Tag Archives: Writing

There are two opposing camps when it comes to how an author approaches writing their novel. On one side are the story ‘pantsers’, those who sit down with only a vague idea of their story and start typing. They discover the story through the act of writing it, usually through a multiple re-drafting process. On the opposite side are the ‘planners’, those authors who sit down and design a story to the nth degree before they actually begin the first draft. They might write almost as many words in the outline as they do in the first draft, but end up with fewer re-writes most of the time. Both camps have their avid followers who trumpet the benefits of doing it their way while pointing out the drawbacks of the other philosophy.

I’ve found that most authors fall somewhere in the middle between these two philosophies. We plan some, and we free-write some. Authors will shift along the spectrum between the two philosophies from one project to another, or as their level of experience changes.

I started as a total discovery writer, complete with many drafts of my first novel as the story evolved and I figured out what I was really writing about. Over time, and as I’ve gained a better mastery of the craft, I’ve crept across the spectrum toward the opposite camp. The more of an outliner I become, the more up-front work I invest in a story before beginning to write. Once the outline is ready, I can schedule a ‘burst-writing’ session – a focused period, several days to a week, where I can pound out tons of work based on that outline. I did that last year and wrote 52,000 words in one week. I’m planning to do so again soon with my next novel.

I’ve developed the following outline process:
1. First I do all the high-level brainstorming for the new story. This can take a while as I chew on a new idea and work it from the initial proposal into a viable story worthy of serious consideration. Lots of ideas don’t make it past this first step.

2. Once I feel the story has promise and I’m starting to get a good sense for it, I write down the foundational information I’ve developed so far. This includes character sketches, world-building, and initial plot ideas. The process of writing it all down and trying to work it into a logical, comprehensive whole identifies gaps and leads to new inspiration in fleshing out the world, characters and plot.

3. I develop the high-level plot outline. In my current story, this ended up being about 8000 words. I choose scenes, decide which characters to populate them, high-level conflicts, and how each scene will drive the plot forward. At this point, I’m looking to get my first full view of the complete story arc from beginning to end. I develop arcs for each major character to ensure I’m addressing things from each of their perspectives, and considering the plot through each of their eyes. This process yields tons of fresh insights, new twists to consider, and helps the story really come alive.

4. If this is a brand new story (as opposed to a sequel), I find it useful to write the first few chapters based on the high-level outline. This helps solidify the character voices and the feel for the world and how the story is going to work. I get ‘locked in’ to the story this way. I can usually tell if I’m on the right track now, or if there’s something still fundamentally wrong with the plot, characters, or world.

5. I develop what I call a mid-level outline. I run through the outline again, fleshing out the scenes, clarifying and adding detail. For some of the important scenes, I add sections of dialogue or work out how I’m going to approach the action sequences. This is particularly helpful in planning complex endings.

This is the step I’m on right now. I’ve taken the 8000 word high-level outline and expanded it to about 15,000 words so far. I’ll probably complete the outline at about 20,000 words or so. At that point, I could do another pass and produce even more detail, but the story is really coming alive for me, so I don’t think that will be necessary.

When I begin writing scenes for the first real draft, I keep the outline in mind, but this is where I free-write. The outline is the framework and helps me identify when my free-writing takes me off on new tangents. Sometimes those tangents are awesome – a flash of inspiration that I could not have figured out unless I was in ‘the zone’ writing full scenes. Sometimes they’re a bad idea that takes the story off a cliff. Any time I break the framework, I need to go back and analyze how this change will impact the story. Either it’s brilliant and the rest of the story needs to change as a result, or it’s a false-start that needs to be chopped.

If I decide to keep it, I have to make sure I can still maintain the story integrity. I have to ask: do my plot points and story arcs and character arcs still make sense? Will pacing be right? Will the ending still work? Adjustments often need to be made.

This sometimes seems like a lot of work, but it’s actually a lot less than the alternative. This way I can identify the impacts to the story early on and choose how to address it. Before, I would keep writing, maybe all the way to the end of the story before I realized other components needed to be changed. That would require an entire new draft, which was a lot more re-work and took a lot more time.

Through this blended outline/free-write approach, I’ve dramatically cut down how long it takes to write even a big-fat-epic-fantasy novel like mine.

How do you approach a new novel?

Method Writing

April 6, 2012

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Clancy Metzger Craft & Skills Writing Tools 1 Comment

Ever had your heart broke? Or lost someone you love? Or been in a traumatic accident? Or been scared witless? Or held your baby for the first time? Or got married? Or any host of circumstances where you felt an emotion strongly, so strong that even remembering it causes your heart to race or your skin to get goosebumps? Method actors use sense memory to recreate an emotion they can tap into for acting scenes. I’m going to suggest that writers do the same thing. It’s not the only way – but it is one way.

