Category Archives: Ideas & Plotting

I’ve always been able to hold the broadest of outlines in my head. I always knew what the story was, who the characters were, what the goal was, what would happen at the climax and how the book would end. I’d also write in-depth character backgrounds and then I’d put the story in their hands and the characters would tell me how to get to the climax and reach the story goal.

This method of sort-of-plotting and writing by the seat of my pants worked well enough writing fantasy stories. But I wondered what I’d do if I had to provide an outline for a novel or a series. I also wanted to write a mystery/crime novel. Mystery conventions include planting solid clues and red herrings, and developing a credible outline of events. Flying by the seat of my pants, wasn’t going to accomplish this. I had to learn how to outline.

After studying and reading about outlining for mysteries, I created a system which works for me no matter what genre I write in. It’s a mash-up of many bits of wisdom and has its own gaps. The first few points can be done in any order.

1) Know the story goal and the consequences of not meeting the story goal. Keep the stakes high. For example, Zex must steal back the magic cooking pot from the ogre because leprechauns are dying because the gold which sustains them.

2) Build the world. The world determines what your character can/can’t do and the rules which must be followed or broken.

3) Understand the genre requirements and the type of story you are telling. Is it a fantasy (elements of magic or the fantastic) which is told using the Hero’s Journey story arc? Is it a rags to riches, folk tale, thriller, revenge, forbidden love, or crime story? In a fantasy, you’ll need to know how the magic system works and the cost of using magic. In a mystery, you need to know the crime scene, the victim, the perpetrator, and those involved with the victim before you can outline.

4) Create character backgrounds because that will inform their motivations and will determine how they act and react.

5) Figure out your theme – you’re writing the story because you have something to say about the human condition. That something is what you are passionate about. Theme can be as simple as good versus evil or as complex as exploring how people deal with death. Once you’ve thought about the previously mentioned items in this list, take a moment to reflect on what the theme or point of your story is about. This is important because it affects how the story is outlined and written.

6) Assign each character a position or stance on the theme. Some will be for it. Some against. All to varying degrees. For example, let’s use the theme of the ends justify the means for our story with Zex the leprechaun. You must decide if he agrees, disagrees, or believes some variation (sometimes it is necessary) of this theme. All characters (or groups) should have differing views on the matter because that is a source for conflict and tension.

7) Note the beginning, the turning point, the climax, and the end of the story. These are the goal posts you are aiming for. If you are using the three, four or five act structures, or a story telling structure such as the Hero’s Journey, note the events which meet the key requirements for that structure. This should include genre story telling requirements.

8) Broadly fill in the gaps. For mystery, I chart everyone’s motivations and their relationships with the victim. I note the crime scene details then I plot the events leading to the crime scene, and where everyone was when the crime happened. I know who the perpetrator is and how that person will be caught. Then I plot the cat-and-mouse game of clues and red herrings. When writing fantasy, I employ a similar method because the protagonist’s journey is about a problem needing to be solved.

9) Fill in the details by creating scenes. If you’re a pantser, please don’t panic, this method I’m about to share still leaves lots of room for the imagination. I use this system to outline a few scenes at a time (not the entire novel). The broader outline (points 7 and 8) keeps me focussed on the theme while this one allows for tension, conflict, and action on the scene level. I call this the “And Then” method and I must credit author Mahrie G. Reid for showing it to me.

And then something happens. And the character feels ….

For example: And then Zex tripped over an invisible rope and fell into a trap. He panics over his silliness for watching the butterfly rather than focussing on the task. And then the ogre hovers on the rim of he pit, telling Zex that he will be cooked in the magic pot for the ogre’s dinner. Zex feels frightened. And then, Zex swallows his fright and forces himself to outsmart the ogre. He feels emboldened.

Or for a romantic fantasy: And then when Josh rips off his shirt, Kimberley sees the slash of the dragon’s claw across his back. At once, Kimberley feels her heart flutter and she feels faint at the sight of blood. And then Kimberley vomits and feels embarrassed.

10) Now, it’s time to write the story. I write the first few scenes, and then I go back and use the “And then…” method to plot out the next few scenes.

As you write the story, the outline will change. How things happen will change. That is normal and shows that the characters, the plot, and the conflicts are dynamic. Using some form of outlining has the benefit of faster writing, less major revision, and it will help you write the dreaded synopsis because the key elements of the story are determined.

Welcome to December – 2017 Year In Review

December 1, 2017

Kevin Ikenberry

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This month, the Fictorians and a few guest bloggers will share their successes, lessons learned, and their challenges as we collectively pursue our writing careers. I hope that some of their stories and posts resonate with you. We’re all at different places in our journey, but the idea that we’re all stepping forward is critical to remember.

