Ten Other Ways to Write When Sitting at the Keyboard Doesn't Work

 

Photo by Ivan Samkov from Pexels

 Whether it's writer's block, outside circumstances demanding your time, lack of sleep/energy, depression or anxiety crushing your creativity, or you just don't feel like writing, you can still write. Like with anything, doing something is better than doing nothing. And it piles up to gains in the long run.

1. You can brainstorm anywhere. Whether cleaning house, running errands, taking a break at work or school, even while staring up at a darkened ceiling at night when you can't get to sleep - you can be putting together the pieces of a story puzzle in your head. Perhaps just diving in deeper to a theme you want to explore, or a character's motivations or backstory. Maybe its envisioning a setting, or a play-by-play of an action sequence. Brainstorming's a vital step to writing, and you have to take time to do it anyway, so why not utilize those moments and hours when you can't sit in front of a keyboard to get this vital process done?

2. Another task is evaluation. Stepping back from a manuscript - especially if it's already written and you're in the revising phases - to see how tight or accurate or well-paced the story is. How is it doing as far as size? Too bloated? Too slim? Too pedantic? Too rushed? Are you hitting the right beats where they're supposed to be? Do you get an overall satisfied vibe from the draft? Make a list of what is going well and what needs work.

3. Along with #2's suggestion, would be outline tweaking, and synopsis, query, and blurb writing. Again, stepping back from the story, can you summarize it in a nutshell? Is it following your initial vision? Usually not, so how has it evolved? Is this good or bad? Stepping back can help you avoid wasted hours of writing by making a course correction.

4. Visuals. Whether you're an artist or not, doodling can help your creative juices. Draw a map (or mark a map if the setting's a real place), draw a character, or a setting. Design a vehicle. Make a schematic for a machine, or whip up a treasure map. Make a stick-figure storyboard and play with key dialogue and action. Decorate your writing space with objects that will help keep you in the zone for what/where your story is about.

5. One of my favorites is to create a first and last lines list for chapters. Do they hook the reader? Do they leave the reader with enough of a cliffhanger so they'll keep reading? It also helps you analyze where your chapter or section breaks are, and how you might play around with those breaks for a better impact.

6. Many books don't use chapter titles, so for fun write up a list of what each chapter would be called if they did. Then use it when you do face that keyboard to keep on track - and make sure you fit the spirit of the title.

7. Get hands on. If a character is supposed to be a baker, hone your own baking skills. If a firefighter, talk to actual firefighters and visit your local firehouse. Through experience we are able to write better, giving a validity to what we write. If possible, visit a place you put in your story and take notes and/or pictures of everything you experience. Act out a scene, especially an action sequence (I'm not advocating jumping off high buildings or trying to fly, mind you! Don't do anything stupid.), to make sure what you've written or are going to write is believable. 

8. Read a scene, chapter, or your entire story out loud. You'd be surprised at how many things stick out from this. It might be poor dialogue or sentence phrasing, to noticeable gaps, or lengthy descriptive passages you don't need. Even made-up names spoken out loud can be either hilarious, suggestive of something you don't intend, or too close to a well-known person's name to work well with what you want to do. 

9. Good old research is another side-writing staple. Similar to #7, this type of research is more sedentary: reading books or online articles,or sitting down to interview someone. If you're writing about interstellar travel, find out what others have done or discovered about it. Want to knock off a victim in a murder mystery? -  maybe you need to learn more about poisons. Even small details like what people wore in the 1940's, to when toothpaste was invented might make a difference in how authentic your story sounds.

10. Compose or work on your "Writing Bible." Get your notes organized and compiled. Do you have your ducks in a row regarding where your characters are from scene to scene and what they are doing? Do you know their backstories, and what parts of these will need to be revealed and when? Do you have lists of information, like foreign phrases (real or made up) you need to keep handy? Or a list of character names, descriptions, and occupations? 

You don't have to do all of these, but chances are you will need to do at least one in your writing journey. Don't beat yourself up if a lack of time, energy, or drive is keeping that novel from completion. Work around it by doing side-writing. You'll still be moving forward, keeping your story alive. Just watch that side-writing isn't all that you ever do. Many a tale has failed to be born because it never developed past the side-writing stage.

Question for you: Do you have another suggestion for side-writing? Or a further suggestion on one of the ten I've listed? Please share it in the comments.

Cut-to's and Scene Profiles: A Second Draft Life Saver

You've written your novel. The creative juices were flowing, you hit a few blocks and snags, but you got past them, and it feels so great to have reached the end.

And now you have the second draft to deal with.

The drafts that follow that magical first one can be magical too, except this kind of magic comes with a price, that of lots of toil, pressure, overcoming self-doubt or self-delusion, sweat, and more dark valleys than bright mountain peaks. It's worth it; trust me; you don't want to put that first draft in a safe and leave it as is. Your baby has to grow up.

There are lots of ways to tackle subsequent drafts. I've tried many of them. I still use many of them. My favorite is quickly becoming the art of the scene profile and cut-to. Screenwriters use this technique and so can you. It's like rewriting your novel before you actually rewrite it and it'll save you having to do lots of other rewrites.

For example, have you ever started a rewrite - even with an outline - and at a certain point you realize that the whole things isn't going to work? Or maybe the story's been derailed or sidelined. Outlines are great to help prevent this, but outlines aren't written in stone and can easily be overturned or go astray. Outlines are pretty distant too, even the in-depth ones, giving you a panoramic big picture view of your story and where you expect it to go. The problem is when you settle in to write and all the little things start accumulating, you find that that big picture wasn't so accurate or that you're in a tussle to try to make the little things tow the line and keep to the outline.

By all means, use outlines as tools. I do. But after you've had your panoramic glimpse of the big picture, may I suggest using scene profiles and cut-to's before you start rewriting in order to keep the big and little things from creating an epic battle that will threaten your sanity and eat up extra time as you try over and over again to make them agree with each other.

What are scene profiles and cut-to's? How do you use them?

A cut-to is an overview of a scene, like a close-up glance, or play by play of the action.

