Pantsing and Plotting to the Finish

Pantser or plotter?

Well, I’m somewhere in the middle, but probably closer to pantser.

A plotter is a writer who plots before writing the book. A pantser writes by the seat of the pants. Most writers I know are a bit of both, like me.

The pantser-or-plotter question came up recently at a library event, with a question about writing process. A fellow author said that he researches his book for several months, then writes a detailed outline, which could also take several months. Then he writes the book. He needs to know exactly what happens along the way and by the time he finishes a first draft, it’s polished and doesn’t require revisions.

I’m glad that works for him. Not me. My process is messy and always involves multiple rewrites, revisions, tweaks, fine-tuning—you name it.

When I envision a book, I know where I’m going to start and where I’m going to finish. It’s those pesky middles where the hard work takes place. Often the middles get rearranged, because I discover that particular scene works better over here, and another scene needs to be moved there. Sometimes I revise a chapter to foreshadow future events, or go back to a previous chapter to drop in a clue I just discovered.

I start with a timeline, a list of events that happened before the book opens. Those past events are what leads to the current mystery. This process also helps me understand how the characters have evolved. Why is that character the way she is now? Perhaps it’s due to something that happened years ago.

The same is true of settings. In The Sacrificial Daughter, the first in the Kay Dexter series, there’s a long-abandoned hot springs resort. The locals like to hike down to the derelict building and hang out in the creek’s warm pools. There’s a scene at the old resort in the middle of the book, but the place’s back story is important to the plot.

I’ve found that in the middle of writing a book, I need to revise the timeline to incorporate everything I’ve learned since I started out. I also like to leave room for detours and blind alleys. Or, as in a quote attributed to Tony Hillerman, write myself into a corner and see if I can write my way out. Another quote, supposedly from Raymond Chandler, when I get stuck, send two guys with guns through the door.

That happened when Jeri Howard, my Oakland private eye, went to Monterey in Don’t Turn Your Back on the Ocean. I knew that one character, her cousin, was a person of interest in the death of his girlfriend. I didn’t send two guys with guns through the door, just a cop with handcuffs. I upped the ante by having him arrested.

Instead of writing from start to finish, I often jump ahead. It helps me get past places where I’m stuck. When writing Witness to Evil, Jeri was in Bakersfield, in California Central Valley, investigating a case. Then I got stuck. As in, what happens next? I knew that Jeri needed to go to Los Angeles to follow a lead, so off she went, heading south to the City of Angels. I wrote six chapters in rapid order and when I got Jeri back to Bakersfield, I had a very good idea of where I was going forward, and what I needed to go back and fill in.

So, pantser or plotter? I have one foot in each place.