It's popularity can be directly linked to its speculative nature. Authors are drawn to it because it affords them a vehicle to tell a story and make a point while discussing subjects that may not be easily defined or categorized. Readers around the world are drawn to it because of its use of fact-based observations and assertions that sound real enough to fire the imagination.

Presenting the story as Fiction allows the writer to explore subjects and situations that they themselves may not fully understand. By removing the formal presentation styles associated with academic technical writings, the author spends less time on justifications and more time on outcomes and implications. Readers are often relied upon to know something about the subject matter being injected in to the story. In these respects, Conspiracy Theory is no different than any other genre. You're in to it, or you're not.

The distinction between mainstream Political Fiction and modern Conspiracy Fiction is slight. For the most part, mainstream Political Fiction relies upon precise knowledge of the law while exploring personal motives of greed, vice, and psychology. Individuals play a larger role than the institutions they represent. Conspiracy Fiction acknowledges the human actors in the story while focusing on the groups, organizations, or institutions that have the authority to affect many lives through their exercise of power.

Conspiracy theorists often focus on "how" a plot was conceived and executed before they conclude "why" it was initiated. In terms of its literary framework, this is an exact reversal of the methods used by writers of Political Fiction. In most modern conspiracy tales, "how" a thing happens is often viewed by writers as more important than "why" it happened. In most cases, the actual "why" of the thing is left up to the reader to accept or reject.

Like any other genre of Fiction, good and evil play their parts. Some authors take an amoral approach to their work. Others associate ethics with politics and morality with patriotism. For these reasons, many modern portrayals feature troubled heros and dysfunctional villains who are each surrounded by characters of uncertain motive or purpose. Characters found in mainstream Political Fiction tend to be obvious in their motivations and more idealistic in their outlooks on life.

Although the Conspiracy genre is widely popular, many first-time authors find themselves shut out of the market. The difficulties associated with getting published do keep many authors out of print. Getting an agent is hard. Getting the attention of a publisher is even harder. for most, these two facts are the only reasons they need to stop writing. For the rest who are persistent, failure comes unexpectedly when agents or publishers look at their bad writing.

It's not enough to have a good idea. Agents and publishers see good ideas all the time. What they don't see all the time is good "product." Many of the people who want to try their hand at Conspiracy Fiction are enthusiastic book readers. Most are not trained writers. This lack of skill can be overcome with self-discipline and some combination of classroom schooling or self-teaching. Once the author learns what the genre is, and how it works, the rest will come through exposure and experience.

Introduction to Conspiracy Theory: What it is and How to Write It

Conspiracy Theory is a modern form of Speculative Fiction. It can trace its lineage back to the post World War Two Science Fiction, which was more politically conscious than its pre- war predecessors. In the 1950's, Science Fiction and Cold War spy fiction took parallel paths in development. At some point, they rubbed off on each other. The political awareness and technical savvy they shared allowed these two genres to feed off each other for the next three decades. In many respects, that symbiotic relationship still exists.

In the 1970's, Cold War Fiction came in to its own. Espionage and government-sponsored intrigues became accepted parts of spy fiction. Within that genre, skilled writers played on the reader's nationalist sympathies and fear of unsympathetic ideologies. For the first time, we see well-defined trends that result in well-defined writing formulas which routinely pit the story's heroes and heroines against their own governments.

By the early 1990's, these scenarios and character types became an accepted part of Espionage Fiction. The element of governmental mistrust had become so common that it was often ridiculed by those who did not appreciate the genre. Real-world events such as the stand-offs at Ruby Ridge and Waco only served to increase the popularity of conspiracy-based fiction. By January of 2000, the modern Conspiracy Theory form of Speculative Fiction was well established and thriving.

I published my first novel, "Politics & Patriotism: The Fisk Conspiracy," on September 14 of 2004. This book is just one example of modern Conspiracy Theory that will make its mark on the 21st Century. I put everything I learned about the genre in to practice as I wrote this book. Since publishing, I've been asked many times how I did it. I personally think that knowledge is useless if it isn't shared. With that in mind, I'd like to share with you how I wrote my first novel in this challenging genre.

