Novel Writing Scheme

Archus

Look, a distraction!
Joined
Jul 21, 2008
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Hey I would like to share my approach to getting a full story done. I have already posted the opening of my first chapter here on Chronicles and this is how I am going about completing it. I would like your input, and also if you do read that opening, this post may give you an idea as to why some things don't make sense within that opening.

Step 1: Get everything written
It doesn't matter what the quality is, or if it even makes sense, but you need to get all the information that you want in the story down. If you have the story locked, then you can write bits and pieces here and there. Write what you find exciting and interesting at the time within the story. Why? It keeps you writing. You may not be under any pressure from a publisher, but it will never be a story unless you have everything.

Step 2: Red Pen
You layout all of the work, maybe on a wall, on the floor, or maybe you could either have a good memory or write little summary cards from each chapter. You then hack at it with a red pen and be really critical (I know someone has done that with my opening, thanks for that!). You will need to especially look for the following at this stage:
  • Sentence structure
  • Proper indents/paragraphs
  • Grammar and spelling
  • Passive -> active translation
Step 2a/3: Layout
Around the same time or after you have taken a critical hack at your work, you need to rearrange the text to get a flowing narrative. It may mean that certain story elements need to be taken away, but you need to make sure everything is consistent and flows. This typically ranges from a flow within a chapter (don't break up a good chase sequence with useless description, throwaway dialogue/sentences etc.) to how the story fits going from chapter to chapter and looking at as a whole. This is your story. The worst that can happen is make someinth you're not happy with. This is the stage where you rearrange it to tell the story you want to tell.

Step 4: Redraft
Take a step back from your work and read it as though it was someone else's story. This can arguably be the toughest part of writing, because a lot of the time people become attached to their work. But it helps if you are harsh; you need to get it right, not nice. This is where you redraft sentences and ask yourself:
  • Did I build atmosphere well?
  • Did I write good characterisation?
  • Is there any information that is revealed at an earlier stage than I wanted it to?
  • What can I take away?
  • What should I add?
  • On the whole, is my writing style too descriptive (thereby slowing the story to a halt) or too sparse (risking confusion or not making a good enough impact on what happens)?
It may be that you need to redo entire chapters, because you didn't build it well enough to set up the next chapter/plot twist/conflict or you gave too much away.

Step 5: Rinse and Repeat
Now you need to go over the steps again, with the new draft. If this is your first project, then it will be painful and slow. If you have a lot of stories to tell, then you will certainly get good at this process, and it will become a delightful habit to possess.

The biggest piece of advice I received, and now I am passing it to you, is to simply get everything down, and work from there. For an analogy, in art you may start with stick figure drawings, but you need to get the composition, poses, layout all done before you get onto what the character looks like. Then you draw in the details, and finally add colour/tone. But it started with you getting what you wanted down, and refining as you go along.
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So there you go, this is my approach to how I am going to write my story. I would like it if you can see if you like it or not and to tell me how you go about writing a story from thought to shelf.
 
I actually might just follow your scheme. I'm having trouble with my writing so this might work for me.
 
you're welcome. Let me know how it goes. Does anyone have any general scheme on how they go about writing a novel?
 
yea that would be a good idea, otherwise you won't be able to concentrate correctly
 
I like that approach, I do something like that but not as 'meaty' or thorough. Basically storyboard what will happen and then write it out.
 
I don't remember which thread I found this in, but I remember Teresa (I believe; she can vouch for this or deny it completely) said she tried the method of writing down the plot on flashcards and laying it out, analog style, on a table -- mapping out the story visually -- and then writing from that point.

I was going to try this method on my next project.

(And feel free to correct me please, Teresa; It's been a while since I've read that particular thread so I could be misrepresenting you here).
 
Well, we all write in different ways, but I think this makes a lot of sense to me. I did a few signings for my novel, and at every one I met someone who said, "I tried, but I gave up." Archus is absolutely right that you have to get a draft down on the page. That's vital - you can't improve something that isn't already there!

