In the cop shows, whenever the intrepid detective (Watching the Detectives, Elvis Costello) is working on the massive conspiracy that killed her mother/lover/those six girls we never met, but who really give our character a reason to act, the case is always shown as pictures (Pictures of You, The Cure) tacked up and connected by red string. I don’t know what set designer came up with the red string, but they ought to get royalties. It’s so common that if I worked at a craft store and someone bought red string I’d think they were a serial killer, a cop thrown off the force for refusing to quit the case, or a grandmother of toddlers stocking up for Christmas. I bring this up for the reason that it is a fitting visual for the song lyric littered wasteland (Teenage Wasteland, The Who) that is my brain.

Whenever I have a story noodling around in my head, but haven’t moved it to the level of having an outline, my natural writing style is to pick out scenes that I want to write, type them up, and save each scene to it’s own word document. As you can imagine, this creates a number of random word documents that might be hard to keep track of. But I have a system, most often I’ll name the document the song lyric associated with it. As a book grows, frequently these scenes become chapters, and those document names become chapter titles. Which is why the original table of contents for Bulletproof Mascara, the first of my Carrie Mae Mystery novels, read more like a playlist than serious literary subtitles. Sadly, editor made me change most of them – now they simply hint at the songs they reference. Apparently, the only people more uptight that literary rights lawyers or music rights lawyers. But you can still rock out to the Bulletproof Mascara playlist simply by visiting my youtube page (youtube.com/CarrieMaeMysteries) – please enjoy the musical stylings of David Bowie, James Brown, Simon & Garfunkel, Tech9, Morcheeba, and (of course) more.

Originally posted on 7/13/16 at The Stiletto Gang

An author’s job is not just to tell a story, but to decide how a story should be told. Is it better in first or third person? Is it told in one long march of words or are their chapters? We have to decide genre, tone and feeling. And once those decisions have been made an author must create and track the main plot of the story – the one that we struggle to capture in the blurb text on the back cover – as well as the sub-plots, underlying themes, and finally, the characters themselves.  All of those pieces require not just the ability to write, but also the ability to track information. Because, as any serious reader will tell you (sometimes at great length), consistency and details matter greatly to a well written book, and while we can rely on an editor for some items, they are only human and can only catch so much.  It is in an author’s best interest to provide the cleanest manuscript possible.

I’m currently working on two vastly different stories: the fourth Carrie Mae Mystery Glossed Cause and a Romance Horror novella Wild Waters.  Each story comes with an array of characters, research and plot twists that to be perfectly honest I can’t hold in my brain.  Possibly pre-production of a toddler I could have kept hold of all the details, but no longer. Now, to keep all my worlds organized, I must rely on a system of notes, plot outlines and spreadsheets.

For the Carrie Mae books I track characters with a spread sheet that notes who they are (name, basic role, job or company) and also what book they have appeared in or if they have been deleted or omitted from a book.  I also have a rather extensive style sheet that helps me keep track of how certain things, such as chapter headings are formatted and whether or not I’m consistently formatting things like “AK-47” and “INTERPOL” the same way over multiple books.

For Wild Waters I’m writing in two different time periods – WWII and Vietnam ­– and they each use distinctive slang that I organize in a couple of basic lists.  There are also multiple character points of view and it is important to keep track of what characters know and when they know it, so that each plot point is revealed at the correct time. Tracking character arcs are more difficult and sometimes require multiple ways of visualizing.  I will frequently write out the plot from each characters point of view or I will graph it out on a virtual whiteboard, utilizing the main plot points.

There is no perfect system of course, and each author must work the way that works for them. But when examining a well-written book, I am frequently in awe, not just of the beautifully constructed words or strong turn of phrase, but the underlying construction of a book.  Sometimes, I find it amazing that any books get written at all.

A funny thing happens when you read your own reviews – you start thinking about them.

I’m about a month away from completing the manuscript for Glossed Cause, the fourth book in the Carrie Mae Mystery Series, and I made the mistake of checking out a few of the reviews on High-Caliber Concealer (CM #3).  I knew it was a bad idea.  It’s always a bad idea.  What happens when I get to a bad one, hmmm?  It’s not like I can look the reviewer up, knock on their door and explain how monumentally wrong they are.  But you think, “I’ll just look at the good ones.  Just one.  I can stop there.”

You know this a total lie, right? Reviews are like Pringles for the eyes.  Like I can stop with just one.  I open up Amazon, I’m looking and… then I read this: “If you enjoy reading about Stephanie Plum, you’ll love Nicki! Maines is getting better with each book.”

And I thought, “Hell, yeah!” <insert fist pump here>

Just one?  But I have popped – I cannot stop. I should read more!

Eventually, of course, I got to one with a complaint. I’d spent too much time on Nikki’s personal life. Gah! But, but, but… Glossed Cause is about her FATHER (among other things).  What do I dooooooo????

 

Now I’m stuck staring at the screen, half way through the book, trying to figure out if I should turn the ship or stay the course.  “Stay the course!” my internal editor yells.  But it’s hard to hear over the crashing waves of doubt.

I was complaining a negative comment on another project to my husband he said, “Well, I think it was awesome and my vote counts more.”  <insert lightbulb going on here>

Why do the negatives get more votes?  Shouldn’t the positives get equal rights?  Here’s what I and anyone else who is stuck in this trap are going to do:  We’re going to go back, we’re going to read the first positive review, and we’re going to believe that one.  Because Maines really is getting better with every book.