I hold a Bachelor's degree in Political Science. I also hold a degree in History. Before you can write about a conspiracy, you have to understand it, and its place in world events. Even if you're just making it up, you still need to understand how your imaginary intrigue fits in to the world around you. Educating yourself about history and politics can go a long way towards making your dream a reality. Don't get bogged down in the small details of the period you're trying to understand. If your story takes place in the present day or near future (as mine does), you should concentrate on the essentials. Who, what, how, where, and when.

If your story takes place in the past, be aware that your audience is Here and Now. Don't drown them with period details that only mean something to you. Moderate your use of period dialogue. Don't give too much ink to the descriptions of cars and clothing if they aren't vital to the story. The same goes for firearms and military vehicles. You're not writing a history book that will be referenced for its value to anthropology. You're writing a story that you made up. Your chief duty is to make the reader 'feel' like they're in the period you're talking about.

All conspiracies, no matter how diabolical, involve people. Bureaucrats are people, too. I know this from experience, 'cause I used to be one. Before you start writing, you should take some time to sketch out your major characters. When writing for the first time, you're never going to know exactly when minor characters will be needed, so don't concern yourself with them until you've gotten past this stage in your story development. In school, I hated outlines with a passion. Now, I won't start work without one. An outline can exist in your head, or on paper.

Think about the characters before you write them. Who they are and what they are capable of matters. If you try to make this up as you go along, you'll get in trouble.

As you create them, you're going to find that some characters take on a life of their own. They may not be capable of the deeds you need them to perform. In other cases, they may turn out to be so despicable that you can't stand to write them. I had this problem half way through my novel. A few of my characters were so morally and ethically bankrupt that I just couldn't go on. I stopped writing for three weeks. It hurt me to think I'd created people who were that "bad," even though I knew they'd get their just punishments in the end. Knowing what your conspiracy is, when it takes place, and who its players are, is only half the battle.

The thing to remember about all conspiracies is this They have a point. Somebody started them for a reason. Even those conspiracies launched by fictional bureaucrats in fictitious governments have a goal in mind. The people sworn to stop your carefully written conspiracy may not know the reason for the covert connection when the story begins, but they should figure it out in time to do 'something' before the story ends. I began my novel with the "good guys" knowing what the conspiracy was, and what they had to do about it. This shortcut saved me a lot of pages and let me devote more ink to other things.

As you write, you may get lost in your own deceptions and misdirection. If your characters and agendas are well defined and understood in their proper context, you may find the story writes itself. Why? Because you understand your characters and what they will do before they do it. As they move to investigate, coerce, cover up, or kill, you're inside their minds and still able to make the story go where you want it to. This means you reach the end, and it turns out the way you planned it. I reached the intended end of my story after three years of writing. I did get the ending I wanted, but only after much thought and re-consideration. As well as I knew my characters and my plot, the actual journey was more intense than anything I'd planned for.

This brings me to my last point and piece of advice. Conspiracy Theory scares the reader and makes them think. Opinions may vary, but the fact remains that your portrait of What Could Be will provoke a response. As you write, you'll be taking the same journey as your readers. Yours will be scarier and more intense than theirs, because you'll know more than they do from the start of the first word on the first page. If you find yourself scratching your head when its all over and done, wondering "what just happened," don't be afraid to re-write some or all of what you've done. If you don't know what your point is/was, neither will your readers. I re-wrote the first 10 chapters of my book 15 times before it 'felt' right. I re-wrote the ending of my novel 4 times before I felt like I'd made my very scary point.

Conspiracy Theory, as a genre, is about manipulation. Politics. Deceiving others to get what you want. The hidden agenda is perhaps the darkest and most unclean of human politics. It's just as complicated as the people who push for it, or against it. Telling your story can seem harder than actually hatching the conspiracy you're trying to write about. As the author, it's your job to confront these things before anyone sees your work. Unless, of course, there's a conspiracy to keep you from writing the book in the first place.