A scene profile is where you've gathered your pertinent information on the scene and the characters in it.

Together the scene profile and the cut-to list makes rewriting your scenes easy and efficient. They'll help you spot inconsistencies, plot-holes, will help you decide if you need minor tweaks or an overhaul, or let you know if a scene needs to be dropped because it has no purpose. While these sound like extra effort and work, they actually save you a lot of time and effort in the long run.

Here's an example of what I do:

1. Create a list of scenes that are in the novel or that I know need to be in the novel.

2. Working one scene at a time, plug in the information about the scene (whether directly from my first draft or the outline or both) into the scene profile.

3. Create the cut-to list for each scene.

I have a template I build off of for each scene:

Scene name or number: I'm a big proponent of naming scenes because it encapsulates the purpose of the scene and makes it easier to keep them straight rather than using numbers.

1. Date: This refers to the date in your story. Is this scene during Day 45 or on the 27th of March. It seems like a little, unimportant thing, but it's not. Knowing the date helps set your chronology and makes you step back and think about how realistic your time frames are in the narrative.

2. Time of Day: This affects your characters and your setting. What if your main character is a morning person and this scene takes place in the evening? They are more apt to be tired and cranky. Didn't think of that the first time you wrote this scene did you? Or what if it's night time and your characters are at a university? What are they doing there at night? Little details like this enhance your narrative and pique reader curiosity.

3. Weather: Yes, what is the weather like during this scene? Did your first draft read like a perpetual summer's day? How might knowing the weather affect your characters, the setting, or the plot?

4. Setting: This is where you plug in the details of your setting. And I do stress details. You should write it all down in a separate file, envision it. And then be prepared to pull what you need from it and let the rest go, or bring out some details in this scene and other details later on when revisiting this same place. Make a note here of the details you've chosen to reveal.

5. Objects: Good novels have objects. Memorable characters are associated with objects, like Snow White and the apple or the Beast and his enchanted castle. Objects are symbolic of what is happening in the plot or to the characters. What objects are noticed, sought after, obtained, or lost in this scene?
6. Characters: Write down which characters are actively in this scene. This is also the place to mention if there is something new, off, or otherwise different about any of the characters. If you're introducing or exiting a character, you can make a note of that as well.

7. Scene cut-to's: A list of play-by-play action that goes on in the scene. This is where you very briefly and succinctly write the scene before actually writing it with fleshed out details. For example: 
     i. Main character walks into the room with a book.
     ii. Side characters B & C stop talking about Main character and look guilty.
     iii. Main character asks them what is going on.
     iv. Character C pulls out a letter from their coat pocket and hands it to MC
     v. MC opens the letter and starts to read.
     vi. Character B makes an excuse to leave the room.
     vii. Character C tells B they can't go yet.
     viii. MC reads that their teenage child has run away from boarding school.
     ix. Character C tells MC that they aren't surprised, launches into a tirade about MC neglecting their child.
     x. MC slams the book down on a table.
     xi. Character B makes a hasty exit through an outside door.
     xii. MC laughs and Character C is shocked.
     xiii. MC tells C that they helped their teenager escape.
     xiv. Character C reaches for their phone.
     xv. MC twists C's arm behind their back.
     xvi. Character C drops the phone in the pool.
    xvii. MC whispers in C's ear that they know C was the reason the teen was sent to the boarding school to begin with.
    xviii. Character C asks what the MC intends to do.
    xix. MC lets C go and walks toward the door.
    xx. C repeats the question with greater agitation.
    xxi. MC tells C that they won't hear from MC or their teen again.

8. Flashbacks or backstory reveals: Here's where you plug in your backstory material that has any relevancy to what is happening in this scene. It can be pages long or a quick sentence. Not all scenes should have flashbacks or backstory reveals, but you as a writer need to know where these things are simmering in the subtext.

9. Foreshadowing: This is the place where you have your big picture outlook come down to manageable size. Not all scenes have foreshadowing, but good ones do. It may be a simple remark a character makes, an event, an object, or a decision that will have big consequences later. Stop and think about this scene and your book at large and make this scene stronger by adding an element of foreshadowing.

10. Notes: Here is where you jot down any additional notes you have, like psychological development of the characters, things to watch out for, research data that you've collected that will have a bearing on this particular scene, etc.

See what I mean about writing the rewrite before actually writing it? By putting together this information you get to know your scene, its purpose and place in the novel without expending the time and sweat writing it. And it's much easier to tweak, change, or discard as you build your other scene profiles than going back and rewriting pages of prose.

Once you've made up all of your scene profiles and cut-to's and everything is fitting into place and all your insights, twists, and details match up as they should, then comes the fun part - rewriting your novel. And the best part is that it will be quick because you have everything thought out and jotted down, everything.

Give it a try and tell me what you think. I know I've avoided repeating details too much, found plot-holes, and developed stronger subtext by employing this method. I've also been able to chuck scenes that don't really do anything for the story. Sentimentality is avoided when working in a scene profile and with cut-to's. And usually, a writer's sentimentality is the biggest stumbling block of all to overcome.

Secrets to Keeping Things Straight in Big, Complex, Epic Novels

I've been asked a time or three how I'm able to keep facts and events straight when I write a big, complex novel. First off, kudos to the querier because they recognize there is more work involved in such a novel. Secondly, everyone who tackles these types of novels will have their own system. Here are some hints from mine.

1. Write things down.
I have multiple files that are generally categorized as Notes and Structure. When I get an idea or a snippet of conversation in my head, I write it down. Don't leave these precious tidbits floating around in your head until you get to writing that part of the story. You'll most likely forget them by that time.

I don't always write the story chronologically or linearly. I certainly don't edit that way either. That means I have to have written notes as a backup. Granted, I have a pretty good memory for just about everything I write, but why leave it to chance?

I have backstory notes files as well. I find that the more of these I have, the richer the story becomes. Some complex novels stay within one person's POV, but not usually. Most deal in multiple POVs, and that means you need distinguishable backstories, vernacular, personalities, and quirks for each POV character. And then you have all the side characters.

