Shana Abe: That's what word processing programs are for. Universal search tool.
Brenda Joyce: This is so hard! A smart author would keep a chart, map or list. I keep notes written by hand on the back of manuscript pages I tossed, and then I try to find my notes - ha! So then I have to go back and browse through earlier books. Clearly, I am disorganized. Now that I am doing a series, I really need to sit down and make linear charts of all of my storylines. However, one plus - as far as the main characters go - Francesca, Bragg and Hart - I have no trouble remembering where I left them off! (Grin.)
Amanda Scott: I keep copious storyline notes. Each chapter of each book has its own one-page brief that I create as soon as I finish writing the chapter and update with any revision. Each character has his or her own file in my computer notes. Computers, fortunately, make all of this pretty easy to do.
Sharon Robinson: Again since I'm new to romance, I
don't have much experience to draw on. However, it was a bit tricky moving from one
novel to another. I was so attached to Jennifer and Michael from STILL THE STORM
that I found myself inserting them into my new novel. I stopped writing and spent
time creating new personalities and character sketches for my new heroine and hero.
Susan Wiggs: Thus far, I've simply kept an informal
timeline and relationship grid in my head. However, I can see a day coming when I'll need
to formalize my record-keeping, because I do like to explore stories from the changing
perspectives of either recurring or related characters. While plotting out my historical
romance, HALFWAY TO HEAVEN, my initial idea was to make Blue Calhoun, from THE
HORSEMASTER'S DAUGHTER, the hero. However, the plot called for the hero to be brash and
young-and chronologically, Blue would be in his 40s. So I gave him a younger, brasher
cousin, Jamie Calhoun.
Jacquie D'Alessandro: I am doing this now for the first time-writing a sequel to an earlier book. I went back and re-read the first book, taking notes on each character, setting, etc. I keep the notes on my desk and use them for reference as I'm writing the new story.
Glenna McReynolds: When I wrote DREAM STONE, everything in that book happened so fast, I had to eventually sit down and make a day book, where I could track every character's movement to keep track of where everybody was every day. I coupled the day book with a map. Usually, I just let everything float around in my head and count on the information to pop up when I need it - which I'm sure is why I've often likened novel writing to playing 3-Dimensional chess on an invisible board in zero-gravity. The wonder of the whole process is that the information does pop up.
Sue-Ellen Welfonder: Aside from knowing these characters inside and out by the time I am finished with their story, I keep a file on each book. I record factual information about characters, setting, the world around them, etc ... When working on a project that includes past characters, I glance through the pertinent sections of this file as needed, and also sometimes print out hard copy from a past scene or a detailed character description to help refresh my memory.
Betina Krahn: Occasionally I need to keep track of people negotiating through a plot line and I've found that putting large post-its with a thumbnail sketch of each person on the wall above my desk helps. There is the added advantage of the visual display of characters and characteristics which helps me see where I may be duplicating or where my roster is out of balance.
Madeline Hunter: I can't imagine getting the characters or their histories and characterizations confused. I know them as well as I know the members of my family. Keeping actions and histories straight, and maintaining consistent characterizations over several stories, are the easy parts. The hard part is continuing to show growth when a character's own story is over and the character reappears in a later story in a secondary role.
Nora Roberts: Again, the characters have to be important enough to the writer for the writer to become intimate with them. When I'm writing a book connecting to another and some time has passed between, I keep the original books by my workstation, like reference material.
Kat Martin: Actually, I prefer new characters for each book, a chance to start fresh and explore new avenues. Sometimes, however, a secondary character is strong enough to demand a book of his own. When that happens, it requires some hard note-taking on your own book before starting the second one involving the same cast of characters.
Elizabeth Thornton: Does a mother forget what has happened to her children, their ups and downs, their joys and sorrows? Never! Same goes for an author and her characters.
Lauren Bach: I recently started my first storyline with recurring characters. I've set up a 3-ring binder with in-depth character sketches and plot outlines. I've also started checklists of key factors I know will overlap in future stories. And with this particular storyline, I plotted out the first three stories before even beginning to write the first paragraph, which has been helpful in making me think about continuity. I'm dying to see if it's still helpful by the time I get to book three.
Donna Kauffman: I've only done recurring characters in my short contemporary romances and then they are generally relegated to a background role in the future book (which is generally more a spin off featuring two new main protagonists, than a follow up story featuring the same two characters in lead positions). So this isn't something I've personally had to deal with.
Sherri Browning: Many authors keep notebooks and databases, a tedious exercise for me. Fortunately, I have a good memory and keep notes in my head. I like to flatter myself into thinking that my characters are so memorable, I could never forget them.
