Sherry Harris, author of a cozy amateur-sleuth mystery series, is our guest today on SleuthSayers. In addition to writing the Sarah Winston Garage Sale mysteries, Sherry is vice president of Sisters in Crime National and immediate past president of the Chesapeake Chapter of Sisters in Crime. Her first novel, Tagged For Death, was a finalist for the Agatha Award for Best First Novel. Her fifth novel, I Know What You Bid Last Summer, came out from Kensington on February 27th, and she has more books under contract. I've been lucky enough to work with Sherry for a few years, and I'm happy to let her share her thoughts on plotting and plot holes– evil, evil plot holes– with you today.
— Barb Goffman
The Plot Thickens
by Sherry Harris
by Sherry Harris
Plotting is not something that comes naturally to me. It reminds me too much of outlining papers for school. No fun. What’s an author to do?
Since the second book in my Sarah Winston Garage Sale series, Barb Goffman has been my independent editor. One of the many things she’s done to improve my writing is to encourage me to plot. When I gave her my sixth book to edit last spring I expected the usual notes on upping this or that. What she gave me included a list of TWENTY-SIX questions that I hadn’t answered in the manuscript. TWENTY-SIX!
|book 1 in the series|
That meant I had a lot of rewriting to do. We all know that saying, all writing is rewriting, but this time it was crazy. Not only that, but she said she’d figured out who did it near the beginning of the manuscript. Barb had never said that to me before. And she had one more bit of advice: Maybe you should sketch out your plot before your write the next book.
How does my editor at Kensington figure in to all this? Some editors want a five-to-ten page synopsis or outline before they sign off on a book. For the last four books, I’ve only turned in the briefest ideas – some only a couple of sentences, some a paragraph. I turned in a synopsis after I’ve written the book – it’s a lot easier that way.
When I started book seven I attempted to take Barb’s advice, so I wrote out a page of who did it and why they did it. I referred back to that page as the book progressed. I have to admit it was helpful because if I started off on a tangent, the page would keep me on track. This time the manuscript came back with fourteen questions. And most of them weren’t difficult to fix, so I didn’t have to spend a ton of time rewriting. Whew! Maybe there is something to this whole plotting thing.
|Sherry's latest book|
But now I’m facing the blank computer screen. I’ve started to try to plot. The nugget of information that leads me down the writing path has been a bit different in each book. Sometimes I start with the victim, sometimes the type of crime. This time I know who the killer is, but I don’t know who they killed or why.
I’ve been making a list of potential victims and writing why after each one. It’s a very different process for me and so far I keep drawing a blank. Instead I’ve been sketching out other aspects of the book – things like who are the suspects (which may sound crazy considering I still don’t know who dies), where Sarah is in her personal life, what time of year is it, what kind of garage sale will she deal with. While I do that I keep wondering if I can pull off what I want to and then circle back to the list. I stare at the list and then play a game of solitaire. A call to Barb to work through all of this is imminent.
Any advice? How do you manage your plot?