I have note files and picture files sometimes to help me with my world building. It's been so handy to reach a part of the story and just pull up the description of the setting to pull from rather than try to remember or create it on the spot. Especially when you don't want to present the setting the same way each time it's shown. Setting, as I've said before, acts like a character or mood setter for the scene.

Writing things down also helps you remember them better. The act of writing, literally writing not typing, has a peculiar effect on memory in the brain. I tend to jot things down by hand and then transcribe into digital files afterwards.

My notes files tend to be twice as large as the novel by the time I'm through.

2. Chunking and Recall
Chunking is a great term I learned last January when I took a course on the human brain and how to utilize it better in order to learn. In regards to writing, chunking would be taking an element of the story and associating it with other things in order to have better recall.

For example: When I bring up the word "red," based on the series I'm currently writing and publishing, I automatically think of one of my main characters, Thssk. I also think of blood, lava, anger, fire, dominating personalities, and power struggles. These next tier words lead me to specific scenes, character development, and backstory events - most of which revolve around Thssk, but also lead and connect to other characters and their story lines.

By chunking, or associating elements of the story to other elements, it just takes one word or phrase to recall much more information at once.

3. Make lists.
This one might go up under the Writing Things Down category, but I like to treat it differently. Lists are more compact, easier to read information, the overviews of the story.

In a complex novel I will use lists for:
i. Characters
I list characters by whether they are main characters, significant level B characters, C, and so on. Writing down everyone who has a name and assigning them their role in the story lets you see if your cast is too big and if you can't combine characters to have fewer people doing more in the novel. The danger with big, complex, multiple POV novels is making it difficult for the reader to remember who is who.
ii. Places and Settings
Listing your settings down gives you a great overview of what the story is doing. Do you use the same settings over and over again? Is there variety in your settings? Do you have too many settings? How can you reuse the same setting and portray it differently to help the mood of the story?
iii. Chronological order of events
Not all stories are told linearly, in fact, many really good ones aren't. Yet, it's important to know the chronological order of events as the author to avoid discrepancies in your writing. You don't want to use the scene where character A discovers the bad guy is really character Y before the scene where character Y declares they are in love with character A.
iv. Chapter and scene orders, including a list of POV characters for each
In a multiple POV novel, this list is vital, particularly for keeping track of how well mixed those POVs are. It lets me know if I've gone on too long with one story line at the expense of another.
v. Language and dialect
This has been valuable when I'm making up the words and phrases. I'm able to keep them straight, including their spellings and meanings.
vi. Historical events
A chronological list of historical or backstory events goes hand in hand with your story chronology. Backstory fuels character motivation and plot lines. Know what happened before the story and keep it straight with a simple timeline.
vii. Nodes of conjunction
This isn't one everyone uses but I have to. Nodes of conjunction are where story lines or characters connect. Say information about character D is discussed between characters X and W that will lead the reader to understand character D's actions in the next chapter. Or, characters F and G are going to finally collide with each other, when and where does this happen and how does it change the story? By using Nodes of conjunction in both a list and in my notes, I've found my stories get fuller faster and have more vitality in character development. 
viii. What still needs to be written
I'm a to-do list sort of person sometimes, and with big, complex novels, it helps me feel like I'm making a dent in the writing if I have a checklist of what needs to be done. Completely changeable as the story develops, this checklist works hand in hand with my outline and if I get stuck, I make a note about it and move on to the next item.
ix. Inconsistencies and places that need further research and development
All writers end up with inconsistencies in their stories, especially in the early stages. When I find one, I'm usually engrossed in working on something else. It helps to make a list of what the inconsistency is and where it is so that I can go back and revisit the issue.
x. How one scene or chapter segues into the next
Another list others may not use, but I like to. When moving from one POV character to another or one story line to another, I may have a cliffhanger, but something in the scene or chapter preceding the next needs to have a segue. It can be an object, mentioning the conflict or the next POV character, or even a theme. This list has been crucial in helping set chapter order.

4. "Put it together and what have you got?"
I've made mention before on this blog about creating a Story Bible. In essence, once you've created all of the things I've listed, you have made a Story Bible. The essential ingredient to successful orchestration of a complex novel.

When really considering how I keep things straight, my most personal answer is I like a challenge. I enjoy diving into multiple character and plot lines and playing with them. I love making connections between them and exploring the results. To me, it reflects life. Our actions or failure to act have an impact on others. It's never been about creating a glut of characters, events, or settings just because I could. People are complex. We're never completely good or evil. To me a story isn't about creating one hero that does everything, but celebrating the many heroic acts happening at different levels. The same thing for the mischief and malice created by the characters bent on being antagonists.

5. Index cards
Sometimes I need a visual representation of the story, especially when dealing with multiple POVs or plot lines. That's when I get out my index cards and put down information scene by scene. By keeping to scenes it makes it possible to rearrange quickly or play with the order. Usually my card looks something like this:

(Name of Scene) (Scene #)
Setting/Date
List of key points
POV character
Ritual/Theme
Key objects

I name my scenes. In a large novel it makes it easier to refer to if I've given a short clue as to what the scene is about. The scene # relates to where I have it listed in my overall outline or Table of Contents. The list of key points is pretty self-explanatory, as is point-of-view character. Rituals or themes help me classify the scene. For example: Outward Conflict, or Barter Ritual, or Point of Humiliation. Key objects refer to literal objects in the scene that have meaning or purpose to the story. They might be a weapon, or a green dress, or a tree. They are often symbolic and reoccur in the story.

Once I've compiled all my index cards I put them up on a blank wall in my office. Usually right in front of my treadmill so that when I'm taking a break and releasing endorphins I can also be brainstorming and reviewing the basic story material.

In Conclusion: 
My love for exploring every aspect of a story makes it easy to keep things straight in my head. I like to live and relive the moments. It's not a matter of knocking off a scene or chapter in order to reach a quick writing goal and then move on to the next novel. I prefer to savor and revisit. And that is why I know my stories so well and can write big, complex, epic novels.

Have a further question about anything you've read here or regarding more info on how I keep things straight? Please, ask me. Or tell me how you keep your material straight when you write. Do you do some of the same things I do?