Every year, I set Writing Goals. Those goals have become more ambitious over the last few years and I’ve been challenged to get my butt in the writing chair to achieve the things I wanted to at the beginning of the year. I opened up my schedule to attend more conventions and events, I ambitiously took on a new project that was not on my writing goals at all, and I managed to get two books published in the last half of the year. I’ll share more about those projects later this month, but there were two things that happened this year that harken back to something that Kevin J. Anderson talks about: “Popcorn Theory.” The idea is that as writers, we can’t treat our stories like a single kernel of popcorn. If we were hungry, we’d starve cooking one kernel at a time. Having more projects going breeds creativity and creates unique opportunities. This year, I’d decided to take a break from writing all short fiction to focus on writing/editing two novels. Yet, opportunities knocked and I listened.

The first was an opportunity I’ll discuss more in a couple of weeks, but I received an invitation to submit a story for an anthology in the bestselling military science fiction series of the Four Horsemen Universe. I had a blink in my schedule, so I wrote the story, turned it in, and saw my whole calendar for the year derailed when not only did editors Chris Kennedy and Mark Wandrey love my short story but they asked me to write a novel with my character Peacemaker Jessica Francis. But, more on that later.

Very soon, AVATAR Dreams – An Anthology Inspired by the ANA X-Prize, will be published that features some of the biggest names in science fiction. Edited by Kevin J. Anderson and Mike Resnick, this collection features stories from Jody Lynn Nye, Todd McCaffrey, Martin L. Shoemaker, Tina Gower, Marina J. Lostetter, Brad R. Torgersen, Josh Vogt, Dr. Harry Kloor, Andrea Stewart, Ron Calling, Kay Kenyon, and Kevin Ikenberry. That’s right – me. Opportunity knocked and I was in the right place.

Kevin J. Anderson looked across the table at me and said, “I need another story for the AVATAR Dreams Anthology. Can you get me something in two weeks?”

Yes, I could.

From story idea to turn-in was seven days. It was a crazy, hectic time but I had a story crystallize in my head that combined the movie “The Fast and the Furious” with Isaac Asimov’s Fantastic Voyage. With the help of my friend Lou J. Berger, some bacteriology tutoring from my father (putting that PhD to use), and a couple of late nights, I turned in a story faster than expected. Hearing that it was a great fit for the anthology was icing on the proverbial cake. But, my take away from the experience was that I could take a short-notice opportunity and do something good. It’s the fastest I’ve ever written a short story and I’m pretty proud of “That Others May Live.”

So, as we go through the month of December and hear different stories, there’s a chance you’ll hear opportunity knocking. Don’t be afraid to answer the door. Everybody on the blog this month has been listening, I’m sure.

Writing With A Full Plate

November 22, 2017

Nathan Barra

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I have always felt that National Novel Writing Month was scheduled during one of the most inconvenient times of the year. Many of us in the United States have significant travel plans and social commitments for the Thanksgiving holiday. College students are working on end of term projects and preparing for final exams. People with full time jobs are feeling the push to meet year-end financial goals, working extra hours to close out projects, and getting ready for the next financial year. To top it all off, Christmas looms just on the horizon. With all the commitments pulling at our time and attention in the month of November, keeping up a consistent work count is hard. But maybe that’s perfect after all.

You see, we can’t just be able to write when things are easy, when our writing space is clean, organized, quiet, and perfect, our beverage of choice is at our elbow, and we have neither a care nor a commitment in the world. If I waited for those moments to put my butt in the chair and fingers on the keyboard, I’d get 10 pages done a year max. Especially for those us trying to break into the business, there is constant distraction, ever growing commitments, and a million and a half other things that need doing right the hell now. For people like me, writing isn’t about quiet afternoons and hot cups of tea. It is about carving moments out of the chaos to make the dream work.

Having NaNoWriMo during one of the most socially active months of the year teaches us to manage our writing while still honoring those commitments. Writing can be all consuming if you let it. I’ve met more than one aspiring or published author who bemoans driving away spouses, losing touch with friends and siblings, or missing parts of their children’s lives because of the muse. I never fully realized the toll that writing takes on those we love until I saw how worn out and lonely my girlfriend was after my first NaNo success. I’m going to find a way to be a prolific author AND give those I love the time and attention they deserve. I can’t give you any advice on this one, as I’m still working on the balance myself. All I can tell you is that I, like many of you, need the people in my life and that we can make it work.

