The Busy Writer's Book of Checklists (3 page)

#  Have you done everything possible to
make sure the reader identifies with each viewpoint character? Do we really
'become' that character?

Dialogue is a lot more than the words that come
out of your characters’ mouths. This checklist gives you 17 different things to
look for in any exchange of dialogue.

#  Does your dialogue demonstrate that
you know how to show differences in ethnic background, social standing,
education levels and ages? (If not, go out one day with the specific intention
of listening to different rhythms and patterns of speech.) Does each of your
characters sound like an individual?

#  Is it clear who is saying what in
each scene?

#  Have you over-used speech tags?
(These are necessary only if it is otherwise unclear who is speaking.)

#  Have you taken into account that
most people use contractions in conversation? (E.g. she's rather than she is;
they're rather than they are; it'll rather than it will; etc.)

#  Does your dialogue read well aloud?
(If it sounds stilted, make some changes.)

#  Have you broken up long passages of
direct speech with actions, details of the non-viewpoint character's
expression, or details of the viewpoint character's thoughts?

#  Does each speaker's response flow
smoothly from the previous speaker's words? (Unless you are trying to show that
one of the speakers is distracted.)

#  Have you made sure that quotation
marks are used for words that are spoken aloud, NOT thoughts?

#  Have you checked that your sentence
structure is varied? (No repetitive patterns and not too many sentences
starting with the same word.)

#  Does your dialogue sound appropriate
for the age of each character?

#  Have you, where appropriate,
indicated a response by showing some body language or a facial expression,
rather than using words?

#  Have you avoided 'info-dumping' in
dialogue? (That is, using dialogue unnaturally as a way of filling in the
backstory. For example: having one character tell another something they would
obviously already know.)

#  Have you avoided using dialogue to
express YOUR religious, political or social views, rather than the views of the
character?

#  Have you woven the viewpoint
character's thoughts and emotions into the conversation as it is taking place?
(Avoid the 'sandwich technique' - writing a slab of direct speech using only
speech tags, followed by a slab showing the character thinking or acting, then
a slab showing direct speech, and so on.)

#  Have you mostly 'shown' the reader
the dialogue as it is happening, rather than 'reporting' what has been said?
(Writers who are uncomfortable with dialogue often resort to this: "He
told James what he had seen and then they decided what to do next. June came in
and offered her opinion. A little later, they all set off..." etc. etc.)

#  Does every passage of dialogue move
the story forward or show us something about the character?

Scenes are vitally important because they
are the building blocks of your story. (Forget chapters: they can start and
stop anywhere.) A scene has to have its own purpose, as do the character(s) in
the scene. This checklist looks at structure, pacing, character strategy,
viewpoint and 11 other items. 

#  Have you chosen the best viewpoint
character for this scene? (A rule of thumb is this: the best viewpoint
character is usually the one with the most to lose.)

#  Does this character have a definite
goal for the scene? (This may be a problem to overcome; another character to be
questioned; a place to be reached etc.)

#  Is the time and place of the scene
clear to the reader? (You may have foreshadowed this in a previous scene. If
not, make sure there is a clear transition sentence so the reader understands
'where' and 'when'.)

#  Is there an inciting incident for
this scene? (Earlier in the story, there should have been an incident that made
THIS scene necessary. If this is the first scene in the book, that incident
will be in the past. THIS scene is likely to have something happen that will
incite a following scene.)

#  Have you included conflict in the
scene? (The viewpoint character wants something: what is going to prevent him
from getting it, or make his job harder?)

#  Who or what is the opposition to the
main character getting what he wants? (This may be his own doubts/fears; forces
of nature; other characters. Be wary of letting your character get what he
wants too easily - readers get bored if there is no conflict.)

#  What is the main character's
strategy for getting what he or she wants? (Is this logical behavior for this
person? Does it 'fit' with the personality you have given the character?)

#  Have you carefully planned the
resolution? Does the main character get what he wants? How does this propel him
into another situation (scene)?

#  Does the scene move the story
forward? (If the scene is included solely to show us aspects of a character's
personality, think about taking it out and showing us these things in another
scene that DOES move the story forward.)

#  Is the scene well-paced? (It should
fit in with the pace of the story; don't have too many scenes of furious action
following one another; don't have too many slower scenes in a row.)

#  Is the scene an appropriate length?
If it seems to drag, see what you can cut out. If it seems to race along too
breathlessly, look for opportunities to slow it down by telling us more about
the viewpoint character's thoughts or emotions.

#  Have you used scenes and sequels
appropriately? (A scene should have a goal, conflict and resolution. A sequel
is a section of narrative where the viewpoint character reflects on what has
happened and decides on his next course of action.)

#  Have you arranged your scenes in the
most effective order? Could you increase suspense or improve pacing by
shuffling your scenes around?

#  Do you need to 'play out' some
scenes instead of TELLING the reader what happened? (You may be missing an
opportunity to add emotional punch if you report action or dialogue instead of
letting the reader 'join in'.)