Fun Ideas and Tips #9: Make Your Story Newsworthy

You've written the first draft of your novel and now it's time to go back and begin revisions. Whether your first draft is thick or thin, you're going to have to do some analysis on the whole thing and see if what you wrote makes sense, needs a complete overhaul, or perhaps needs better focus.

I have a fondness for reading news headlines. They're short and to the point, giving you enough information to whet your curiosity so that you will try out the actual article. Headlines also give readers the option of not reading, if the article isn't about something they care about. They streamline the reading process. I love that.

How do news headlines factor in to revising the first draft of your novel?

By giving you another outlining option.

The pantser argument doesn't hold weight right now; you've finished the rough draft of your novel. It's time to make sure the story is solid, to tie up loose ends, expose those plot holes, strengthen your characters, and put all your story ducks in a row. An outline can streamline the process.

I've highlighted many easy to construct outlines in the past and I'm not going to rehash them or other more complex versions. No, today I want you to think like a journalist coming up with news headlines. So here's what you do:

1) Break up your story into sections. It can be chapters, or POV switches, or even by page. And don't feel like you have to sit and spend a few hours dividing up your novel for this step. You can do this as you go along reading it.

2) Write a simple, one sentence headline for each section. The rule for this is: What is the most important event, twist, or discovery in this section?

This should be more thought-provoking than it first suggests. Remember, headlines have to garner attention. What is going on in this section that would capture your readers' attention? Is this section even worth keeping in the story? Is anything happening at all?

For example, say you decide to do a headline for each page and the page you are reading is basically describing a journey, or a building, or a scientific process—you're not going to come up with a very good headline for it. What the lack of a snazzy headline does is give you a red flag that you have too much description going on in that section. There's nothing happening. You're going to lose readers' interest here. Ah hah! You mark that section for demolition or a complete make-over.

Let's say you do have something going on. Are new questions being raised by this section? A new mystery unfolds? The characters have reached a pivotal choice? Creating headlines for the section will give you a chance to lock down the exact dilemma, point, or argument this section needs to be about. Ah hah! You may find you need to beef this part up, or even play it down. Perhaps you discover you're in danger of creating a bunch of unnecessary subplots due to tangents in your original material.

Or, maybe this section deals with an action sequence. "Creating a headline should be easy", you think—or is it? "Good Guy is Attacked by Bad Guys but Comes Out on Top!" is rather bland. Ah hah! Are you putting in action for the sake of action, or does this section actually move the story forward? What is learned in this section? What is gained or lost? Have you made it too easy for the protagonist? Have you devoted too many paragraphs or pages to reporting each movement or play-by-play? Do you even need this kind of action here? How predictable is this section? It's a lot to think about. Sometimes the sections/scenes we think are done deals are the most predictable to readers and maybe need a lot more brainstorming to make them different or unpredictable.

*A further note: Don't stress about giving things away in your headlines, or about using too much hyperbole when creating them. This outline is for your eyes only. Have fun with it.

3) Make sure you are taking notes as you do step #2, whether in the document or in a separate notebook or file. Line up your headlines when you are done, in story order. Read through them. Does one flow well after the one before? Do you notice significant gaps?

This gives you a very basic outline, and a very valuable revision tool. Maybe you need to rearrange some of the events. Maybe you need to add new sections, or delete others. Really think about the overall theme and goals of the story. What exactly do these headlines say about your story, the characters, the plot, and the differences between Point A and Point Z?

If you're writing a more complex novel with multiple POVs, consider not only a master list of all the headlines, but also separate story-order lists for each POV used. Or come up with a color coding method in your master list to help you see how your POV characters are cycling. What's good about this, is you can still look to see if your POV switches are happening in the right places. Are the events or questions leading to the next section? Are you overusing POV switches for the sake of following a definite pattern? Do you need all of those POVs to begin with? Having a concise reference for the whole story can really show how well you are using multiple POVs.

4) If you want to take your headline analysis one helpful step further, as you go along making them, jot down the number of pages or the word count devoted to each section. It's a huge eye-opener. When tallied up at the end, you can see what aspects of the story you felt were the most important when you wrote that first draft. This can help you stay true to your original genesis for the story, and/or can show you your weaknesses by revealing what key story elements you put less effort into developing. This can also help you target areas for trimming or adding to your word count, all nice and neatly marked out next to your headline outline. Altogether, a handy, quick reference for your story as you go into the actual revision process.

I'm sure that anyone who tries out the headline outline will find even more good uses for it. Think of a simple outline as if it were a thumbnail revealing your entire story at a glance. It's always better to go into the revision process with access to the overall picture. Without it, a writer is like someone trying to figure out a maze for the second time; you have some idea of where it goes and how you got through it before, but you don't remember every twist and turn and you still can't see alternate routes.

I know some of you will shrug your shoulders and stubbornly refuse to even try outlining. That's okay. There are different kinds of writers, but take a second to consider what you might be missing out on by not trying a simple outline. And just because So-and-So Big-Name-Author doesn't outline, that really shouldn't be an argument, after all, you aren't them.

I've written many stories and used different methods for each one. I learn new things from each experience. However, I know now that having a simple outline can make a huge difference in the number of revision passes I have to make. I hope you'll at least try out the headline outline, or one of the others in the list below. See what works for you. Develop your own version of a simple outline. Be creative and have fun, but most of all, take the opportunity to study yourself as a writer.


Other outlining methods you can try: (Note: Some of these are for outlining before writing your first draft.)
National Novel Writing Month Preparation: The Easiest Outline Ever
How I Outline, Guest Post #4: NCB
How I Outline, Guest Post #3: Ian Isaro
How I Outline, Guest Post #2: Derrick Camardo
Fulfilling Your Promises to the Reader
How I Outline, Guest Post #1: Darke Conteur
When Outlining Breaks Down (A guest post I wrote on another blog.)
Outlining: The Simple Version
Because: One of the Most Important Words a Writer Can Use ...

