I’ve been talking about making this series for about two months now, and I finally got around to making the first episode. Welcoming to Behind The Novel, the series where I’ll share my novel writing process every step of the way.
Originally I was going to just jump into showing you the writing process, but after a little consideration, I thought it best to start with the most prominent tool I use: Scrivener.
So this first episode is a brief introduction to Scrivener. You’ll learn why I like it, what benefits it provides, as well as be reminded that masterpieces are written using everything from Microsoft Word to typewriters to pen and paper.
So if you can’t afford Scrivener, never fear. In this case you’ll be in good company. I don’t think Dante used Scrivener either when he wrote The Devine Comedy.
Anyway, I hope you enjoy the video. There are more on the way.
You’ve come up with the perfect idea for a novel. Now it’s time to sit down and write. You open your word processor, type in your working title and name (can’t start without that), go to page one and…. freeze. What now? Do I just write? Where do I start? How do I know where I’m going? I’m using Word, do other writers use Word? And…. and… and…
Who knows, maybe when you started your first novel it was a breeze. You just started typing and it felt right. But if you’re anything like many new writers out there, you might not be aware of the many ways novels get written. And even if you do know, you probably don’t know what works best for you until you discover them and give each a shot.
Over the last fifteen years, I’ve given several writing methodologies a shot. My process is ever evolving as I try to find the balance of several aspects, which we’re about to dive into.
In this blog post we’ll answer the following questions
How can I plan my novel without getting too bogged down in the details?
How can I plan it and still maintain the freedom of free-writing?
How can I create a basic elevator pitch before I’ve even started writing?
How can I plot my novel and ensure my characters have a compelling arc?
How do I make sure each scene feels complete?
What word processor should I use to organize all of this?
This is a medium-depth overview. I’ll expand on each point in future blog posts, but for now this’ll be a great jumping off point if you’re wanting a crash corse in novel-writing.
Last note before we get started: this is my method, and my method is constantly changing as I hone it to suite my needs. Your method may turn out quite different from this. Use this as a jumping off point, and then change it to match your style.
Planning your novel
Gasp! I said ‘plan’. If you’re among those who fear or despise this word, worry not! Read on and you’ll find a most satisfactory compromise. You see, I used to hate planning as much as anyone, I still don’t love it. But I’ve discovered a hybrid method that will work for even the most hardened hater.
Planning vs. Pantsing
For those of you who said, “huh?” to the paragraph above, let’s touch on case of plan v pants for a second.
Planning refers to preparation before writing, often in the form of an outline, sometimes in the form of lore or backstory, etc. You might also see it called plotting or outlining.
Pantsing refers to “writing from the seat of your pants”. It’s also called discovery writing — but really, who uses two words when they could use one. In essence, it’s writing without preparation H… I mean a preparation stage (stupid autocorrect ).
I’m not going to spend too much time exploring planning vs pantsing since it’s already been discussed ad nauseam on every writers blog on the planet. And, frankly, it doesn’t interest me. If you want more a more in-depth study on the subject, google it.
What is interesting to me is why, after years of being a staunch pantser, I’ve become something of a hybrid. So let’s talk about that.
The early years, or writing without a plan
The first three novels I wrote were 100% done without preparation — 2 unpublished, the other is Discovering Aberration which you can get for free in the doobly doo below. It felt great. When others talked about planning, I scoffed. I couldn’t understand how anyone could cage themselves with an outline.
Then came revisions… I found my plots meandered. It lingered on some plot threads long past there due, lacked proper foreshadowing, and the pacing was all over the place. In the end I was forced to do several major rewrites. I mean major. It was a bummer and added at least six months to the writing process.
Attempting to outline
Eventually I attempted a full outline for another project, The Gin Thief, but as I wrote the mid to late sections, everything felt like a guess. It’s hard to account for character reactions before your characters are even written.
When it came to drafting, I found I deviated far from my plan and all that work planning seemed wasted. Furthermore, I felt confined by my own preparation. Turns out, plot ideas may sound great in the outline phase but in practice feel forced. There’s too many unaccounted for variables early on.
So I abandoned the hardline planning approach, and today follow a hybrid method that’s working extremely well for me.
The hybrid approach to planning
Today I’m somewhere in the middle. I plan just enough to give me direction, but not enough to box me in. Let’s dive in to what this process looks like.
