Library at Skywalker Ranch
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Let me tell you about Indiana Jones. Think of this as the wife’s perspective, okay?
In the late 1980s, we were sitting around a table with some editors in New York and Risa asked Rob if he would be interested in doing some novelizations for a TV show. He said sure, and did two novelizations of a TV show, Private Eye, that never went anywhere because by the time the books came out the show had been cancelled. But this connection led to an invite to adapt the script for Indiana Jones and the Last Crusade.
I was pregnant with Megan then. I remember we went to the theater to see the movie. When the novelization hit the NY Times Bestseller list, Lucasfilm asked Rob to write some prequels. When Megan was about a year old, we flew out to California and spent some time at Skywalker Ranch. In those days, you could simply drive into the ranch and right up to the house.
Megan doesn’t remember it, but she is probably one of the few babies who ever crawled across the floor of the library at Skywalker Ranch.
And what a library it was. As a former librarian and newly published writer, I was struck by the books on the occult, metaphysis and quantum physics. This library was so huge that it featured a spiral staircase, shelves from floor to ceiling, with a moveable ladder that took you from one section to the other. Our guide during this visit was a woman named Lucy, one of Lucas’s first employees, and, if I recall correctly, she was a big mystery reader.
We were supposed to go sailing on Lucas’s boat the next day, but the weather didn’t cooperate and we spent the day in the library. This was in the days before cell phones, otherwise I would have photos. Otherwise I would have photos of the Star Wars display in an exhibit case, or of Indy’s whip, or photos of the 2,000 acres that comprise Skywalker Ranch.
Some years later, when Megan had seen a couple of the Indiana Jones films, I mentioned that she had crawled around on the library floor at Skywalker Ranch.
“What?” she exclaimed. “Really? How come you guys never told me that? That’s stuff I should know. It’s, like, my personal history.”
I had never thought of it like that, but of course she’s right.
A few years ago, Rob was hired by Lucasfilms to write another book on Indy’s adventures. This time, though, Megan and I weren’t permitted to accompany him. This time, he had to go through multiple security checkpoints, the place, he said, was like an armed camp.
He described something that I found intriguing – a storyboard that was “probably fifty feet long” that detailed every character, every plot point, every subplot, in Indy’s life. One of my best tools in fiction writing is a storyboard. Mine is never fifty feet long. It’s a black poster board that I tack to my office door. I choose different color post-its for each character point of view, so I can tell with just a glance at the storyboard whose POV should come up next.
I suspect that George R.R. Martin, the author whose books are now on HBO as Game of Thrones, must use a storyboard, too. In that series, seven different families are vying for the throne and there are a lot of characters, with multiple plot lines and intrigues. The only feasible way of keeping so many characters straight is a storyboard – or a brain much larger and more organized than mine.
Now, more than 20 years after our visit to Skywalker Ranch, Megan is writing a novel. She knows about storyboards, but hasn’t used one yet. Instead, as a detail-oriented writer, she has written several extensive outlines. She wants to know where her story is headed. She’s in good company. Ken Follett, one of the best historical and thriller writers around, also writes extensive outlines.
Jerzy Kosinski, author of such classics as The Painted Bird and Being There supposedly wrote the endings of his books first. I’ve never tried this, but it sounds like an excellent idea. If I do that, though, I first have to know what the trigger event is – the what if that gets the ball rolling. It might be a mass beaching of dolphins and whales, a psychic vision, a murder, a haunting, a powerful synchronicity, a psychic vision…
But when you have an archetypal character like Indiana Jones, you’ve got to know your triggering event, the characters and their intrigues, the plot points and subplots, and where it’s all going to take you. Your franchise depends on it.