After the playlists are made, and the ideas are tumbling all over each other, I start asking “What if … ?”
Let me start by reminding you that asking “What if … ?” questions is my personal technique, and it is not unique. Every author puts a book together in his or her own way. There is no right or wrong way to do it. They’re just different.
Using “what if” questions is a technique authors can use when plotting stories. It allows us to explore different possibilities and directions our narrative could take, leading to more creative and engaging plots. Here’s how I generally use this approach:
Generating Initial Ideas
The songs spark the first idea. The concept of Pine Woods grew from the Thomas Rhett song “Christmas in the Country.” It put me in mind of some of the wonderful things that happen right here in my own hometown.
But then I wondered “What if someone or something threatened to disrupt the traditions of a small town?” And Kevin Cooper came into view. He has all the money to do whatever he wants in that little town. But Isabella Quinn has other ideas. She pushes back to protect the history, and I found a story that needed to be told.
The second book began with a “What if … ?” question almost simultaneously with the playlist. What if the reunion in Dan Fogelberg’s “Another Old Lang Syne” brought two people back together and re-kindled an unexplored love? And what if she is a hopeless romantic feeling like Taylor Swift in “You Belong With Me” and he is already in a relationship that can be explained by Tim McGraw’s “It’s a Business Doing Pleasure With You”?
Another story I can’t wait to tell you!
Developing Characters
The next step in creating Christmas in Pine Woods was to get to know Belle and Kevin. I asked them questions about their history up to the point when they met each other in Belle’s cafe that November day. A lot of this information only makes it into the book when it’s necessary to explain. Some of it can be seen or felt in context. After all, I’m not writing a biography.
Now I start asking questions to see where this story is going. I ask “What if someone betrayed them?” or “What if the one who seemed like the villain actually has a sympathetic backstory?” or “What if a perceived greatest strength is also their greatest weakness?”
It turned out that Belle and Kevin were actually not telling me the whole truth in the beginning. They were hiding parts of themselves that were essential to the story. I had to drag the story out of them.
So the initial outline/plot of Christmas in Pine Woods actually changed quite a bit over the years it took to write.
Tara and Austin were each an open book from the start. By now, I have a better idea what questions to ask, and I understand what is motivating them.
Creating Plot Twists and Conflict
Once I know the characters, I need to complicate their lives! This is the fun part! Now my “What if …?” questions are along the lines of “What if a trusted ally turns out to be an enemy?” or “What if the character’s plan backfires spectacularly?” or “What if the hero had to team up with the villain to achieve a common goal?”
Belle and Kevin had to find a way to achieve their individual goals, which couldn’t have been more different, in a way that worked for both of them. They had to work together whether they wanted to or not.
Exploring Themes and Motifs
Usually, a theme emerges naturally as I develop the characters. I take a look at a character’s personal journey or struggles, the central conflict or choices the character faces, and how the characters’ interactions might highlight deeper ideas.
The story’s structure and events can naturally point to themes. They might not be clear in the beginning. I usually discover them as I write and then allow it to evolve.
As anyone who’s studied literature knows, themes are not always stated outright in a book. They’re usually woven subtly into the characters plot, and tone, allowing readers to discover its richness on their own.
Because I am a history buff along with being an author, I like to impart a bit of history into my books. So I asked “What if the town has a strong heritage, and they have celebrations of that heritage?” And what if that celebration could become a way for the characters to get to know one another or build friendships?
Building the World
Finally, I asked “what if” questions about Pine Woods itself. In creating it, I drew heavily from my own world. While the street map may not align exactly, the atmosphere and spirit of Pine Woods closely reflect the essence of my hometown.
I wanted to discover what kind of people live there? What’s the biggest challenge facing the town? And then came “What if someone different came to town?” And “What if the town was offered an answer to its challenge, but it came with sacrifice?”
This is how I generate characters, and a very loose outline.
Plotter or Pantser?
Some authors at this point will just start writing. They are called “pantsers” because they thrive on spontaneity and creativity, often diving into a story without a detailed outline or rigid plan. The term comes from the phrase “flying by the seat of your pants,” and it perfectly captures their approach to storytelling.
Pantsers rely heavily on intuition and inspiration, letting the story unfold organically as they write. They often discover the plot, characters, and themes in real-time, which can lead to unexpected twists and turns that even they didn’t see coming. This method allows for a sense of freedom and excitement, as the process feels more like an adventure than a structured task.
Other writers are known as plotters. They approach storytelling with strategy and structure, meticulously planning out the details of their narrative before they begin drafting. Plotters thrive on organization and clarity, often crafting detailed outlines, character profiles, and world-building notes to guide them through the writing process.
For a plotter, every aspect of the story—its arcs, themes, and beats—is carefully mapped out. They might use tools like index cards, spreadsheets, or specific frameworks such as the three-act structure to ensure their story unfolds in a logical, cohesive way. This approach helps them anticipate potential challenges, avoid plot holes, and maintain consistency across their work.
Since I tend to like to chase rabbits around the internet, it’s important that I get a pretty solid outline to keep me on track. But I don’t like it to be rigid and restricting, like some authors. So I guess I’m a plantser, embracing the spontaneity of a pantser and the structure of a plotter.
I plot loosely, and then the characters will tell me the details of their story. Christmas in Pine Woods surprised me by the time I finished it. It didn’t go where I was expecting it to. But Return to Pine Woods so far hasn’t offered me any surprises. Editing (which I am about to begin) may prove something different!
Here’s a sample
Let me share a sample – generated by AI – of a process similar to mine.
Initial Idea:
What if a small-town librarian discovers a hidden portal to another dimension in her library?
Developing Characters:
What if the librarian is a single mother struggling to connect with her teenage son?
What if the portal leads to a world where her long-lost twin sister is a queen?
Plot Twists and Conflict:
What if entering the portal causes a ripple effect, endangering both worlds?
What if the librarian must choose between saving her world or her sister’s?
Exploring Themes:
What if the story delves into themes of identity, family, and sacrifice?
Building the World:
What if the other dimension is a fantastical realm with unique creatures and cultures?
Conclusion
By continually asking “what if” questions, authors can push the boundaries of our imaginations, uncovering new possibilities and directions that enrich our storytelling. This technique not only sparks creativity but also helps in constructing a cohesive and compelling narrative.
Until we meet again …