If we can connect with our emotions to write a better scene, I think we should. Not gonna say it can’t be exhausting, but then it depends on the emotion – right? Being really in tune with our feelings is not always easy, remembering difficult ones – even harder. But, if I can make a reader cry because my character is sad over a loss, then I am doing my job.

When I read, I read to feel a certain emotion. David Wolverton/Farland said (and I’m paraphrasing) that we like genre fiction because of the emotions it brings out in us and they are mostly named for the sense of what they inspire in us – SciFi/Fantasy – a sense of wonder, romance – romance, mystery/suspense – a thrill of suspense….and so on…. Seems obvious, right? But, I’ll admit I hadn’t thought of it until he said it. And, I have to be in the right mood to read a certain genre. And, I have to know what the genre is before starting or I will have an incorrect set of promises to be kept by the writer.

As a tangent – ever start reading something expecting one thing and then it doesn’t meet your expectations? Every time this has happened to me, it was because the rules of the genre weren’t being met. We make contracts with our readers (again paraphrasing Dave and others) by identifying with a genre.

When I read romance, I better know right away who my hero and heroine (h/h) are and no matter the ups and downs (required) they have to go through they better end up in love at the end. That’s what I expect when I pick up a romance and that’s what I better get or I am going to be one unhappy camper.

Each genre has their own specific rules or expectations and we, as writers, need to follow them in order to keep our readers reading. Tangent over.

Now – why are these emotions so important and why would I want to relive potentially painful memories in order to write? Because if I can remember how I felt living that emotion, I may be better able to convey it to my reader. I write romance, so when the h/h are having troubles and are feeling sad or angry over those troubles, I need to have my reader identifying with that sadness or anger. I want them to cry or ball up their fists alongside the character. I want them to laugh or get turned on right beside the character. The emotion should resonate with them. No matter what that emotion is.

So, I challenge you as writers to remember those strong emotions, recall what was going on with your body – shallow breathing, increased heart rate, tight chest, big smile, chills, and so on. Remember and write from that place.

Gift your readers that experience. Be a Method Writer.

Superstars Week, Day 2: Top Benefits of the Superstars Seminar

March 6, 2012

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Ace Jordyn Craft & Skills Frank Morin Jason Michelsen Publishing Submissions Superstars Writing Seminars The Writing Life Writing Tools No Comments

Today, Day Two of Superstars Week, three more Fictorians share some of the top benefits the Superstars Writing Seminar provided to us.

* * *

Frank Morin: Superstars was a landmark event in my writing career. I came to Superstars thinking I knew what it meant to be a writer. I left knowing what it takes to succeed.

The presenters shared so much knowledge in such a short time, it’s hard to understand until you’re there. Of all the brilliant advice, here’s what I found most useful:

1. Volume matters, particularly in today’s market. One book per year is minimum. No longer can a writer slave over a manuscript for years before it’s ready for release. Just like everything else in our world, the pace is faster than ever. Competition is fierce and readers’ attention spans are short. They have too many other options available. They won’t wait for years. Kevin J Anderson said early in his career, he was querying with over 30 separate pieces simultaneously.

2. Contracts. This is business. Publishers, and even some agents, are not your friends. The only person who is really looking out for your interests is you. Learn about contracts, ask questions, and don’t sign anything you don’t fully understand.

3. The economics of publishing. We got a glimpse at the economics involved from both the authors and publishers points of view. It was eye opening. I had never realized publishers generally lose money on an author’s first book. A publisher is making an investment, hoping to reap a return on that investment through future books by that author as their fan base grows. That helped explain why most new authors get very little for a first novel. Understanding how the industry works allows us to approach it as professionals, with correct expectations.

* * *

Ann Cooney: Superstars was wonderful because now I’m able to manage my career with confidence and approach it with professionalism rather than naive timidity.

Superstars showed me where the bar sits to be a professional writer. For example, if you’re serious about writing, WRITE! A novel a year is the minimum output. So, that first year after Superstars I wrote two novels to complete the trilogy I had started. Last year I researched and wrote another novel. This year, my new research complete, I expect to complete one, possibly two novels for a series. So now when I talk to publishers and editors, I have a product line which show I’m serious because I have more than a one-time dream I’m selling.

Before Superstars I found the idea of talking with anyone in the industry intimidating because I felt so naive. And I was. Now, with some understanding how things operate, it’s easier talk to publishers, editors and successful authors in a time when the industry is changing so much.

When I saw how much the superstar authors give back to the writing community I was inspired to do more than I had been. I’m a short story contest judge. I’m editing an anthology. I help other aspiring writers and support writing groups. The neat thing is that the more I give, the more I learn and grow and my network of resources and contacts are always expanding.

