No one, I hear you say – even in this heyday of fact-based TV drama and films. When I wrote and directed An Ungentlemanly Act, my first fact-based drama in 1992 for the BBC about the Falklands War, I began my career formula of trying to make my fact-based work as accurate as possible, using the methods I was trained in as a historian at university.
Always find two sources if possible, never rely on one narrator but get the counter-view, and so forth. And you know what, nobody in the audience tends to notice! I was very honoured when Falklands vets commented on forums or Amazon that this is how it was. But in truth, you hardly ever get praised for accuracy, actually.
The Secret was scrupulously sourced, to the extent that the production company called it A True Story, which is not something I’d dare say myself as it is my interpretation of the facts. You tend to get into hot water when someone wants to score points against you for their own specific reasons, which, if you have done your homework right as I try to, tends to be a matter of whose version of accuracy, since it is not an infallible science applied with a simple yardstick.