As to plotting, I know where to start and end, and the main episodes between those two points. Then I start and see what happens. But the real work - the difficult hard slog that turns a story into a publishable work - is in the editing.
 
I don't remember which thread I found this in, but I remember Teresa (I believe; she can vouch for this or deny it completely) said she tried the method of writing down the plot on flashcards and laying it out, analog style, on a table -- mapping out the story visually -- and then writing from that point.

(And feel free to correct me please, Teresa; It's been a while since I've read that particular thread so I could be misrepresenting you here).

I did use file cards, but I didn't lay them out. Each one contained an idea for a scene, or an important bit of description, or some other fragment that occurred to me. I arranged them in a pile according to where they seemed most appropriate, and rearranged them as necessary. I also color-coded each card for action, character revelation, background information, etc. That way I could see if certain sections of the book were going to be too heavy on one thing and not have enough of the other.

I used this method for one book, and I seem to remember being satisfied with the result. What I don't remember at all is why I never used it again. Maybe just because the next book needed less planning and proceeded more organically. Maybe because the file card method was an experiment, and I decided that, for me, it had no advantages over the way I had been writing all along.

For anyone interested in seeing the end result, the book was The Castle of the Silver Wheel. You can get it used at amazon.com for essentially the cost of shipping and handling. (The book is long OP, and I don't get any money out of the deal, so this isn't a plug.)
 
That's a brilliant method that I may employ myself as well.

I have two minds, though, regarding my work and the work of others who spend a great deal of time plotting complex interconnected stories in a highly developed fantasy setting. The first is definitely to write, write, write, because without those three steps nothing will ever get done. The other is that rushing the writing when the world isn't finished (which is arguably never) can produce something the author isn't happy with, let alone satisfied.

I am by no means suggesting that world building take center stage to the exclusion of writing itself, but that not every story is ready to be written if the world isn't complete enough to sustain it the way the author envisions.

I myself invest a lot of time and creativity in development as opposed to writing, if only because I don't yet know how all the stories will connect, but that they will, and there are certain pieces of the world and races that need to be further embellished before the connections will present themselves.

I don't intend to let myself become completely lost in world building and never see my stories live, but I know they're not all ready, and will patiently wait to see how they build their connections the same way I'd see how each story develops itself as I write it.
 
Step 0: Plan your story; where it starts, where it's going to finish, with as much as of the trip between as you can manage, considering that that's going to change when you actually get to step 1. You may take notes.

Step 0A - Lay out your universe, roughly. Geography, history, technology, magic systems. I know there are people on this site who are stuck at this level, but if any of these details mutate in the course of the writing huge quantities of "already written" has to be gone over for contradictions (yes, this is going to happen anyway, but there's no need to encourage it).

Step 0B - get your base cast of characters together. Don't be too rigid; they're going to change from interreaction with each other, and contact with the environment, anyway; but until you've got those characters solid you're writing a technical manual (as I frequently do, and inhabit it later, but I don't recommend the technique)

Now you can get behind your keyboard (or pencil) and start step 1. If the previous steps have been accurate enough (not essential), you can write scenes anywhere in the structure, and they'll only need a bit of mortar to make them fit. If not, it's probably safer to work in chronological order, as your characters are bound to go somewhere, do something that modifies everything that comes after.

About step 4A: Get someone you trust not to flatter you to read some of it, and point out the things that are so obvious to you that you haven't said them, and the points you've tried to emphasise that you've repeated six times – the things you're too close to the story to see. If you can put the story to one side and work on something else, you can nearly transform yourself into this person, but never completely.

Finish it; not the easiest decision to make, when it is close enough to perfection to go on to the next steps. I haven't reached this stage in my writing yet, but I've seen enough musicians go on "improving" a piece until it's lost whatever made it great in the first place to recognise the problem.
 
Thanks for elaborating on step 1 w/step 0, chris, I think that needs saying.

4A is good as well.
 

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