#  Have you ended the scene in a way
that makes the reader keen to keep turning pages to see what happens next?

You will already have done some research
about the setting for your story, insofar as it impacts on the how characters
develop and how the plot unfolds.

These two checklists invite you to delve
deeper into the story setting, ensuring that you pick up on all the small
details that make your story come to life.

#  Have you created a believable,
interesting setting that interests the reader without boring them with long
descriptions?

#  Does your physical background evoke
the right atmosphere and mood for your scene? (Note that the same background
can look idyllic or threatening, depending on the weather, time of year, time
of day, and mood of the viewpoint character.)

#  Have you carefully chosen small
details of the setting to bring it to life? (Technology in a hospital;
expressions on the faces of staff, peeling wallpaper in a neglected house.)

#  Have you gone overboard on the
description because you don't want your research to go to waste? (Tighten it
up. Use only details that the viewpoint character would (a) notice or (b) care
about...if the viewpoint character doesn't see it, it doesn't count.)

#  If your setting is brooding and
threatening, have you got just enough to set the mood, but not so much it tips
over into melodrama? (Too much, and your book can become farcical.)

#  Have you used words that will evoke
images in the reader's mind so they do a lot of the work in filling in details
themselves?

#  If your story is set in a specific
geographic region or a real town, have you got the details right? (Flora,
fauna, city streets, small towns, roads, airports etc. - unless you made up the
town.)

#  Have you researched the details of
any background/setting that requires specialist knowledge? (Technology,
weapons, terrorism, careers & jobs, antiques, cars, planes, etc.)

#  If one or more of your main
characters has a demanding job, have you given a realistic portrayal of the
time needed to do this job? (e.g. Don't have your male Lead being the CEO of a
multi-national company if you need to show him being available to the heroine
at all times of the day.)

#  Have you blended in details of
professional settings (and convincing dialogue related to the profession)
without boring the reader with too much jargon?

#  Have you used Google maps or search
engine capabilities to 'visit' countries, cities, houses, venues, etc.? (E.g.
use accommodation directories to look inside rooms in hotels, to research lives
of the rich and famous, and so on.)

#  Have you got a handy research file
to refresh your memory about your setting and background? (Have
photos/brochures on hand or browser windows open; keep a setting information
sheet beside you.)

#  Do you vary the setting in different
scenes, to maintain interest and give the impression that your characters are
on the move?

#  Have you got too many different
locales and settings, so the reader constantly has to learn about somewhere
new?

Start by using Google Earth, Google Maps,
and Google Images to ‘visit’ your locale and find out what it looks like. Then
see what else you can find out about your chosen setting (geographical and/or
professional) by searching for articles, business reports, AGM minutes, forum
posts or whatever it takes.

The following checklist is a useful basis.
Add as many points as you feel necessary to make your setting authentic.

#  Name of city/town/place and
population (it can be fictional)

#  Broader geographic region: Which
country/state?

# What are the general impressions on
first sight? (Keep your characters in mind. A military scout might get a
different first impression from a resident or tourist.)

#  Climate / Flood risk / drought /
other weather conditions

#  First impressions of locals (again
through the eyes of your character[s])

#  Layout of city/town/place (sketch or
print out a map)

#  Style and age of buildings in main
street (tip: if fictional, pick a similar town/city that really exists and use
this as a template)

#  Style and age of residences (might
need to break this up into different socio-economic neighborhoods in some
towns/cities – write down names and descriptions)

  - Affluent suburbs/streets

  - Average-income suburbs

  - Poor suburbs/streets

#  Type of law enforcement

#  Typical crimes/crime rate

#  Daily/weekly newspapers; appropriate
newspaper from largest nearby city

#  Entertainment and Sporting Venues;
Shopping Malls; Strip Malls; small-town stores

#  Transportation available (or lack of
it) - buses, trains, boats, taxis, airports, cars (types and age).

#  Gathering places for different age
groups: clubs, cafes, restaurants, library, cinema, social services

#  Main form of entertainment for
locals through the eyes of the main characters

#  Sensory impressions (for various
areas of the town and buildings: include local industries or farming community
if applicable): smells/aromas; typical weather; quality and quantity of
food/coffee/alcohol available; places of beauty/eyesores; sounds or noises
associated with area; other.

#  Local flora and fauna

Before we move on to the subplots
checklist, here are a few tips that may help you create a subplot that will
work well in your novel. 

** Search for subplots in published
novels
and make a list of the types.

** Look at your own life.
What's a major issue for you right now? What's a minor issue? You
could be looking at a possible plot and sub-plot.

** Think carefully about your secondary
characters.
Write a short biography on each one.
What is there in that biography that you could develop into a sub-plot?

Your story may or may not have subplots. If
it does, this checklist will help you to ensure that your subplot does what it
is supposed to do.

#  Have you decided on the main purpose
for your subplot? (Does your subplot (a) mirror the main action? Does it
provide relief from non-stop action?  [e.g. a humorous subplot] Does it develop
a romance? Does it heighten suspense?)