Category Archives: The Writing Life

Until 2012, I was a pantser. Truth be told, I still write short fiction without a plan sometimes, but I’ve been fully converted over to outlining. It’s a long story, but it’s worth the effort. The very first novel I wrote, RUNS IN THE FAMILY, took me 18 months to write. Without a roadmap, I would write all the little ideas and delete troves of words before latching onto another idea and doing the same thing over and over again. It was a slog and I hardly remember finishing it. When I had the idea that became my debut novel SLEEPER PROTOCOL, I vowed that I wouldn’t do that whole awful process again. I determined that I was going to figure out how to write a novel. I’ll cut off some of the story here, but a book on screenwriting changed the way that I write. That book was “My Story Can Beat Up Your Story” by Jeffrey Alan Schecter. It’s a quick, easy read that gives you insights into character development, story pacing, and a structure that resonates with your reader.

Schecter’s book impressed the folks at Mariner Software enough that they built a screenwriting program called Contour that follows his method to the letter. When I found out about Contour, I quickly downloaded the free demo. From there, I ended up purchasing the program. It’s a part of my pre-writing process, which is the theme of the month, so let me break down how I get ready to write a novel.

Let’s say I have an idea already pretty formed in my head. Chances are that I’ve started gathering some notes on that idea in a notebook (yes, I have a notebook problem – there are never enough). I take that pretty formed idea in my head and start to make sure I can craft it into some of the key notions that Schecter teaches about character development. The takeaway here is that without good characters, your story doesn’t live to tell the tale. Forget to develop your protagonist and your book never reaches the end of Act One because there’s nothing to change them. Fail to develop a solid antagonist and your story dies in Act Two. By building the character development first, even before I start the plotting pieces and exercises, I have a solid idea of where the story is going to go based on the goals of my characters. From there, I go through Contour’s beats and guide sheets to develop a “straw” outline – that’s my first pass entirely through Contour. I come back and add more detail to the areas that need it – thanks to big text boxes and the like. Once I’ve done that, it’s time to open Scrivener, my writing software.

Once in Scrivener, I use what’s in Contour to help flesh out a basic structure. I create the building blocks in various ways – either folders and chapters for scenes, the cork board function for random thoughts or unplaced ideas, and any references I need to consult as I write. With the data from Contour about specific plot points, character goals, and what the characters need to discover/solve/act upon, by the time I’ve laid out my pre-writing, I have a serious amount of data already in the program ready for me to use. Yes, it seems like a lot of work, but for me it’s better than trying to handle those dozens of notebooks and pieces of scratch paper. If I take the time to enter the ideas in Contour, it asks the questions for me and my answers further flesh out the plot. From there, writing is relatively easy.

How easy? At this point, I’ve invested several hours in building out Contour and laying out Scrivener the way I want it to. For me, the end result is that I write faster. Remember RUNS IN THE FAMILY? Eighteen months from start to finish? With the method I laid out above, I wrote SLEEPER PROTOCOL in seven weeks. I wrote the recently published sequel VENDETTA PROTOCOL in about nine weeks. It’s a much faster process when I know the route that I’m going to take. By laying out the entire novel, if a character decides to do something differently that I want them to, I can let that play out a little and still have a clear ending in mind. I can adjust things as I go, which is much easier than stopping and starting all over. With a full outline, I know where I have to get back to, and it makes a difference.

No two methods are the same, though. You have to figure out what works for you. For me, that intense planning and note taking process leads to big changes with my speed and productivity, but it may not work for you. There are a million ways to write a novel, but they don’t all require any prewriting. They do require writing, so get to it.

The Incredible Shrinking Outline

October 20, 2017

Kim May

Craft & Skills First Drafts Ideas & Plotting Kim May Outlines The Writing Process Writing Tools 2 Comments

Asking an author about their pre-writing process, in some ways, is like asking them what color their underwear is. While it’s an interesting conversation starter, the answer is really personal. I know authors who do a full bio sheet for each character, and others who just keep it all in their head. Me, I write massive and slightly strange outlines.

