by Hannah Eason
Say your novel-to-be is about rock and roll—that much is clear—and you’re ready to outline. Or rather, ready or not, you need to outline.
You sit down to your spreadsheet, blank Word doc, legal pad, or multicolored sticky notes, your head abuzz with story impressions: the thudding loudness and in-your-faceness of rock’s heyday; the rock modernists; some patchy character profiles; a main plot, three subplots, and fifteen mini plots; this idea you have to score some original rock tuneage and include it in the book—your music actually telling part of the story (not sure how—will figure out as you outline); this other idea you have to represent the dissent that frequently breaks up bands by telling your story not just in alternating narrative voices but alternating POVs; and . . . and . . . and . . .
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