Chapter 1: The Beginner's Checklist: What You Need To Know

Story-telling is a form of art. As the author of your story, you'll be creating pictures with words that are designed to bring your conspiracy to life. Before you put pen to paper, or reach for a computer keyboard, you'll need to take a moment to answer some questions. a) Which conspiracy theory, or theories, do I want to show off in my story? b) What do I really want to say? c) How do I want to say it? d) How do I want the people who read my book to get my message?

Which conspiracy theories do you want showcase in your story?

Most of the people who feel the urge to write have some idea in the back of their mind. They know what kind of story they want to create. Its common for conspiracy buffs to be very comfortable with their subjects before they start writing, typing, or dictating. How much do you know about the conspiracy you intend to create on paper?

Putting what you know in to words isn't as easy as it may sound. Grammar, spelling, and punctuation, can be formidable barriers for some new authors. Making what you write "sound" like you want it to can also be a challenge. With your intended conspiracy in mind, its time to think about the people who will be reading your book. How much do you expect them to know about your conspiracy?

Things can get complicated very fast when you start to blend more than one conspiracy theory in to your story. Each theory element you add involves more knowledge that the reader may not have. Readers who get lost quickly will become frustrated. Too much frustration will make them stop reading.

No conspiracy is ever as simple as it sounds. Don't be afraid to use just one. By the time you get done filling out the background and passing that information on to the reader, you will have used up a lot of pages. When you do this, pass on just enough information to move the story forward. Educate the reader. Don't lecture to them about things they may already know.

The details of your conspiracy can be passed on at regular intervals throughout the length of the story. Don't try to cram it all in to one chapter, or one long string of technically written paragraphs. Whenever it's possible, let the characters say it for you. Let the reader learn what they need to know as the story unfolds. This tactic will encourage them to keep reading.

What is the moral of your story?

After you've identified the conspiracies that will form the basis for your story, you'll need to give some serious thought to the moral tone of your work. You may be tempted to jump right in to character development, but this particular issue can cause you a lot of trouble later on if you don't have it nailed down before you unleash your creative energies.

Knowing the moral of your story will allow you to bring other intellectual factors in to focus. Conspiracy Fiction can be dark literature, populated with deviant characters. It can also be whimsical, filled with men women full of wit and mirthful wisdom. The morality you choose to make will help determine these things. If you're not sure what the moral of the story should be, take a moment to examine the conspiracy you want to write about. Political take-overs involve abuses of power. Financial swindles involve greed and theft.

The moral of your story is, in effect, the case you want to make to the reader. Example: demonstrating that corrupt politicians hurt more people than they help is just one way to present a moral position that says, "crime doesn't pay." The mission of the sympathetic characters in your story will be to stop the bad things that are being done. The mission of the un-sympathetic characters in your story will be to DO those bad things for their own reasons.

What do you really want to say?

Conspiracies are, by definition, secret plans being carried out secretly. The conspiracy you write about should be something that makes you uncomfortable. If you can't relate your fear of that sinister plot, your readers won't have any reason to be interested in what your characters say or do. If a particular conspiracy theory leaves you cold, don't write about it.

Your message needs to be clear, even if all you want to do is tell a story. Don't be vague. Let your villains hatch a well defined plot that will not leave anyone guessing about their motives. When it's called for, present your backstory with names, dates, locations, and relevant activity that is not open to interpretation. Say exactly what you mean.

When you start the process of character development, you're going to discover that all of your named personages will say or do things that aren't easily classified as "good" or "evil." If you aren't clear about the details of your conspiracy and the moral direction of the story, all of your characters will turn out poorly defined. They'll be confused because you will be confused.

How do you want to tell your story?