The way I learned to write outlines back in grade school was the typical bulletpointed lists with headings and subheadings. That’s great for some people but it’s too vague for my needs. You see, because of a childhood illness I have a chemically rewired brain. All that rewiring made my memory a little wonky. I can remember the most trivial details of a conversation I had three years ago, or the exact placement of a particular book on my shelves. But remembering what I meant by “Morpheus starts a fight” isn’t quite enough to tell me what kind of fight I’d intended for that scene or even who he’s supposed to fight. If it’s an early chapter, yeah the chances are good that I’ll remember. However, when I’ve put 10,000 or more words down, too much time has passed for me to recall every little detail. Plus I found that putting all of those little details in subheadings is visually annoying to me. In addition to that, my theater experience taught me how powerful a few key words can be when I’ve forgotten what my next line is. With all of that in mind, what I do instead is this:

(If you haven’t read The Moonflower, there’s spoilers ahead)

Chapter 13

Ariana’s class goes on an outing to the Louvre. Mr. Talbott takes them through an unmarked side door and takes them down to the basement. One of the students asks how he got permission to come down here. While down there, Ariana finds an old carved stone frieze from ancient Greece laid out on a work table. It’s one of Sair’s. She recognizes it from his workroom. She decides that she needs to know more. She runs home and re-enters the Demos Oneiroi in order to find him and learn more.

Chapter 14

Ariana enters the dream. She searches for him in the field first, then checks all of the landscapes that they’ve visited before, but doesn’t find him. She is frustrated and scared for him. She tries to think of how he would search for her and remembers that he pops in and out of places at will. She concentrates hard on Sair and tries to will herself to his location. When she opens her eyes she is in a white marble Greek temple. A blindfolded woman dressed in white walks up and asks if she can be of any assistance. Woman is Dikaiosyne, the spirit of justice. Ariana meets Phobetor and Phantasos. Zosime is thrilled to see Ariana again and brings her in to see Sair. She says that she’s looking for Sair and the attendant escorts her without any difficulty.

I’ve found that a paragraph style outline is a lot more helpful to me. I can fill it with as many details as I like and since I’m the only person who sees it I can use run on sentences, poor grammar, wrong punctuation, leave out punctuation, use colloquialisms and slang…pretty much whatever I feel will give me the right cues. Sometimes the outline paragraph is only three or four sentences, and sometimes it’s half a page. I just keep writing until I get the full scene mapped out. I’ve even been known to put things in my outline that usually have no business being in an outline. Things like character descriptions or a song with the right tempo and mood for the scene that I need to play in the background. That doesn’t stop me from adding them because it’s a cue that I’ll need later.

I also don’t outline the entire book. I outline all of the major/really important chapters, whatever minor chapters I can think of, and then put all of those events in linear order. If I know what chapter 9 and 11 need to be but not exactly what comes between I’ll leave empty chapter headings and fill it in later. All of this though usually only covers about 2/3 of the book. It never fails that once I get about a third of the way into a manuscript I think of another cool twist or two that adds more depth and/or character development or I finally figure out what is supposed to be in a hole I left so I purposely leave room for those additional chapters.

Yes, there’s nothing unusual about that. I realize that many writers outline this way or in a way that’s very similar to this. But this is only half of my outlining process. What I do with that outline is where it gets unusual.

I’m a disciple of Alton Brown in that I like tools that can multitask and that’s exactly what my outline does. You see, there’s a reason that my outline is in bold. When I’ve finished typing out my outline, the very last thing I do before I start writing the book is make a second copy. The first copy of the outline stays in a file, pristine and untouched so I can refer to it when I’m working on subsequent books. The second copy is what becomes my manuscript. You read that right. I write the book in the second copy of my outline, right under the outline paragraph. When I’ve completed one of the items in the outline I delete it. That way I don’t have to re-read what I wrote the previous day in order to figure out where I’m at. I can look at what’s left of the outline for that chapter and immediately know where I left off. Life is crazy and NaNoWriMo in particular is crazy. Some days I only have thirty minutes to write and I can’t spend that time re-reading. This makes it so much easier for me to jump right into it so I can make the most of the time that I have. (It’s another reason that having the right cues in my outline is so important to me.)

