There is a very, very fine line between plotters and pantsers (i.e. those who write "by the seat of their pants").* At some point, everyone has to just buckle down and make up a bunch of crap. The primary difference between these two extremes of writers is that when pantsers wing it they end up with a draft, while plotters end up with an outline.
Both of them still have a lot of work to do.
* For the record, I hate the term pantser. It reminds me of Jr. High and a desire to wear too-tight belts for "security reasons." But since I'm not a panster, and since I've never heard a better a term for them, that's the one we're rolling with.
Anyway, this is where my method starts to look like pantsing (gah, seriously, there's GOT to be a better term). I chose the idea, figured out the major plot points, fleshed it out (and worked through all the sticking points), now I'm ready to congeal my notes and outlines into Something I Can Write From.
For me, that's a chapter outline, but don't worry, the chapters come last.
I do a lot of bouncing between documents, but always revolving around my outline. Sometimes I'll jump out and write a quick doc (I think better typing random lists in a text or Word doc, but that's just me) on some aspect of world history or character backstory, or maybe a single character arc, action scene, or point of motivation. Once I've figured it out, I'll jump back into my outline, add the necessary details, and move on.
For example, in my current WIP I had to come up with a whole game to revolve a third of the plot around. I wrote a doc outlining every scene dealing with the main romance (or what passes for romance, anyway; there were only 7 mini-scenes). I brainstormed two or three docs to figure out the tactics of the climactic siege (I may have gone overboard there, it was kinda fun).
I also cheat. Technically a plotter is supposed to plan the whole thing ahead of time before they write, right? Well, I have a Word doc for those scenes I just have to get out of my head right now. I don't go into great detail with any of them. Often it reads like a crappy screenplay -- a little stage direction and a lot of dialog. Heck, sometimes the "scene" is one clever line (or what I think is clever at the time).
But writing it in its own document helps shut up my inner editor and frees me to use it or not when the time comes.
So you see, even the staunchest plotter can end up leaving gaps, writing things out of order, and making stuff up as I go. But I don't think it matters how you put together a novel, so long as you end up with a novel at the end.
What about you? Where are you on the spectrum of plotter to pantser? And what the heck can we call it other than pantsing? Please!
Three Things to Remember About Rejection
Have I talked about rejection enough? No? Good, I'm glad you agree (geez, you'd think I was querying a novel or something).
So that first post had some practical tips on what to do once rejection hits. Butmy the problem is, in that moment you realize what you're reading is a rejection, you don't actually feel like doing any of those things. There's no easy way around this, much as I'd like to think there could be. It just fricking hurts.
But after having gone through it so many times, I find myself repeating some of the same things. Sometimes they even help.
So that first post had some practical tips on what to do once rejection hits. But
But after having gone through it so many times, I find myself repeating some of the same things. Sometimes they even help.
- The pain will go away. No matter how many times I've been rejected, no matter how much it hurt or how strongly I believed I would never get over it, I always did. I'm pretty sure that means I always will.
- It's not you, it's them. Rejection doesn't mean you suck. (I mean, it could, but you can't know that from a single form letter, and certainly if it was a manuscript that was rejected, it means the agent/editor saw something they liked.) The only thing you can know from a rejection is that it wasn't right for them.
- It's the internet's fault. Turn it off. The rejection isn't the internet's fault, but sometimes it makes the pain last longer. All those happy people retweeting new book covers and happy things their agent did that day. I love these people, but right after I get rejected is not the time I want to celebrate with them.
Plan a Novel 3: Flesh and Getting Unstuck
You've got the idea and have even figured out the major plot points, but a handful of plot points won't always carry you for 80,000 words.
For me, I need intermediate plot points -- the Midpoint and Pinches I mentioned last time -- but even that's not enough. The characters need obstacles, goals, and subconflicts (that still related to the main conflict in some direct way) to get me from that first Turning Point to the Climax.
I get stuck at this point. A lot. As I continue to go over my story, making it bigger and bigger as I go, these are some areas I've found that help trigger ideas:
CHARACTERS
I usually know which characters have weak arcs at this point. Sometimes it's the MC, sometimes it's the secondary characters, sometimes it's the villain (heck, sometimes I realize I don't even have a villain).
Sometimes my major characters are in place, but it's still not enough. In that case, I'll look at the minor characters and see if any could stand to be bumped up. What are their goals and desires? How do they conflict with the MC's or the villain's?
THEMES
Often I focus too much on plot and not enough on what I want to say. My themes change a lot over the course of the book, but thinking about them can help me find scenes and connect plot points.
So I think about what subjects I care about that maybe aren't addressed yet. Are there any hard questions I struggle with that I want one or more of the characters to explore? What naturally tugs on my heart? (NOT, however, "What message do I want to convey?" Whenever I do that, my stories always get preachy and soul-sucking.)
