I love GPS, but
sometimes it takes me way out of my way or even leads me to the wrong place.
Those are the times I prefer a good old-fashioned map, and that’s why I carry
several in my car.
The book I’m
working on right now has several settings, but a significant part of the action
takes place along a Louisiana bayou. I bought a state atlas to help orient me,
but it didn’t provide enough detail. So after the atlas helped pinpoint the
area I wanted, I purchased a larger-scale map used by fishermen. It isn’t the
perfect resource, because my story occurs in the mid-1800s, and the bayous have
surely changed their courses and depths and many other characteristics since
then. But it gets me close enough (I hope) to make my setting authentic.
When I was writing
the just-published Desert Jewels, I
studied diagrams and aerial photographs of Tanforan Assembly Center and the Topaz
War Relocation Center and read memoirs that described those locations. In my
recently completed book about the Great Chicago Fire, I studied maps showing
the spread of the fire and highlighting the burnt-out areas. Desert Jewels and Inferno are both fictionalized accounts of events occurring at real
places, and it is important to get the details right.
Maps even help
when the setting is made up. J.K. Rowling drew a map of Hogwarts to make sure
that she didn’t make any continuity errors. Someone might notice if Harry and
his friends exited the castle on the way to play Quidditch and turned right,
but the next day they turned left on their way to the same place. Of course, Hogwarts is magic, and it could
have had a floating Quidditch pitch, but that wasn’t Rowling’s plan. So she
drew a map to keep everything consistent. I did the same with the campus layout
for the fictional Dewmist Indian Boarding School in Creating Esther.
Agatha Christie
also drew maps. In Evil Under the Sun,
for example, Christie created an island and set the murder in a cove away from
public view. She drew a map to help her work out the details, or perhaps to
make sure the details she had already envisioned worked. Either way, the map
helped make sure the plot functioned the way it was supposed to.
And it isn’t just
maps. When working on Death in the Air,
Christie created a seating chart showing where each person sat on the airplane.
For A Caribbean Mystery, she drew out
the components of what at first glance appeared to be a red herring but was
actually a vital clue. [The word “glance” is itself a clue, but I won’t say anything
more in case somebody plans to read the book.] For myself, I have often drawn
out floor plans to ensure that the rooms in a house remain in the same place.
GPS tells me to go
right or left or to stop here, but it doesn’t give me the same bird’s- eye view
that a map does. And it can’t help me when I’m sitting at my desk at home. I
hope today’s generation learns to read maps and diagrams and understands their
importance.
Because they are valuable
resources for keeping our stories authentic.