So many pre-writing tools are single purpose but if you’re an outliner there’s no reason why it can’t serve multiple purposes and be adapted — even Frankensteined — to be tailored to your exact needs. Besides, it’s just a tool. It doesn’t have to be pretty. It just needs to do the job efficiently.

Six Jedi Mind Tricks for Writers

October 18, 2017

fictorians

Choice David Farland Publishing Starting a Career Superstars Writing Seminars The Writing Life The Writing Process Writers/Illustrators of the Future Your Writing Career Your Writing Environment 1 Comment

A Guest Post by David Farland

1. Write in your sleep. The day before you plan to write, stay up a little late and plot out the scene you will write. As you do, consider where it will be set, who will appear in it, when it will occur in relation to other scenes, who will be your viewpoint character, and what actions or changes will occur in that scene. Write a quick sketch of a paragraph or two about the scene, then go to bed. You subconscious mind will worry about the scene while you sleep, piecing it together, and in the morning it will appear vividly in your mind so that you write it with ease.
2. Create a “Sacred Writing Space.” When you plan to write, some people find it helpful to write down the goal: I will write tomorrow from 6:00 AM to 10:00 AM. Then, when you go to work, do not let anyone violate your time. That means that you don’t check your mail or talk to friends on Facebook. Your writing time must be dedicated to writing only. If you plan to start at 6:00 get your butt in your chair a few minutes early, open your files, think, and begin typing at or before 6:00. In the same way, the space where you sit must also be dedicated to writing. Some people find that over time, they get in a habit of doing some things—like watching videos—in a certain chair. It might be difficult to break that habit consciously, so it may be easier for you to move your chair or move into a new room to create your sacred writing space. I don’t know why, but I tend to write with fantastic ease while sitting in airports.
3. Shut the freak up. Doctor Jerry Pournelle once pointed out that the desire to write arises out of a profound need to communicate. If you stop communicating with others—by turning off your television and your radio, stop talking to friends, don’t answer emails, and simply let the silence grow around you, you will find that very soon your imaginary characters in your story will start speaking to each other, so that you will find yourself writing dialog. (This may take a couple of hours, but it works!)
4. Put yourself in the writing mood. Sometimes you sit down at your writing desk and just don’t feel in the mood to write. You may be anxious about other things, or tired, or whatever. Don’t let your mood derail you. Simply close your eyes and take a few deep breaths, then remember as vividly as possible a time when you were writing freely and without effort and enjoying the act. Hold that emotion for thirty seconds. If you don’t feel ready to write, try it again, only time hold in your mind a time when you felt excited to right. Hold it for thirty seconds. If that doesn’t work, try it again, only this time sit and remember times when you receive praise or awards or publishing contracts for writing. Hold the emotion for thirty seconds. You will soon find yourself “in the mood” to write.
5. Develop the habit of getting into your “Writer’s Trance.” We all have times when we slip into our imaginary worlds fully. Sometimes it happens when you’re driving, or exercising, or washing dishes, or late at night while listening to music. Once you find yourself in that sphere, simply stop whatever you are doing and write! I often keep a notepad in my car, for example, so that if I find myself vividly imagining scenes while driving, I can stop and take notes. In the same way, listening to music late at night often gives me inspiration, as does lying in bed and thinking about my book before I fully wake up. Find out what works best for you, and learn to court your muse.
6. Learn to think. Many times, a writer will try to sit down to write, only to find that he doesn’t know what to do next. Perhaps a certain character’s voice won’t come, or the writer hasn’t plotted his novel well enough to begin composing. Many writers feel intimidated at this point and feel “stuck.” Instead of giving up, simply imagine that you are getting up from your “stuck place,” and you are moving to a more creative spot. In other words, focus your mental energy on solving you writing problem. Getting stuck is a common part of the writing process, and it’s perfectly natural. A real writer doesn’t give up—instead he begin brainstorming, thinking about how to handle the upcoming scene. Simply put, you have to brainstorm the scene, looking at it from all sides, until you get excited about writing it. As ideas come to you and you look at the scene from different angles, some of those ideas will feel so “right” to you, that you’ll find yourself growing eager. When you’re ready, just write!