The Conspiracy Theory genre is dominated by first person narratives. Using this formula, the story is told from just one person's point of view. That individual is almost always the hero or heroin of the piece. In a few rare cases, brave authors have told their story from the Bad Guy's point of view. This creative method is often preferred by first-time writers.

These stories read like the characters talk. Veteran authors use this writing style to let their characters explain themselves and their actions. Inexperienced authors can sometimes get bogged down when they allow their characters to fret, rant, or second-guess themselves at length for no good reason. In either case, the temptation to lavish details upon favored characters can be too much to resist.

Trained writers often prefer the third person writing style. Using this formula, the story is told from an omniscient narrator's point of view. This allows the author to relate the thoughts, words, and deeds, of all the characters that you put in the story. This allows the reader to become intimately familiar with everyone and everything in the setting you've created.

Some authors like to view their characters from a distance. Others like to know them inside-out. You don't have to imagine every possible detail about these people. What you know about your characters doesn't always have to make it in to your writing. Choosing between first and third person perspectives can help you determine what the reader needs to know about the characters and the situations you put them in.

How do you want the people who read your book to get your message?

Readers figure out what you meant to say by turning the page. Every chapter you write should move the story forward. Avoid using your narrator's voice to say that something happened. Where possible, let the reader experience the moment through the words and deeds of the characters you created.

Narrow escapes are great plot devices to increase tension. Don't use them as filler. Avoid action for the sake of action. Avoid using your narrator's voice to declare victory for a character. Let the characters themselves express their joy over their own victories...or sorrow for their own defeats. Let the reader decide for themselves if the person you wrote about deserves their success. Leave it to the reader's discretion to feel bad for characters who suffer setbacks.

When writing in the first person, don't allow your characters to gloat for more than three sentences. Give the reader some credit for understanding that your creation has done well, or suffered a defeat. When writing in the third person, avoid using your narrator's voice to moralize. Let the reader decide who is good and who is bad based on what the characters think, say, and do. Give the reader some credit for being able to decide these things based on their own values.

If your characters and narration are direct and to the point, there will be no way for the reader to mis-interpret your words. You'll find that this holds true even when your characters are discussing complicated subjects with each other. If the reader has any doubts, they can re-examine the dialogue you wrote as fast or as slowly as they see fit.

For a list of books that may be helpful to new authors, see Appendix #2: Recommended Reading for First-time writers.

Chapter 2: Insider Knowledge: Defining The Conspiracy

Conspiracy Fiction is noted for its attachment to reality. A surprising number of "facts" used in a story can be traced back to a credible source. Critics of the genre take issue with the assumptions that authors make, based on verifiable information. As the creator of your story, you have an obligation to decide just how many "facts" will back up your cautionary tale. The best Conspiracy Fiction strives to employ as much real-world detail as possible without clouding the issue you're trying to present.

As the originator of your concept, you will always know more about your subject than you put on paper. Some authors think they gain credibility by incorporating as many factually correct details as possible. A few authors hate research, so they work from limited sources and make up the rest. It's your responsibility to compromise between these two extremes. If what you know about the people, places, and things, in your conspiracy doesn't move the story forward...don't use it.

Make a list. Choose the conspiracy elements you want to write about, and name them. Remember that your story is a narrative. It shouldn't be a concise history of the conspiracy as you know it Everything you write about will take place in a specific amount of time. Days, weeks, months, or years. The best conspiracy tales take place in short amounts of time. This usually means that the book you're about to write encapsulates the most important events.

Knowing what takes place inside the amount of time you've allowed will help you narrow the focus of your story. Careful research should reveal enough verifiable information to satisfy your need for credibility. As you refine your ideas, consider the following. a) Who are the conspiracy insiders, and what do they actually know? b) Who are the people on the outside, and what do they actually know?

The best way to define your conspiracy and refine the plot of your story is to understand who the participants are. Don't confuse this with character development. Think of it as role definition. Don't concern yourself with minor characters . Focus on the professional labels of the people on either side of your conflict. Example: A government conspiracy might be run by bureaucrats or career politicians. The people who oppose this conspiracy might be lawyers, contractors, or citizens from virtually any walk of life.