Usually this leads back to the characters. I think the best way to explore a theme is to make one of my characters face it themselves.
WORLD-BUILDING
If the characters aren't providing enough conflict, maybe the setting should. Or maybe there's some critical gap in my world's history, or some cool bit of magic/technology/whatever I could highlight.
So I research(ish). Do I need a war? A revolution? I hunt around Wikipedia for something that piques my interest. Or more likely, I do more research into whatever country/era my world is loosely based on, until something pricks an idea and I realize I have to add that to the story.
TROPES
Other times it's not history I need, but plot. If something feels weak to me, it's usually because it was my first idea. Lately I've been spending an increasing amount of time at TV Tropes for that -- dangerous, I know, but effective if I stay focused on the tropes I might actually use or subvert.
Often just subverting the weak point the plot is enough to drive the whole story in a new and interesting direction. At the moment, this is my favorite new trick.
Next week will be the last in this series, talking about outlines and cheating. But you tell me -- whether you plot ahead of time or not -- what do you do (or where do you go) when you don't know what happens next?
For me, I need intermediate plot points -- the Midpoint and Pinches I mentioned last time -- but even that's not enough. The characters need obstacles, goals, and subconflicts (that still related to the main conflict in some direct way) to get me from that first Turning Point to the Climax.
I get stuck at this point. A lot. As I continue to go over my story, making it bigger and bigger as I go, these are some areas I've found that help trigger ideas:
CHARACTERS
I usually know which characters have weak arcs at this point. Sometimes it's the MC, sometimes it's the secondary characters, sometimes it's the villain (heck, sometimes I realize I don't even have a villain).
Sometimes my major characters are in place, but it's still not enough. In that case, I'll look at the minor characters and see if any could stand to be bumped up. What are their goals and desires? How do they conflict with the MC's or the villain's?
THEMES
Often I focus too much on plot and not enough on what I want to say. My themes change a lot over the course of the book, but thinking about them can help me find scenes and connect plot points.
So I think about what subjects I care about that maybe aren't addressed yet. Are there any hard questions I struggle with that I want one or more of the characters to explore? What naturally tugs on my heart? (NOT, however, "What message do I want to convey?" Whenever I do that, my stories always get preachy and soul-sucking.)
Usually this leads back to the characters. I think the best way to explore a theme is to make one of my characters face it themselves.
WORLD-BUILDING
If the characters aren't providing enough conflict, maybe the setting should. Or maybe there's some critical gap in my world's history, or some cool bit of magic/technology/whatever I could highlight.
So I research(ish). Do I need a war? A revolution? I hunt around Wikipedia for something that piques my interest. Or more likely, I do more research into whatever country/era my world is loosely based on, until something pricks an idea and I realize I have to add that to the story.
TROPES
Other times it's not history I need, but plot. If something feels weak to me, it's usually because it was my first idea. Lately I've been spending an increasing amount of time at TV Tropes for that -- dangerous, I know, but effective if I stay focused on the tropes I might actually use or subvert.
Often just subverting the weak point the plot is enough to drive the whole story in a new and interesting direction. At the moment, this is my favorite new trick.
Next week will be the last in this series, talking about outlines and cheating. But you tell me -- whether you plot ahead of time or not -- what do you do (or where do you go) when you don't know what happens next?
Sketch: Ticket to Ride
Cross-posted from Anthdrawlogy, part of Board Game week. If you're not familiar with the game, perhaps you should get so.
Level Up: 1,000 Words in a Day
I have written 1,000 words a day, every (writing) day, for the past two weeks.
Now, granted, I'm usually only able to pull 3-4 writing days a week, but my previous average was 1,000 words per week, so this is kind of a big jump. How am I doing this?
Well... I'm still trying to figure that out.
BETTER GOALS?
With Travelers, my only goal was to finish the novel. That took 4.5 years. Air Pirates wasn't much different, but I got that done in 2 years. I had a for-real word count goal with Cunning Folk, but it was a soft goal (meaning I didn't do anything if I missed it). I finished the draft in 9 months, but my production rate was about the same as Air Pirates.
Now? I have a hard goal of 800 words/day. "Hard" meaning on the first day, when I didn't meet my goal during my isolated writing time, I squeezed in extra work wherever I could.
The weird thing is, that's the only day I've had to do extra work so far.
WRITER'S HIGH?
My writing time is two hours. Often, by the end of the first hour, I'll only have written about 100-300 words. It sucks. It's hard, and I feel like I'll never make it. But something weird happens around 600-700 words: I stop paying attention.
I've never had a runner's high (what with my loathing for the activity), but I've heard it's a thing. So maybe there's a writer's high too -- a point at which you stop feeling the pain and just get lost in the story. There seems to be for me. Every time I sit down to write, I dread it and wonder if I can maintain this breakneck (for me) pace. Then by the end I wish I had a little bit more time to write.
OUTLINING?