David Farland:

David Farland is an award-winning, international bestselling author with over 50 novels in print. He has won the Philip K. Dick Memorial Special Award for “Best Novel in the English Language” for his science fiction novel On My Way to Paradise, the Whitney Award for “Best Novel of the Year” for his historical novel In the Company of Angels, and he has won over seven awards—including the International Book Award and the Hollywood Book Festival, Grand Prize—for his fantasy thriller Nightingale. He is best known, however, for his New York Times bestselling fantasy series The Runelords.

Farland has written for major franchises such as Star Wars and The Mummy. He has worked in Hollywood greenlighting movies and doctoring scripts. He has been a movie producer, and he has even lived in China working as a screenwriter for a major fantasy film franchise.

As a writing instructor, Farland has mentored dozens who have gone on to staggering literary success, including such #1 New York Times Bestsellers as Brandon Mull (Fablehaven), Brandon Sanderson (Wheel of Time), James Dashner (The Maze Runner) and Stephenie Meyer (Twilight).

Farland judges L. Ron Hubbard’s Writers of the Future, the one of the largest worldwide writing competitions for new fantasy and science fiction authors. In the video game industry, he has been both a designer and a scripter and was the co-leader on the design team for StarCraft: Brood War. He set the Guinness World Record for the largest single-author, single-book signing.

David Farland has been hailed as “The wizard of storytelling” and his work has been called “compelling,” “engrossing,” “powerful,” “profound,” and “ultimately life-changing.”

Ready, Set, NaNo

October 13, 2017

fictorians

First Drafts Ideas & Plotting Narrative Voice Networking The Writing Life The Writing Process Wayland Smith No Comments

A Guest Post by Wayland Smith

It’s creeping on towards fall again, and that means it’s time to start thinking about NaNoWriMo (www.NaNoWriMo.org). I don’t claim to be an expert, but I’ve successfully complected it nine times, plus several CampNaNo successes. So I at least know what works for me, which I’m more than happy to share. Hopefully, some of this will work for you as well. If not, maybe it will spark some ideas that will.

While I try not to obsess over my word count, I do like to have an idea how I’m doing and where I need to be. I find the graph on the site a bit hard to read at times, especially if I’m staying up extra hours to write. So one thing I do is create a daily chart of my progress next to where I should be. It goes something like:

Day	Target	Actual Count
1	1667	2003 (If I wrote 2003 words that day)
2	3334	4107 (presuming 2104 that day) etc.

You get the idea. It’s simple, and I’m sure there are a lot of other ways it can be done, but I’m a big fan of simple. I set it up with the day and needed count for the whole month, and just fill in the right as I go.

With word count potentially under control, on to the next potential problem. One of the things that breaks my writing stride is names. I’ll be writing away and a new character, or place, or business, or whatever appears, and I’ll come to a screeching halt as I realize whatever it is needs a name. So as part of my preparation, I try to name as many characters, places, streets, businesses, and the like as I know about going in. It’s not writing in advance, so it doesn’t break the rules, it just smooths out a spot I know trips me up.

There’s a lot of talk about outlining vs not. Among writers it’s almost as bad as politics or religion. The two sides don’t get each other at all, and usually try to persuade the other that they’re wrong. I personally don’t outline. I have found it doesn’t work for me. Listening to professional writers talk, it seems to be split among them. I’ve found that favorites of mine are in both camps, and there’s no pattern that I can see. The right way to write is the one that works for you. Don’t ever let anyone tell you otherwise, especially if you’re just starting out.