Who are the conspiracy insiders, and what do they actually know?

The men and women who run the conspiracy you want to write about need to actually know a lot about what they're doing. This is important to know, because too many authors give in to the temptation to keep their conspiracy leaders hidden from view. They get so wrapped up in the mystique of what they've created that they can't resist keeping the very secrets they're supposed to be writing about.

Make a list. Name your conspirators, and make a few notes about their professional backgrounds. In one sentence, document their specific role in the conspiracy. Then, write down what these people know about the conspiracy. Like any other business or military organization, there will be a chain of command, line of succession, or pecking order. Don't hold back. After all, these people know each other and they've been working together for quite some time. Anyone who doesn't actually know who the boss is (by name) won't be of any use to you once the serious writing gets under way.

Who are the people on the outside, and what do they actually know?

Knowing what your conspiracy is, and who its perpetrators are, is only half the creative battle. As the author, you know more than any one person in your story would...or could. That also means that you will always know more than the reader. Keep this in mind as you create the identities of the people on the outside of your conspiracy.

The men and women who run in to the conspiracy you created won't actually know a lot about what they've encountered. This is important to know, because too many authors give in to the temptation to endow their conspiracy busters with higher than average intelligence and superior deductive skills. They feel the need to do this because they've put so much effort in to the creation of a truly massive and unstoppable conspiracy. This over-compensation tends to force the story in to directions that the author didn't want to go. This will often cause your attempt at Conspiracy Fiction to transform in to Science Fiction.

Traditional forms of Conspiracy Fiction involve the routine use of an average person who sees what they aren't supposed to. Bumping in to the conspiracy by accident sets off a chain of events that often forces the outsider to get involved. In a few rare situations, the outsider hunts for the conspiracy until they find it. Then...things get interesting. In all cases, its worth remembering that the conspirators do not want to be discovered. That's why the people who stumble on to their plans by accident are so surprised.

Make a list. Name your outsiders, and make a few notes about their professional backgrounds. In one sentence, document their specific role in the story. Do they look for the conspiracy until they find it? Are they somebody's personal bodyguard? Do they defeat the conspiracy? Then, write down what these people know about conspiracies and conspiracy theory as the story begins. Do they believe in such things?

Characters who learn about the conspiracy as they go along are among the most commonly portrayed individuals in the genre of Conspiracy Fiction. They can also be some of the hardest points of view to write. Separating what you know what from your characters know is harder than it sounds. Some authors make their characters capable of "lucky guesses" or "uncanny intuition" to cover their tracks.

Outsiders who beat the odds to foil the conspiracy have to overcome more than just henchmen and black helicopters. They have to overcome their own inexperience or lack of knowledge. By defining your conspiracy, and the roles of the players who bring your story to life, you can overcome your own limitations. You can also avoid many of the more commonly over-used story angles that sometimes give this genre a bad reputation.

Chapter 3: Depicting Government Agencies & Classified Programs

Conspiracy Fiction is known for its portrayals of government officials and the departments or agencies they work for. Communicating what you've learned about a bureaucracy inside the framework of a fictional narration is hard. It's difficult to know exactly when it's most appropriate to use narration or character dialogue to illustrate the people, places, and things, encountered in the course of your story.

Conspiracy theorists tend to have a negative view of government. This bias creeps in to their narrations through the use of sinister environments and hostile descriptions of hostile bureaucrats. The author's point of view translates in to a dark imagining of the people and situations that the reader has no choice but to encounter. The end result is an unrealistic "vision" of the situations you're trying to create.

The reader doesn't need to know that you yourself don't like these people and the agencies they work for. The reader doesn't need to be nudged in to thinking like you do. The best Conspiracy Fiction portrays civil servants as neutral figures. Some authors strive to create "inscrutable" Federal employees or agency heads whose motives are never quite clear. Because these individuals are usually minor characters, many authors choose to write them as uncaring or unsympathetic.