I've written enough novels to know the kinds of things I tend to get stuck on and the kinds of things I'm good at just writing through. With this novel, I went over my outline until I had 9,000 words of the thing detailing every major plot point and motivation I could think of (plus a few minor foreshadowing tidbits), until I could read through the outline without any gaps.
There's still a lot I have to make up -- action scenes, conversations, the dreaded segues -- but those things haven't been slowing me down as much as they used to.
STREAMLINED PROCESS?
I used to revise as I go. Heck, I had a whole ritual every time I finished a chapter: revise, record statistics, send to alpha reader, update blog sidebar, try to remember what the next chapter is about...
I've cut out a lot of that now, but most importantly I've cut the revising as I go. It's hard (especially when sending really rough drafts to my alpha), but it keeps me moving.
PRACTICE?
I'm a big fan of the idea that you can do basically anything if you practice hard enough. I don't know why it surprises me that writing fast is one of those things.
How about you? How do you maintain your pace (whatever it is)? Got any tips for someone trying to get faster?
Plan a Novel 2: The Skeleton
So you've got a novel-sized idea. What do you do with that?
Well the next thing I do is a heckuva lot of brainstorming, with one goal in mind: the skeleton outline. (Note: I never actually called it that until now).
Much like in the idea stage, I slowly adding bits and pieces to the idea until I'm certain it's strong enough to support a novel. In the idea stage, I'm mostly looking at the premise and thinking, "I don't have a climax for this, but is this the kind of premise that could support a good one?" In the skeleton stage, I find that climax.
Put simply, I'm looking for the main parts of Syd Field's Paradigm (also known as a fleshed-out, screenwriting version of the Three Act Structure), specifically:
Often this is the stage where my characters show up. I usually have an MC, of course, but he needs a villain. He might need a straight man, a foil, or a love interest. In order to figure out the midpoint and the climax, I have to start getting to know some of these characters, maybe give them their own arcs. One of them might be lying to another, but why? About what? What happens when the other finds out?
But even though the characters show up, I still know very little about them. I don't know their voice at all, their families or background, or even whether they're funny or not. But there is one thing I must know in order to complete the skeleton: I have to know what each of these main characters WANTS.
Without that, it's hard to get anywhere. But the cool thing is, with that, large parts of the story start writing themselves. Especially when characters have conflicting goals.
Next week I'll talk about turning the skeleton into a full-on story, and the kinds of things I do when I get stuck. To you, though: What's your process? Do you follow a formula (like the 3-Act Structure) when you write, or do you wing it?
Well the next thing I do is a heckuva lot of brainstorming, with one goal in mind: the skeleton outline. (Note: I never actually called it that until now).
Much like in the idea stage, I slowly adding bits and pieces to the idea until I'm certain it's strong enough to support a novel. In the idea stage, I'm mostly looking at the premise and thinking, "I don't have a climax for this, but is this the kind of premise that could support a good one?" In the skeleton stage, I find that climax.
Put simply, I'm looking for the main parts of Syd Field's Paradigm (also known as a fleshed-out, screenwriting version of the Three Act Structure), specifically:
- Inciting Incident. This is the opening scene (or close to it), in which something happens to the MC that triggers everything else. Luke's uncle buys the rebel droids. Frodo inherits the Ring.
- Turning Point: The point of no return. The inciting incident ultimately leads here, where the MC is forced to leave their innocent world behind (or possibly they must choose to leave it behind for something greater). Luke's aunt and uncle are killed. Frodo flees the Shire.
- Midpoint: The reversal. Something happens, or some truth is revealed, that changes the direction of the story. This is sort of a screenplay thing, but I love it so much I use it in my novels. Ben Kenobi is killed. Frodo leaves the Fellowship.
- Climax: After a series of obstacles, successes, and failures, the MC faces their most difficult moment and, ultimately, must face the antagonist.
- Resolution: The MC wins (or loses), but I have to decide how much I want to resolve in this novel, and what I can leave hanging for possible future ones. (I have yet to write a novel where I resolve EVERYTHING).
Often this is the stage where my characters show up. I usually have an MC, of course, but he needs a villain. He might need a straight man, a foil, or a love interest. In order to figure out the midpoint and the climax, I have to start getting to know some of these characters, maybe give them their own arcs. One of them might be lying to another, but why? About what? What happens when the other finds out?
But even though the characters show up, I still know very little about them. I don't know their voice at all, their families or background, or even whether they're funny or not. But there is one thing I must know in order to complete the skeleton: I have to know what each of these main characters WANTS.
Without that, it's hard to get anywhere. But the cool thing is, with that, large parts of the story start writing themselves. Especially when characters have conflicting goals.
Next week I'll talk about turning the skeleton into a full-on story, and the kinds of things I do when I get stuck. To you, though: What's your process? Do you follow a formula (like the 3-Act Structure) when you write, or do you wing it?
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