The first year I tried NaNo, I sat down as Halloween ended, midnight rolled around, and November began. I had no idea what I was doing, no idea, no plot, no title, no outline. I managed the fifty, barely. That’s not a brag, that’s telling you it can happen, and not to get discouraged if you don’t everything set up in detail when you get ready to start.

What I use is a system I call landmarks. I don’t try to get the minute details worked out ahead of time, as my ideas, and even my characters, tend not to cooperate when I do that. But, if I know there’s an important plot point, I’ll jot down a few of those. “Hero gets to forest, goes through with monster fights,” “hero finds heroine, flirts, looks like idiot, she laughs,” whatever is appropriate. I’ll write down several of those in the rough order I think they should happen, and stay flexible. Some people use the term “pantser” which I find juvenile and annoying, truth be told. Dean Wesley Smith, a writer who certainly knows more about it than I do, calls it “Writing Into Darkness,” and I kind of like that term. Again, find what works for you. This theme will keep cropping up, because it’s important.

Where you write, and your environment, is totally up to you. Some people insist on absolute silence with just the right lighting. Louis L’Amour, one of the most successful and prolific Western writers, won a bet and proved a point by writing a story on the median strip of a major city street, with cars zipping by. Personally, I can write almost anywhere (I’ve never tried the street experiment and don’t really want to). I prefer some music when I write, often movie soundtracks and tv themes, since they tend to be instrumental pieces. Again, find what works for you.

The NaNo site gives you a chance to look into regions, and if you do that, you can find people from your area to chat with, share frustrations with, or look for mutual encouragement from. Often there are “write ins” where people get together and write. I’ve gone to a few of those, and I’ve enjoyed them, and gotten work done. As much fun as fellow writers might be, the goal is to get those 50,000 words minimum down, not make new friends or chat. If you’re taking a break, by all means, socialize a bit. But if you do that the whole time, you just managed to lose writing time. That’s a judgement call you need to make for yourself.

Breaks are important. You should occasionally stretch, eat, drink, shower, all that good stuff. Go ahead and laugh, but if you really get in the zone, you can lose track of those things. Trust me. Fortunately I have someone to throw things at me or say things like, “Save what you’re doing in the next few minutes, because I’m going to turn off your computer until you eat.”

Which is another point. Talk to your nearest and dearest and tell them what you’re trying to do. As a rule, they’ll be supportive, even if they don’t “get it.” But if you want to hit 50,000 in a month, you need time to write, which usually means less time for other things. You might have to let that favorite show go to DVR. You might need to not watch (or play) the game. If you give people warning ahead of time, they’ll generally understand when you say, “I can’t go out tonight, I have to hit my word count.” Plan your time, and remember Thanksgiving happens in November. If you have a big family gathering planned, you need to take that into account for your writing goals.

My last suggestion, which is a very strong one, is turn off your editor. The goal here is words on page. As many have said, “You can fix a bad page, you can’t fix a blank one.” As others have said, “Give yourself permission to suck.” Your first draft won’t be a publishable, salable story. It’s not supposed to be. It’s the base for making a good novel later. And it also might be that it’s not as bad as you think it is. Don’t reread what you just wrote, don’t go back and rewrite, keep going. You can polish it later, after November ends.

So there you go. Lay in the snacks, stock up your favorite liquids, clear your social calendar, and get ready. To paraphrase a wildly popular tv and book series, “November is Coming.” Give it a whirl, and remember: if you don’t finish, if you only get 1,000 words for the whole month, that’s still 1,000 more than you started with. Which is an accomplishment.

I write under the name Wayland Smith. My NaNo site name is Kingsmythe. Feel free to look me up. Good luck, follow your own path, and see what you can do. You just might surprise yourself.