The Busy Writer's Book of Checklists

by Marg McAlister

  Checklist 3 – Characters

  This checklist covers everything from your understanding of the character’s goals and motivation to ‘reader appeal’ and the risks involved in too much manipulation of your characters.

  # Have you spent time thinking about the main character so you understand his/her goals and motivation? (Preparing a character file can help - even if you never look at it again!)

  # Will your main character appeal to your readers? (If readers don't care about a character, they won't keep reading.)

  # Will the reader be able to empathize with your main character's goals or problems?

  # Is your main character believably motivated throughout the story?

  # Have you started your story at a crisis or turning point for the main character?

  # Have you introduced aspects of the various characters' appearance and personality gradually as the story unfolds, rather than 'dumping' too much information into the narrative early in the story?

  # Have you ensured that all characters come across as individuals? (Different looks, motivation, speech patterns, reactions etc.)

  # Have you made sure that all characters are neither all good nor all bad?

  # Have you provided your main character with challenges that will show character growth at the end of the story?

  # What is at stake for the main character? Is this strong enough? How can you raise the stakes?

  # Have you created plenty of emotional depth by filtering the action through the viewpoint character's thoughts and feelings?

  # Are your secondary characters clearly motivated? Is this motivation believable?

  # Are your minor characters believable but not too intrusive? (Beware of letting a secondary or minor character take over the story.)

  # Does each character speak and act according to his/her age, educational level, and socio-economic status? If not, does this say something important about the character? (e.g. if a child sounds far more mature than you'd expect for a child of that age, have you made this believable?)

  # Does the character's reaction to each situation 'fit' with the personality you have given him/her? If he/she is acting out of character, is this understandable given the situation?

  # Is the character's reaction to each situation logical, or are you manipulating the characters to suit your initial plot?

  # Are you interested enough in your own characters to want to sit down at the keyboard regularly to tell their story?

  Checklist 4 – Viewpoint

  In any story, it is essential that you understand whose story you are telling. If you are using multiple viewpoints, you need to handle them carefully and ensure that you’re not slipping out of viewpoint. (This is something that can really annoy readers!)

  # Have you decided whose story this is?

  # Have you decided the best viewpoint to use for your main character(s)? For example: first person, third person subjective (singular); third person subjective (multiple)? If you are not sure, try writing a scene from both first person and third person viewpoints and see which 'feels' best, and which reads better. Also take into consideration whether you want readers to know something that the main character doesn't know - if so, you will need third person viewpoint.

  # If you are using multiple viewpoints, is it clear at the beginning of each chapter or scene whose eyes we are looking through? Do you need to insert transition sentences to make this clear?

  # Have you checked to make sure that you are not slipping out of viewpoint (e.g. describing a person's expression when we are supposed to be 'inside' that person's skin?)

  # Have you reduced the number of viewpoint characters to only those necessary to tell the story? (This may be one character or six characters - but generally it is most effective to have no more than four.)

  # Have you avoided switching viewpoint in the middle of a scene? (This is not 'wrong', but much of the time you lose more than you gain: the reader becomes distanced by constant head-hopping, and finds it harder to identify with the characters.)

  # If you use multiple viewpoints, does each character seem like an individual? (Different characters should have different views of the world. Each person's internal monologue will reflect their individuality.)

  # Have you filtered the SETTING through the viewpoint character's world view? (Different characters will see the same setting in different ways. What is important to one person may not be noticed by another.)

  # Have you shown your viewpoint character's emotions and thoughts about what is happening to him/her? (This helps the reader to empathize with your viewpoint character.)

  # If you have a child as a viewpoint character in your story, have you taken care that his perspective on events rings true for his age? (A common mistake is to have a child sounding like a shorter version of an adult.)

  # If you use multiple viewpoints, have you alternated them in a way that helps to build suspense and to show events coming to a head?

  # If you use multiple viewpoints, do you have sections where the smooth flow of the story is spoiled by too many short scenes from different viewpoints?

  # If you are using first person viewpoint, have you checked your story to make sure that you are not telling the reader information that this character couldn't possibly know?

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

  Checklist 5 – Dialogue

  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. J
une 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?

  Checklist 6 – Scenes

  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?

  Section 3 – Setting and Subplots

  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.

  Checklist 7 – Setting

  # 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?

  Checklist 8 – Setting Information Sheet

  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

  # Transportati
on 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

  Checklist 9 – Subplots

  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.

  Sub-Plot Checklist

  # 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?)

  # Have you used the subplot to maintain pace in your story when the main plot has to slow down? (Complications from the subplot can restrict the main character's ability to act, or take his attention away at a critical time.)

  # Does your subplot shed light on the personality of one or more of the characters?