In short, the greatest thing about Superstars is that I have great role models who have not only inspired me but have shared what it takes to make it in this industry. And for that, I’ll always be grateful. Thanks!

* * *

Jason Michelsen: I can’t recommend the Superstars Writing Seminar enough. Even after going through two different writing programs at the undergrad and graduate levels in college, there were so many things left untaught during my education about the business side of the industry. I suppose it is a school’s job merely to teach its students how to write better, but, as I learned at the
seminar, there is so much more to being a writer than just writing.

For one thing, we never discussed contracts in school, and if you ever want to get paid as a writer, knowing about contracts is important. The lecture by Eric Flint on contracts was invaluable. Granted, there are a lot of writers out there who may not read their contracts carefully and leave all negotiating up to their agents, but I for one want to know exactly what’s in my contract should I ever be lucky enough to get published through traditional means.

Getting published through traditional means typically requires an agent, something else that was never discussed when I was in school but is covered at length during this seminar. It’s true that just about every author has their own unique story about how they acquired their agent, but the Superstars Writing Seminar prepares you for what you need to do when you’re ready to go to market with your finished manuscript.

Knowing a little about the market doesn’t hurt either. Okay, knowing a lot about the market is ideal: what kinds of books are selling, what publishing houses publish the types of books you write, what you might expect to make as a mid-list author or national bestseller, etc.

Sure, discussing salary might be jumping the gun a bit for most seminar attendees, but that’s the beauty of the Superstars Writing Seminar. Not only do you get access to a wealth of knowledge about the publishing industry, you also get access to some of the most prolific writers producing speculative fiction today. So if you go, hang out with the authors during breaks, ask them questions, network and make connections with your fellow attendees. You’ll be glad you did!

See you in April at Superstars!

Road Maps Help Get You There

December 30, 2011

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Clancy Metzger Craft & Skills The Fictorians The Writing Life Writing Tools 7 Comments

I have found in my writing and in my life, that if I make a list, take notes, outline, plan – I will get whatever it is needs done just that much easier and quicker.

I’m talking about making a six month, one year, five year plan for your writing and for your life. They aren’t the same, although sometimes it may feel that way. As a sidebar – life is what feeds our writing, so don’t ignore it or you may find your writing drying up and getting stale from lack of fresh inspiration.

Family, friends, classes, the bowling league, hobbies, reading and the latest movie are not only food for your soul but food for your writing. Do you know how high a priority they are? Will you have that on your list in a year or five? Think about it…

My friends know my schedule is hectic, so if they want to have time with me, it has to be scheduled. I make time for my friends because they are important to me, but I also have to literally make time for them or they get lost in the craziness of my schedule. They are a high priority and on my master plan, so that is covered.

I recently had to turn down helping on an event in 2012 I really wanted to do because I didn’t have the time to commit to it. Is it now on my plan for 2013? You bet it is. I have a plan for it and other things will have to get sacrificed so I can participate, but that’s ok. I’m planning ahead so I know what’s coming up, what needs done, and when.

What about your writing? Will you have one book done a year, two a year, one epic and one novella? What’s your goal? What’s the plan to get there? How are you going to accomplish it? Do you write intently one weekend a month, a page a day, an hour a day? All this planning helps you accomplish your goals. It really does.

If you spend a little time planning ahead, you don’t have to think about it, you can just get on with what needs done. An hour of planning on Monday for the week can save you several hours wasted while you figure out what you needed to do each day.

In my writing, I’m a plotter not a pantser, but I recently tried pantsing a novel. I got a good start on it, about 30K and then I had no idea where I was going. I knew how it ended but I had no idea the route to get there. I was completely lost. Now, I’m having to map my course so I can finish my story’s journey.

I may be a little over-zealous on this planning issue, as I am the person who had a 47-page itinerary for a ten-day road trip from coast to coast, but maybe that’s just how I need to operate in order to get to my destination. Some of you may be able to jump in the car and drive with no plan, but I suspect most will fall in between the two extremes.

I’m just suggesting that you consider planning. See if it doesn’t make things run smoother. If you aren’t already a planner, try it as an experiment. Figure out the goal for the week, day by day, and follow it. Let me know if it helps.

My goals for the next year?

Writing – Do my regularly schedule blog posts on all three of my sites, write at least 4 hours a day/4 times a week with a goal of finishing two books during the year, and actively submitting.

Life – Do not take on any more commitments, schedule time at least once a month with my “best-y”, schedule my days so they are more productive, and ensure my writing time is held sacred.

Go forth and plan…Be ‘Fictorious!’