National Novel Writing Month Preparation: The Easiest Outline Ever

National Novel Writing Month is in November. The goal is to write 50,000 words in 30 days. It's challenging and fun. I chose to do it a couple of years ago and managed to finish about a week early. I also came out with a very promising rough draft for a new story.

My strategy then was to know my story before November began. I wrote up a general summary, as I always do, and then prepared a simple outline highlighting the main plot and two subplots. I also knew my two main characters' personalities pretty well, having brainstormed for a couple of months ahead of time. The point is, I didn't go into NaNo cold turkey. I had a plan, forged through, and the results were excellent.

I plan on doing NaNo this year, only I've upped my personal stakes. I plan on working on two novels, aiming for 80,000 - 100,000 words. Yes, I'm nuts. Yes, I stand a good chance of failing. Yes, life probably will happen and get in the way. I'm still shooting for the moon.

Anyway ...

What if you aren't naturally an outliner, you want to do NaNo this year, and you want to do some prep work to keep you on course? If outlining isn't your thing, I highly recommend you don't attempt to buck your tendencies by switching courses for NaNo. However, if you want a general guideline, here's the simpliest outline format ever: chapter headings.

I once wrote an entire novel in two weeks using this method. What you do is write up a table of contents for your unwriten novel. Use fun, short sentence descriptions as the chapter titles. Think of the key scenes you want to achieve. Write up this list, brainstorm who your characters are, and then pantser-it from there. If you end up adding chapters as you go, that's great. If you end up changing up a title or two as the story evolves, it's no big deal. The point is to have a general map of the story in order to stay on track and finish it.

Are you going to do NaNo (officially or unofficially) this year? Have you done it before? Have you used any kind of outline or summary before?

How I Outline, Guest Post #4: NCB

The purpose of this series is to debunk some of the mystery, myth, and frustration behind the concept of outlining. No two people outline the same way and there is no one right method to outlining.
Please extend a welcome to NCB, a fellow AQCer and writer, to the blog today. Here's his thoughts on outlining:

On Outlining and Planning

My process of outlining takes place mostly in two distinct "waves." The first comes before I write a word of the novel. I'll know how I'm going to begin the book (typically around the first 10k-15k words) and I'll know some specific details of the ending stretch (again, roughly 10k-15k words), but I'll have only a vague sense of what's going to go on in the middle. When I do get to the middle section, I'll start free writing, but I can't help myself from planning where the story will go three to four chapters down the road.

During this unplanned middle, a lot of unexpected things happen. I'm not going to lie; some of these unexpected things are terrible beyond words. I've lost days of writing either trying to find something for a character to do or trying to kill them off, only to realize by draft's end that the character never really belonged in the book in the first place. but even if I end up with five terrible parts f the first draft, if the brief "free write" process gets me two or three wonderful scenes or story arcs, the free writing part has done its job. Regardless of how much planning I may do, the act of actually writing always brings out the most creativity for me.

After completing the first draft and setting it aside for a month or two, I go through the book chapter by chapter and make notes on what specifically is happening in the first draft, and what needs to happen in subsequent drafts. Then comes a detailed, complete outline for the second draft. This is the point where useless characters are chopped or combined, fuzzy details are made more specific, and pacing issues are addressed. Briefly summarizing each chapter after finishing the second draft is an easy way of noticing glaring pacing flaws, such as "I have 15 chapters in a row that are more 'low key,' followed by 15 chapters that never let up."

During this second draft outline, most supporting characters undergo a severe overhaul. It's difficult for me to get a feel for a character (especially a minor one) before I've written about them, which causes my first drafts to have plenty of flat characters with thin personalities and unclear motivations. After making it through the first draft, it's significantly easier to see the characters in a more complete way, and that's where the fun quirks and pet peeves come out for me.

After these two main "waves," pretty much all of the major planning is done. If something else comes out that wasn't expected in the second draft, and it requires more than a few extra paragraphs to set up, I'll plan out the scenes necessary for it before starting draft three. By this point I know the ins and outs of my story like the back of my  hand though, so further explicit planning isn't necessary.

Great process, NCB. Thank you for sharing with us.

For more posts on outlining see:
Outlining: The Simple Version
Jumping the Tracks
How I Outline, Guest Post #1: Darke Conteur
How I Outline, Guest Post #2: Derrick Camardo
How I Outline, Guest Post #3: Ian Isaro

If you would like to share your method or reason for outlining in a guest blogpost, send an email to joycealton at ymail.com

 

How I Outline, Guest Post #3: Ian Isaro

The purpose of this series is to debunk some of the mystery, myth, and frustration behind the concept of outlining. No two people outline the same way and there is no one right method to outlining.

Welcome back to Ian Isaro, author of the Sorcery and Scholarships series and fellow AQCer. Here is Ian's method to outlining in his own words:

I'm pretty far on the outliner side of the continuum. I think of my process as having two outlines, but now that I consider it there's actually more stages than that.

Books gradually coalesce out of my general creative process. This step shouldn't be ignored, because I rarely write anything down until I have quite a few ideas. When I feel like I have most of the book more or less clear I put things down in categories, which quickly reveals what I'm lacking. Maybe there's no balance in my POV characters, maybe I just have plot ideas and not enough substance, or maybe I've neglected someone's personal arc.

Once I have what feels like a balanced set of ideas, I lay out the plot. Sometimes there's a series of events that go in an obvious sequence, which forms a narrative spine. Otherwise, I only have a plot in stages. A generic example: mystery is introduced, characters investigate based on wrong assumption, pivotal scene gets them on the right track, major plot twist, climax, ending.

I'd then place all my ideas in one of those six segments. Most ideas are obviously attached to one, so the plot of the story becomes clear. Some could go anywhere: say the villain has an interesting subordinate, and I decide to put the first conflict with him in the investigation section because that part isn't as exciting. Others are like subplots: if characters have a book-long conflict, I'll put notes to start it in the first segment, then have follow-up scenes where talking would be appropriate.

Things tend to lump together during this stage. Maybe an action sequence lacks emotional weight, so one character's personal crisis should happen at the same time. Maybe I realize that one character disappears for a while, so I give a subplot to him/her so it can happen simultaneously instead of two events back to back. That kind of thing.