Authors who want to maintain their credibility should avoid painting the people who work for governments as being obviously "evil." It's true that there are such people in the real world, but they don't tend to get promoted in to positions of power where they can become part of your conspiracy. Any despicable behaviors or deviant vices they might have would be kept to themselves. Those things would be indulged behind closed doors. Remember that most conspirators know the relative camouflage value of good manners and importance of some secrecy.

This genre of literature is very well known for its use of deception and disinformation. this is, after all, how the modern conspiracy hides. Government officials involved in your conspiracy will be afraid of getting caught. To that end, they will never act like they're guilty of anything. The hidden agenda you have planned for your story may not be illegal, but it could be embarrassing enough to cost somebody their career. Conspirators are smart, and they like to stay employed. Please don't forget that when you're putting words in to their mouths.

Government officials are not always overtly threatening or dangerous. The same thing is often true of the places they work. Many authors in this field allow their anti-government bias to affect the way they describe official buildings or installations. It is true that some Federally owned structures have a very imposing exterior. It's also true that some military installations have a lot of buildings with these fortress-like facades. As impressive and memorable as these places are, its worth noting that most Federal buildings are not like that. Some authors tend to over-use this aspect of their word pictures when describing Federal office buildings or military bases.

Using the descriptions of actual locations in your work is a good way to enhance your credibility. Go to the places you want to include in your story. Take notes. What kind of architecture do you see? How does it actually feel to be there? The truth is that most Federal installations are not designed to stand out in any way. Keeping it "real" improves your story.

Most of the politically motivated Conspiracy Fiction you're likely to compete with involves some contact with government officials, Federal agencies, and knowledge of classified programs. Secret government programs play a central role in the most popular conspiracy theories, which would explain why so much is written about them. Some authors are known to make incorrect use of the terms "program" and "project."

A program is the overseeing authority for one or more projects. This is true for government agencies and private-sector companies. A program can have control over any number of projects. Governments and corporations give code names to secret programs so that they can avoid talking about them directly. This makes it harder for spies to find out what's really going on. Individual projects can also have code names. These labels are generally meant to misdirect would-be spies or saboteurs.

The deterrence value of code names is limited. Its common for authors to use snappy code names to add flavor to their story. In many cases, the heros or heroines in many stories end up being attracted to certain pieces of classified data based on their code names. The investigators in your story who seek to fight your conspiracy will be looking for evidence of the plot in several ways. In addition to looking for specific individuals or precise physical locations, they'll be seeking out hard copy documents and electronic data.

The people who run classified programs will be harder to find than the average government employee. If they are civil servants, they'll be protected by several layers of bureaucracy. Investigating characters may have work around any number of staff assistants to speak with several different department heads who will decide if the issue or question is worth bothering their superiors.

The people who administer programs know they are keeping secrets. They look just like "non-classified" civil servants. Because they used to work on individual projects, they've had a lot of practice at keeping secrets. They will tend to answer questions with questions. The people you create to battle your conspiracy need to be capable of "reading between the lines" to have any chance of knowing that they've been put off, misled, or lied to.

The people who work on specific projects can be portrayed in much the same way. They'll be a little easier to find than their bosses. They may be slightly less skilled at keeping secrets. Many authors resort to having their heros or heroines find the new guy on the team, who sterotypically has the least amount of experience at interpersonal evasion. The key to making these encounters seem real is to avoid being too vague with your dialogue. Don't write these henchmen to be clever. Depict them as doing their best to be non-committal.

Keeping government secrets is often done in a surprisingly normal atmosphere. Most conspirators, even those with big budgets, don't spend a lot of money on decor. The rooms, buildings, and bunkers, that house top secret operations are like any other Federal facility. They are not built to call attention to themselves. Restricting access to these locations will not be done obviously. Electronic locks, video surveillance, and hidden alarms will routinely be used to allow a small number of inconspicuous guards to keep your heros and heroines at bay.