Acts in bullet point form
First, I break down my novel into three simple lists of arcs organized by Act. Three’s just a number, you can do five or seven or whatever the hell you want. The three act structure is common and it’s what I find myself gravitating to recently, but Shakespeare wrote in five acts and he’s pretty good.
Below is an example. It’s the three acts of my novel Grim Curio, which I’ve nearly completed writing. Spoilers below, but it wont ruin the book even if you know the vague details.
James and Simon save a village from a strange, alien disease which came from another reality. It doesn’t go well.
Nat joins nihilist cult.
Scientists experiment with the nature of reality.
James and Simon struggle to return home. When they arrive their home is drastically changed.
Scientists open a hole in reality.
Cult attacks scientists.
Revolution has broken out. Simon is caught up in it.
Reality is torn, leaking. James tries to fix it.
All hell breaks loose.
Notice how simple it all is. Just the major beats of the story in a loose arrangement. Best of all, before I’ve even written my novel I can give an elevator pitch. It’s not as refined as it will be later in the process, but having these bullet points gives you ammunition when anyone asks you, “so what’s your book about?”
Here’s an elevator pitch built from the bullet point list above: “Grim Curio is about these guys who save a village from an otherworldly disease and get punished for it. When they return home, everything has changed. Reality is torn, and a revolution is on. And that’s not mentioning the nihilist cult in the middle of it all.”
Fleshing out characters
Now we know the basic arc of our novel. You have a lot of options at this point. If you were a hardcore planner, you might start a flowchart of every scene. If you’re a lore geek, you might start nailing down all of the back story. If you’re a pantser at heart, you might just start writing.
As for me, I’m obsessed with character. I believe characters are why we read books. Everything else is just sugar on top, plot included. So my next step is spending some time getting to know them.
A characters beginning and end
First thing I like to do for all major characters is determine their starting and ending state of mind. This doesn’t need to be overly complicated. Could be, “Jill starts out bad, becomes good,” or “Sam hates dogs, learns dogs are man’s best friend”. That kind of thing.
And then there are characters who don’t change, static characters. There’s nothing wrong with a static character, but you should know before hand if your character is going to be unchanging, and why.
In the case of Simon, from Grim Curio, he starts as a man who believes he understands the world but has little affect on it, and ends as a man who realizes he knows nothing but the masses follow him regardless.
As for James, he’s more static. There are changes, but its much more subtle and internal. James is a man who always needs to be working, being stagnant leads him into depression. He begins believing in himself but even as his successes are marred with terrible consequences. Because of this, he stops believing in himself, continues trying anyway, and finally gets things right.
Creating character arc through sign posts
We now have our major characters beginning and ending state of mind. Time to fill in the rest with sign posts. These are plot points you can aim towards while you’re writing your scenes. If you know that Jaclyn is an asshole who becomes a saint, then each of these sign posts are the moments where small amounts of change occur. By the end of the novel, all of these small moments of change will build up to a big revelation.
If you want more information on this, I recommend reading Creating Character Arcs by K.M. Weiland and watching these two Brandon Sanderson lectures. These resources changed my outlook on crafting character, and I consider them required reading/viewing.
Do I really need to do all this work before I start writing?
HELL NO! You don’t need to do anything you don’t feel like. Jack Kerouac famously wrote On The Road in a single drugged out session, and that’s considered a masterpiece. So go do that if you feel like it. Doesn’t matter how you write it as long as it gets written.
There are zero rules to writing other than you need to put words on paper — or e ink. Don’t let anyone push you around with their rules. Your weird unheard of method may result in a best seller or critical darling. I don’t know, and neither does anybody else.
I don’t even always stick to my own rules. They are there to service me, not the other way around. So I deviate when I feel like it. But I’ve found having these methods in mind greatly helps me, even when I don’t follow them.
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The drafting process
If you’re following along, you’ll have bullet pointed your major arcs, you’ll have created you’re major characters with beginnings and endings in mind, and you’ll have some scenes you can aim towards via character sign posts. Now it’s time to actually write.
If you’re brave, you can start by writing scene one all the way through and then move on to scene two. This is the most straight forward approach. But I’ve found simply drafting an entire scene from scratch is fraught with flaws. It takes too long, has too many uncertainties, requires too much mental gymnastics as I attempt to account for later scenes, and is prone to unexpected bouts of writers block.