We all have full plates, but learning to make time between the courses is part of the process. NaNoWriMo provides structure to help us learn that lesson. It gives us a concrete goal, an international group of supporters, and a really busy month in which to make it all happen. If you are anything like me, you aren’t going to find a two-hour chunk of time that fits neatly in your schedule. Rather, you are going to take your laptop to work and write during breaks and lunch. You only have fifteen minutes? Well, then grab that cup of coffee and boot up the laptop. Write fifteen words. That’s a sentence, maybe two. Pack it up, go back to work. Eat your lunch quickly at your desk, then pull out the laptop. For me, lunch break writing is the hardest. I work at a computer all day and often am mentally worn out even by lunch. However, I have found that escaping into fiction, turning off the analytical side of my brain and letting the creative side reign, helps refresh me to finish out the day. Just remember to set an alarm for the end of lunch before you get lost in the joy of writing, only to be interrupted by a boss who passes by your office at 13:30 and asks you what you are doing. Because that never happened to me, not four times.

Furthermore, you don’t have to be putting words on the page to be doing writing work. I find that some of my best fiction thinking gets done during my commute home, while on my bicycle, or when I’m pushing a lawn mower around the yard. I crank up some high energy music, focus the active part of my brain on the task at hand, and get to doing what needs to be done. Meanwhile, my unconscious mind invades my thinking brain, co-opting some of the real estate to work out plot problems, have conversations with my characters, and just imagine the possibilities. I’ve had so much success with this, that physical exertion has become one of my main strategies for working my way around or through a block. They key is to carve out a little time after the physical activity to make use of that authorly momentum. It doesn’t need to be much, maybe thirty minutes or an hour, but taking the time to get the words that build up onto paper is essential.

The last piece of advice I can give you about having a packed plate and finding the time to write is that you must maintain your momentum. I don’t care if it is only one sentence, spend the time every single day writing something. Sometimes that one sentence will turn into two, then a couple paragraphs, then ten pages. Sometimes it will stay one sentence, but it will be more than you had the day before. 50,000 words may feel like a sprint, but really it’s just preparing you for the marathon. Daily practice builds those pathways in our brains, strengthening our writing muscles, and making progress. Even if it is only one sentence. They key is that it’s something.

Writing Stories – One Layer at a Time

November 16, 2017

Frank Morin

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I love in Shrek when he tells Donkey that ogres are like onions. They have layers. Even though Donkey suggests layered cake would be a better image, the onion analogy really works.

Books can be like ogres, onions, or cake, depending on the day and how your current scene is going. They’ve got lots of layers, and sometimes discovering a new layer can dramatically affect how we approach a work in progress.

Diving deep into a new novel during a focused writing burst like Nano can really help the story come alive in ways impossible to do when we’re outlining or planning or just writing a chapter a week. When we get deep into the zone, we can see things about the story we might have never imagined. We peel back the outer layers of plot, setting, and outer conflict to some of the deeper layers of motivation, inner struggle, and world view of our characters that shape their decisions and how they react to the world.

Those moments of discovery are awesome for both pantsers and plotters, and they’re key to ensuring that a story is deepened as well as broadened. We need to feel the heart of a story and make sure all of those layers align. Until we know those layers and make sure they build upon each other in a solid, optimized way, there’s at least one more draft that still needs to be done.

I’ve learned the hard way that even when I thoroughly outline a story, I don’t really know that story until I’ve worked through all those layers. I might write a huge 200,000 word draft that only touches on the outer layers. It’s not until I begin working edits and diving deeper that the true story emerges. Sometimes that requires some pretty substantial rewrites, but that’s a necessary price to pay for producing a professional quality story. If we quit before that, we’ve cheated the story and ourselves.

Here are a few things to ask yourself about your story to check your progress and make sure you haven’t missed any important layers:

Is your plot finished? Do you have a solid arc, including your plot points? Do you know the ending?
Is your setting well defined? Are the locations where scenes take place fleshed out with sight, smell, sound, taste, and touch? Is your blocking clear and easy for readers to follow?
Is your main protagonist’s challenge clearly defined, with a clear antagonistic force in place, with rising stakes.
Do you know what motivates your protagonist? Your antagonist? Other main characters? Why do they see the world the way they do, and are they open to changing that world view, learning, and growing, or are they fixed, closed-minded, and set in their ways?
What is your protagonist’s inner struggle?
What do other characters struggle with? How do they handle stress? How do they handle change?

If you can answer all of those questions with confidence, you’re well on your way. Keep charging ahead to the end. If you’re not sure, take a few minutes to think about these layers and consider how answering them might add depth and meaning to your story.

About the Author: Frank Morin

Frank Morin loves good stories in every form. When not writing or trying to keep up with his active family, he’s often found hiking, camping, Scuba diving, or enjoying other outdoor activities. For updates on upcoming releases of his popular Petralist YA fantasy novels, or his fast-paced Facetakers Urban Fantasy/Historical thrillers, check his website: www.frankmorin.org