Today, I'm excited to have novelist Linda Rodriguez visit us. I met Linda a year ago at Malice Domestic and she has become a great friend. Her Malice Domestic winning mystery EVERY LAST SECRET hits shelves on April 24th! Check it out! Trust me--you won't be sorry. In the meantime, please welcome her to DSD with open arms.
Take it away, Linda!
I’m a big believer in using all the help technology and professional writing books and programs can give me in writing. I’ve tried using all kinds of workbooks, charts, and forms in working on a novel. I’m even exploring Scrivener-type software programs for use in writing my next book. I’m hardly on the cutting edge, but I’m also not one of the “if it was good enough for Hemingway, it’s good enough for me” types. Still, sometimes we look around and find simple everyday solutions to our problems, and it would be silly not to take advantage of them.
One of the most useful tools I’ve found in writing a novel is the simple, old-fashioned list. If you’re like me, you use lists to remind you what you need to do during the day, what you need to pack for a trip, what you need to buy at the grocery store, and dozens of other mundane projects, large and small. It’s easy to assume we need something more sophisticated for this complex novel (for novels are all more or less complex) that we’re trying to hold in our heads and build on paper. However, I’ve discovered that simple lists can help in several ways with making that story in our head a reality in print.
First of all, I keep running character and place lists. I write a mystery series. When I wrote the first book, Every Last Secret, I was creating all the characters from scratch, as well as all the places in my fictional town. I wrote personality and appearance sketches for each character, but in addition, I made a list of each character as s/he appeared with a few words to note key characteristics. I did the same for places in my made-up town. This meant I could look up the full name of walk-on characters easily when I needed to much later in the book. It meant that I could easily look up the important details of the buildings on the campus and the shops on the town square as my protagonist, Skeet Bannion, walked past them or into them.
These lists tripled in value when I started the second book in the series and now the third. No one will have brown eyes in the first novel and baby-blues in one of the later books. Old Central, the 19th century castle-like mansion on the Chouteau University campus, will not morph into a 1960s Bauhaus box of a building.
Next, when I’m plotting ahead, simple lists come to my aid again. I’m a combination of outliner and follow-the-writing plotter. I like to know where the next 25-50 pages are going, plotwise—or to think I do, at least. I do this by making a list of questions that I need to answer about the book. In the beginning, I have lots of questions. The answer to only one or two may give me enough to start the next several days’ writing. I stole the idea of asking myself questions and answering them in writing from Sue Grafton. She posts to her website journals that she keeps while writing each novel, and in these, she often asks and answers these types of questions. I took it a bit further by trying to make long lists of questions that needed to be answered, which often, in turn, add more questions to the list when they are answered.
Answering the questions tells me where the story wants to go, but these lists also help me keep the subplots straight and make sure they tie in directly to the main plot, and they keep me from overlooking some detail or element that will create a plot hole or other disruption for the reader. These questions can vary from broad ones, such as “What is the book’s theme?” and “How can I ratchet up the excitement and stakes in Act II?” to more detailed, such as “What clue does Skeet get from this interview?” and “What’s on Andrew’s desk?” Such question lists come in handy during revision, as well.
During revision, I make yet another kind of simple list. As I’m reading the manuscript straight through in hard copy, I write down a list of questions as I go. I notice a weak spot and ask myself, “How can I let the reader know how much Jake meant to Skeet, as well as Karen?,” “Should I have Skeet attend Tina’s autopsy?,” and all too often, “Reads competent enough, but where’s the magic?”
After going through my lists of hundreds of big to tiny fixes and changes to make, and either making them (most) or listing by scene where in the book to make the fix (for major issues), I sit down to wrestle with 5-15 major problems from almost but not quite minor to huge and complex. This final list is my guideline through the swamps of revision. The issues on this list require changes that thread throughout part or all of the book. Trying to do them all at once or even to keep them in my mind all at the same time would bog me down—perhaps forever. Listing them and working my way one item at a time through that list helps me to keep my focus even while dealing with very complex situations that must be woven in and out through the length of the novel.
In short, simple lists make the complex task of writing a novel doable for me. What about you? Do you use lists in your writing? Are there other tools you use for keeping track and keeping focused as you plot, write, and revise?
Linda Rodriguez’s novel, Every Last Secret, won the Malice Domestic Best First Traditional Mystery Novel Competition and will be released April 24. She blogs about books and writers at www.LindaRodriguezWrites.blogspot.com, reads and writes everything, even poetry, and she spends too much time on Twitter as @rodriguez_linda. Every Last Secret can be pre-ordered at http://lindarodriguezwrites.blogspot.com/p/home.html.