Once I finish the outline, I usually have a vision of the whole story in my head. In a sense it's "written" for me; I might not know some of the details, but the plot is clear and I have some scenes thought out almost word for word. Typically the outline is more detailed at the beginning of the plot and grows less so toward the end. I start writing and do a second outline for upcoming segments as I decide how to do things.

Unless I've made a large mistake, I only stretch/compress things while writing. Maybe the way I write, it's obvious the characters would realize their false assumption early and that part has to speed up. Sometimes a character or element doesn't fit in a scene and I place it somewhere later. But other than these things, I basically write straight through to the end.

For series that I can't write all at once, there are a few additional outlining issues. I have a grand series outline that covers what broad issues each book will address as well as major character arcs and developments. Until books are written, elements can shuffle around like they do in the plot of any given book.

Once I've written one, however, I consider it "canon" and build other outlines from there. If I foreshadow something, I make sure I have a clear idea what exactly I intend (and that subplot chain throughout all the future books solidifies). I also keep a list of promises made to the reader and which pieces of worldbuilding I've referenced to influence what new elements I should introduce in the future.

With The Dying War, I have the additional complication of too many side characters for any one given book. I try to have each book choose a few characters as strongly secondary and I note this so that no one disappears for several books at a time. Ideally that coincides with a reason for the character to be absent, but I could improve on character management overall. This is one of the areas where my series-long outlines are lacking, because it's difficult to know which secondary characters will become strongest in the writing.

I have an additional piece of advice for series writers: watch the complexity. In my series, I didn't want any major force to seem thrown in at random or invented just for a later book, but because of that I went overboard with foreshadowing. The first novel needs to be a strong hook, fulfilling enough of its promises that readers want to continue. Every reader's opinion on this will vary, but in general be careful not to overshoot. Things that look neatly intricate in outline will appear messier in the reading.

Thank you, Ian. You've made some excellent points.

For more posts on outlining see:
Outlining: The Simple Version
Jumping the Tracks
How I Outline, Guest Post #1: Darke Conteur
How I Outline, Guest Post #2: Derrick Camardo

If you would like to share your method or reason for outlining in a guest blogpost, send an email to joycealton at ymail.com

How I Outline, Guest Post #2: Derrick Camardo

The purpose of this series is to debunk some of the mystery, myth, and frustration behind the concept of outlining. No two people outline the same way and there is no one right method to outlining.

I want to welcome fellow AQCer and writer, Derrick Camardo to Yesternight's Voyage today. Here's his outlining process:

The Premise

I start with a premise. I have a dozen of these bouncing around in my head at one time. Some are inspired by dreams. Some are brainstormed. Some just pop up in the old cranium. Most of these ideas have no characters or setting or anything that actually make up a cohesive story.

This means I have to do a lot of outlining to even get to a stage where I can begin writing. So I start asking myself these questions:

What kind of person would make this premise happen? What do they want?

How does this premise happen?

Depending on the idea I'm developing, questions may vary, but these are the basics.

The Heart

Once these questions are answered, I outline what I call the "heart" of the story. I've heard other authors refer to the heart of their story as something different than what I call it. So let me explain this. To me, the heart of the story is the epitome of the premise. It is the utter essence of what this idea that had been bouncing around in my head is all about. If I told people what my book was about in one sentence, and they flipped to the heart of my book they should say, "Yep. That's about what I would expect."

The heart could be a scene or a series of scenes. It does not have to be the climax. The heart is formed from the raw premise and the questions of the who, how, and where.

The next two questions form the rest of a vague outline:

What leads to the heart?

Where does the heart lead?

In those two questions, supporting characters, villains, and events are formed. But events can be vague. There are plenty of times where I come to an event that just says, "The good guy wins." So at that moment I have to use what I've written up to that point and how I want to end the book as guides to how the event plays out in detail.

The Voice

After this vague outline forms itself around the heart, I write the first few pages. This is to get the voice. I have found it very difficult to edit in a better voice after an entire manuscript is written. Nowadays, I write the first few pages and bounce that off my critique partners/beta readers just to see if the voice works.

When I get the green light that the voice is working, I write through what is outlined. As I write through the early scenes, I start to make the vague scenes that happen later more and more detailed.

The Hook

Once I have about 5,000 words written with a clear enough outline and an established voice, I write the hook. That's right. The hook as in the hook. Of the query. Which will eventually be sent to agents. After my first two manuscripts, which I really wrote for me, I told myself I wouldn't write a book I couldn't sell easily.

The Timeline

An important thing to address while outlining is timeline. This is especially important while writing contemporary fiction. In fantasy, a lot of times people just leave their old life behind to go on an adventure. With contemporary, that usually isn't the case. People have jobs. They go to school. They have special clubs they belong to.

I initially don't worry about the timeline when I first start writing, but then as I flesh out more of the details, days of the week become important. I will then go back and figure out what chapters happened on what days. Tweaking might be necessary.

For instance, I have a character who attends chess club one day out of the week. When I realized this, I was maybe 16 chapters in. So I had to go back and find what day of the week he was least visible. I picked the least frequented day. Then, wrote him out of the ones he happened to be in, or changed the day, which changed the timeline.

In two of my manuscripts, I had specific events occuring on specific days of the year. In one case, I had the outline detailed enough to write to that end as I went along. In another case, I have the following written in my outline: "At this point, go back and write in the weather." Because I don't know how long it will take me to get to that specific day, I'm instead letting that happen organically and once I get there, I will follow the timeline backwards to figure out what the seasons were during previous chapters.

Thank you, Derrick! You can find out more about him on his website or follow him on Twitter.

For more posts on outlining see:
Outlining: The Simple Version
Jumping the Tracks
How I Outline, Guest Post #1: Darke Conteur

If you would like to share your method or reasons for outlining in a guest blogpost, send an email to joycealton at ymail.com

Fulfilling Your Promises to the Reader

Ever had a favorite TV show that didn’t pan out in the end? I have, a couple of times. In many cases this is because ratings went down and the production company decides it’s time to wrap things up, so the screenwriters slap something together. That’s typical. But what about a series that was planned from the start, the producers knew it would go on for X number of seasons and then it would end? You’d think they’d be better at keeping their ducks in a row. Not always.