But I made a brilliant discovery. Write descriptions of scenes before writing the scenes themselves. I’m pretty sure I didn’t come up with this. It’s been a long time since I read Write. Publish. Repeat. by Sean Platt and Johnny B. Truant, but as I recall they have a similar method.
Before we talk about that, let’s take a look at our most potent weapon, the word processor
Sorry. This bit sort of comes out of nowhere, but I want to make sure I include it because it’s such a fundamental part of my process these days. Let’s talk about Scrivener for a sec.
Scrivener is a word processor that’s built with novel-writing in mind. You can organize things by act, scene, character, tag, and so much more. Drag and drop whole chapters at a time. It’s well worth the $45, and is by far my tool of choice.
Above is an older version of Scrivener (I need to upgrade to version 3). What you see is Grim Curio broken up by act, and each act broken up by chapter, and each chapter broken up by scene. This is how I write, and I find it invaluable. You’ll see why next.
Creating scene descriptions
Let’s say today is the first day of drafting for my new project. I have my characters in mind with some sign posts to aim for. What I do now is create a new scene file, but rather than start writing a fully fleshed out scene, I write a very short description of the scene I’ll eventually write. My goal is a rough idea of the scene in a couple of paragraphs.
Here’s a contrived example:
James enters the village, and immediately is struck by their strange customs. Everyone is gathered around a great dead tree that’s scorched black. The people are coated in mud and dirt, and as they work they toss more dirt on their skin. Their homes are burrows in the ground.
As James approaches, they notice him and send someone to intercept/question him. He makes some basic mistakes, but recovers a little. They lead him to talk to the village elders, but their conversation is interrupted by screams.
I’m not trying to write well here. I’m just getting a basic idea of how the scene will progress. When that’s done, I create the next scene file and do it again. I’ll do this as far as I possibly can before it feels like I’m forcing it. Usually this is a few chapters worth of scene descriptions.
As I read through the descriptions, using Scrivener I can rearrange them easily if needed. Later I’ll come back, go back to scene 1, and start fleshing it out.
Writing the scene
From here, it’s pretty straight forward. Go through your description and expand. Don’t worry about writing perfect prose. Just get the scene done and feeling pretty good. Then move on to the next scene description and expand that. Do this over and over until you reach the end of your written scene descriptions.
Now that we have a series of drafted scenes, I go through several passthroughs to improve them.
Phases of rewriting
I tend to go through my scenes at least four times. Each time, I focus on a different element of storytelling.
First passthrough I focus on character. I make sure motivations feel legit, make sure dialog feels real, and generally just try to keep each character inline with their personalities.
Second passthrough I focus on descriptions. The best narration engages the senses, so I try to mimic what I consider the best. That means making sure every scene not only has a look, but a feel, a sound, a scent. If a character touches a wall, I want a line about the texture. If they enter a kitchen, I want a line about the scent.
Third passthrough I focus on prose. That’s the words themselves. I like books with good word economy, meaning never using two words where one will do. This doesn’t necessarily mean using big words all the time, but I also don’t shy away from big words if they feel right.
Forth passthrough I just refine and cut. If there’s anything extra that doesn’t service the characters or the plot, I cut it. Even if it’s really good on its own. Doesn’t matter. Cut mercilessly. After all this work, you’re gonna have paragraphs that you labored over that don’t fit right. Don’t be sentimental. Cut the shit out of them.
Bear in mind that four passthroughs is on the low end for me. That’s a straight forward scene without too many complications. The first and last chapters of Grim Curio both had at least 10-15 passthroughs, as well as some all out rewrites. Keep massaging it til it feels right.
Continue this cycle over an over again for about a year, and you’ll have a damn fine novel. When you’ve written up to the end of your scene descriptions, start writing descriptions again and write towards your sign posts. Then expand and refine. And again and again.
That’s it. That’s my process. If you want me to get more granular on any topic, let me know and I’ll make time to do so. If you like this post and want more like it, then please share through your favorite social network. If you want to support my work, buy a novel using a link to the right, or sign up for my mailing list in the doobly doo above. Until next time, I’ll see you around.