A very much enjoyed show jilted me in the end, as a viewer. Every season they built up expectations that the two main characters had this great destiny and would change the course of the world. All the characters’ hopes built on that, every episode plot arc made sure to make mention of this fact. Decisions were based on it, lives changed. Then we got to the final season, tension building, the climax happening, and…the pivotal main character died. And the other main character faded into the shadows. There was a brief, well-the-world-went-on scene with a secondary character taking the helm. So disappointed. In fact, I felt lied to. The writers not only dropped the ball, they ran over it with a steam-roller.

The same thing has been known to happen in fiction. A writer writes a book that is then built into a series. Now, if the story wasn’t originally intended to be more than one book, the writer has something of a problem, which we can talk about another time. On the other hand, if the writer intended a series all along, they have to make sure they don’t disappoint the reader.

In an epic series, no matter the genre, there is a main story arc. This is the epic problem for the length of the series. It’s introduced in the first book, but not resolved until the last. Each volume of the series should have individual arcs that are spawned from or interact with the main problem, each volume having a sense of resolution at the end.

I’ve picked up a series, been intrigued by the overall arc to have to read each book in the series. It’s the glue that holds my interest, even if it seems to take ages to get to, or I don’t care about the individual arc of a particular volume in the series. A good main arc will do that. Writers should take care that the individual arcs are just as good and engaging, that the writer isn’t stringing readers along for the sake of producing more books.

Reader expectations need to be a consideration, especially when the writer is the one who set the bar and created those expectations. If a main character is destined to be king, they should end up as king. If someone is haunted by a horrible past, we expect to see reactions, situations, and problems arise from that past. Each volume in a series should be tight, propelling the reader toward that main arc’s resolution. It’s okay to have a twist or two, which alters the main arc’s expectations, but not at the last minute because the writer wrote himself into a corner and couldn’t figure out how to get out, or because he got tired of writing the series or about those characters.

 

Going back to the TV show scenario, in a recent interview the producers of the show said they had their ending figured out early on and knew the main character would die and be succeeded by the secondary character. While it may have been an attempt to assuage angry fans, I think it fanned the flames. Why? Because while yes, they did build up the secondary character to be a believable successor for the main character, they still continued to ply the audience with promises of a great future for the two main characters. Huge mistake. If a major change was in order, they needed to stop making those promises and show how decisions and events were altering the main arc.

Probably the best way to examine a main plot arc and make sure that each volume in a series is pulling its weight is to do a simple outline. Make a note next to each volume’s summary as to how it moves the main arc forward or changes it. Lay the groundwork for changes so they don’t come off as convenient escapes for the writer. Make sure you have enough material to cover your projected number of books in the series. If not, trim the number down. And above all, make sure you’re not going to disappoint your audience with your ending. The ending in a series should still be a contrast and a reflection on the beginning of the series.

Writers who have planned for these things tend to have happier readers. Now if we could get more TV producers and screenwriters to do the same…

How I Outline, Guest Post #1: Dark Conteur

The purpose of this series is to debunk some of the mystery, myth, and frustration behind the concept of outlining. No two people outline the same way and there is no one right method to outlining.

I'm happy to welcome Darke Conteur, author of the Watchtower Series, to Yesternight's Voyage today. Here is her outline process:

When Joyce put out the call for authors to share their writing process, I couldn't resist. I hear about many new writers becoming frustrated at how to structure their story, and I thought I would share some tricks of mine.

First off, I don't adhere to the 'plotter or pantser' mentality. The first draft of a story is just that, a first draft and if I want to wander off and see where an unknown path takes me, that's fine. I'll wander all over the place, but in my opinion, when it comes down to revisions and the final edits, I NEED an outline.

1. Outline the Entire Story: Whether it's in my head, or carefully written down, I need to understand the beginning, middle and ending in order to know where my story is going. Here's where I wander; where I flesh out a plot line and see where it takes me. Even if I don't know anything past the beginning, I just write stuff down. Many times wandering allows me to discover potential plot lines that help form a more coherent storyline. New characters show up or old ones disappear. Even if it doesn't make sense or is even relevant to the main plot, I follow it. There are important details that there might be overlooked and who knows, I might be able to fit it all in. Also, I never throw away or delete anything. Even if it can't go into my books, I need that information.

2. Outline Each Book: Here's where the fun begins and I really need to pay attention. When you're writing a serial, you have to balance several story arcs in the air, so the trick is to figure out what can be mentioned per book, and what can't. Do I reveal something traumatic in a middle chapter in book two, or the beginning of book three? How does it blend in with the rest of the chapters? How does the story flow? Am I going to have enough story to encompass the amount of books I want to write? That last question is the hardest. Don't add fodder to your story just to stretch it out. Backstory and info-dumps are permitted, but I use them sparingly. You don't need several pages of info-dump. Just a few paragraphs will do.

3.Outline Each Chapter: I find this a very important step. What do I want to accomplish with this chapter? What will happen to the characters? What's the dialogue like? Any danger? What about conflict? I need to have a very good understanding of each chapter before I write. During the first draft, I let my imagination wander, but for the final revisions, I set a word goal of roughly 4k, but that's just because I prefer short chapters.

And finally,

4. Outline Each Scene: This is not for everyone, and it's a little quirk I picked up. I'm a visual writer. I picture the scene before I write. When I start a new scene, I take some time and picture the background, how the characters move and where, the dialogue, all of it. It's also known as daydreaming. I've caught myself daydreaming for thirty minutes or more. Heck, for one future series, I took to my bed for four days (after I got Sithboy ready for school), just visualizing scenes! This is handy for action scenes.

So that's it. I'm sorry to say there are no big secrets here. Just a lot of determination. Good luck!

For more posts on outlining see:
Outlining: The Simple Version
Jumping the Tracks

If you would like to share your method or reasons for outlining in a guest blogpost, send an email to joycealton at ymail.com
 

When Outlining Breaks Down...

Aaron guest blogged for me and I'm guest blogging for him. To get my take on what happens and what should you do if your outline fails you, jump over here.

Outlining: The Simple Version

There are typically two types of writers: outliners and pantsers. I'm both, though I tend to favor the former over the latter, more so the older I get.

An outline is a tool, a very valuable tool, especially if you want to finish a story or revise one. You pull back from your intimate perspective of the story and contemplate the big picture. Today, I'd like to share a very easy and basic outline (there are several different ways to outline so this is by no means the only way to go.) It came in handy for me for National Novel Writing Month a couple of years ago, and is easy enough, yet vague enough, for a pantser to use. You may have heard of it before or some variation of it. I compiled suggestions from three other writers to come up with this. Bear in mind, this primarily works for genre fiction.

1) Write down in one or two sentences what the main plot or storyline is. Whether it's a thread of romance, a mystery, a goal, a natural disaster, an internal or external conflict. What is the main story of the book?
2) Write down in a sentence or two what the subplot(s) is/are.
3) Follow the outline guidelines for each plot thread. Put a star by parts where one or more of these threads join or boomerang off each other. (Hint: these are your nodes of conjunction, powerful places in the story that give readers an “A-ha!” moment.)

Title the outline: Main Plot, Subplot A, Subplot B, etc.
Part I or Act I:
1) Write down the inciting event of that plotline briefly. What gets this plotline moving?
     a) What's the problem?
     b) How is the protagonist embarking on change?
2) Write down the protagonist's first attempt to fix the problem or achieve his goal.
     a) Failure & consequences.
     b) What new insights does the protagonist gain?
     c) What is his new plan to tackle the problem or goal?
     d) Create a doorway of no return to the way he was at the beginning.
Part II or Act II:
1) Write down the protagonist's second attempt to fix the problem or achieve his goal.
     a) Failure & consequences.
     b) What new insights does the protagonist gain?
2) The Worst Happens.
     a) Reaction & inner development.
     b) What is his new plan to tackle the problem or goal?
     c) Create another doorway of no return with ultimate stakes involved.
Part III or Act III:
1) Climax--third attempt to fix the problem or achieve the protagonist's goal.
2) Resolution--the change in the protagonist is completed and promises are fulfilled. They've either reached their goal and solved the problem or found a way to deal with not having done so.

What I think this outline does best is give some direction to the story, helps keep a focus on the key beats of the story, and yet leaves plenty wide open for new developments, surprises, and all the other little things that may creep in that make the story unique and fresh. Taking an hour or so to write out this simple outline adds focus to the writing process. One thing to always keep in mind with an outline: it's not set in stone. If you reach a point and find something doesn't work, rip it out, or put something new in. An outline is a basic set of directions aimed at getting you, the writer, to the end of the story without missing any of the key happenings or developments. Outlines help stories reach conclusions and not get filed away in the Started But Didn't Finish File.

Also of note, you may add extra sections if the story is more complex. If there is more than one doorway of no return, or more than one major development in any Part/Act of the story. Specific genres do have certain formulas or beats to follow, and readers expect these. How you write the story, the voice, and the unpredictability of plot twists are some of the ways you can stand out from predictable formulaic fiction.

I have plenty more types of outlines to share in the future. This one is the simplest and in some ways the most straight-to-the-heart of them all.

Because: One of the Most Important Words a Writer Can Use...

...behind the scenes.

I've come to appreciate this word like no other. After months of struggle and perplexed scratching of the head, it eventually came to me that I'd forgotten the importance of the word because and that most of my revision headaches stemmed from a lack of focus on that word. It sounds silly, doesn't it?

A writer seeking information will find it in droves if they take the time to look. Information on improving the craft of writing is distributed, bought, sold, and imparted freely online, in bookstores, libraries, workshops, colleges, writing circles, and conferences. And it's easy to get overwhelmed, even when trying to take it in small bits and chunks. Like many other writers, I took detailed notes, experimented with procedure and technique, speculated, gambled, and in some instances had breakthroughs. How frustrating it has become to then present a much better revision of a WIP to beta readers to find out I'd omitted one of the most basic parts of storytelling--a part I'd inherently known before seeking to get schooled in writing craft.

A fun children's book called Because a Little Bug Went Ka-Choo!; by Rosetta Stone, illustrated by Michael Frith; shows clearly how Cause and Effect drive a story. Because this happened, that resulted. Because that resulted, this next thing happened. And so forth. Each event in the book results logically from what came before and each action triggers something else.

Writer's Digest had a great article recently about this very thing, by Stephen James. To quote:
"When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer."
How embarrassingly simple is that? Yet in my quest to learn and include all of the other things I needed to know I had failed to stay true to the word because. It won't happen again.

The word because also comes in handy when trying to compose the dreaded synopsis, or when outlining a novel after the first draft (and even before that first draft if you happen to be a compulsive outliner anyway.) The story falls into perspective and place when you take the time to consider the cause and effect. It's more powerful than only considering the characters and their motivations.

For example:
Because...the protagonist comes home to find their house on fire--they now must locate their family; are homeless; have lost the important project they needed to submit to work to keep their job.
Voila!--inciting incident, inner and outer conflicts all lined up. Then by following each cause and effect, and knowing how your characters act/react (and their backgrounds), it becomes easy to see the possible twists and turns of the story. It also becomes easier to avoid the most obvious paths that readers' minds will stray towards. Each scene of the story will have a purpose and a reason for being, each character's actions will make sense or bring up new questions, growth can also be charted.

The word because is a writer's best friend—as long as it is primarily used behind the scenes—don't actually pepper the MS with a lot of becauses. Put the word to work. And kudos if you've kept it firmly on your internal writing dashboard.

I had to sit down and take the time to comb through my current WIP to outline the cause and effect of each part of the story anew. Part of me regrets to admit that I would have saved so much more time if I'd done this when starting my massive revisions on the original. I probably wouldn't have needed as many brainstorming sessions or as many new revisions.

Don't overlook the basics in favor of all the trimmings, because if you don't, everything else won't work.