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Posts Tagged planning a novel
I wrote it with an outline, but even so, it changed a lot in the telling – and this is what I want to talk about today.
Planning v pantsing
Hands up: who’s a planner? And who writes by the seat of their pants?
Planning versus pantsing is supposed to be one of the great divides between writers. On the one side we have systematic processes; on the other, an argument for natural connection and creative flow.
But it is possible to write with a detailed outline – and go with your instincts. An outline isn’t a straitjacket.
Indeed, Ever Rest started to bust its sleeves as soon as I got typing.
The first was the point-of-view characters. I originally nominated three. Pretty soon there were two others. Perspectives galore, who weren’t originally planned for.
Four main characters completely defied my expectations. I thought I knew who they were, but when they got on their hind legs and talked they acquired unexpected dimensions. They then did a thing they weren’t supposed to, which shook up the entire third act.
And this was a book I’d planned (more here about my writing process).
It might seem as though all that dithering with cards and marker pens was wasted. I might as well have made it up day by day. But no; I still stuck to the plan.
Before I put my cards into order for writing, I knew them very well. When my characters took me by surprise, I knew which scenes could be shuffled into better positions. I also found new gaps, and scribbled more cards. And I wrote the last section backwards from the end.
So an outline doesn’t bind you to one path through the story. It does, however, provide a useful framework. A lot of storytelling is form and structure, crescendos and revelations. Without this, you might write your way into an aimless wilderness – which is one of the dangers when we make it up as we go. An outline keeps that mechanism in order; it is a safe space where you can interpret, experiment and follow inspiration.
And despite my deviations, I realise the book is, in essence, what I was aiming for all along. My outline was a series of wishes thrown into a well. The writing made them come true.
My tips for using an outline creatively
- Stick with your outline – it was made with an awareness of patterns, structure and themes. It imposes coherence and shape. But adjust to take advantage of new insights. You may find you can use events you’ve planned in a better way – give them to different characters or shuffle them to new positions.
- If you want to make a drastic detour, make a list of the pros and cons. Is Mary the murderer after all? Spend five minutes making a list of the consequences if she is.
- Some writers use an outline up to a point – then abandon it as inspiration shows the true direction.
But don’t feel that the previous work was wasted. It wasn’t. It’s what got you here.
There’s more in Nail Your Novel about writing outlines and using them creatively.
Do you outline your novels? If so, how strictly do you stick to them? If you don’t outline, how do you work? Let’s discuss!
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Some writers plan to the ennnnnth degree. Before they write, they prepare a trunkload of ideas, route maps and background. Then we have the scribblers who travel light. Just the barest plot twist, perhaps a skinnily-honed last line or a little black denouement. (Actually, I’m warming to this wardrobe theme.)
So if you’re in the former category, what mustn’t you forget? And if the latter, what’s the bare minimum you can get away with?
Today I’m at a festival called Chapter Book Challenge, a month-long event that aims to galvanise writers to write a chapter book in just a month. I’m zoning in on the essentials for the drafting process – and as an added bonus, commenters on the post (THAT post, not this one!) will get entered into a draw to win a paperback copy of Nail Your Novel, original flavour, which is packed with essentials for getting you from first idea to final draft. Come on over to find out what every well-dressed novel is wearing...
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It’s ultra-streamlined to suit all writing approaches. If you like to create a detailed synopsis, my tips will get you going. If you want only the barest essentials, they’ll guide you while giving you room to explore and express. And if you’re still undecided or wonder if NaNoWriMo is even possible, hopefully they’ll persuade you to take the plunge.
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It’s called Television Tropes and Idioms. But don’t be fooled by its name. Tropes doesn’t mean cliches; it means story conventions and readers’ expectations. In fact, you can use the site as a cliche and stereotype warning – it tells you what’s already been done to death so you can keep your story and characters fresh and original. And the site includes movies and novels as well – of all types, all genres (and even stories that don’t fit easily anywhere).
I’m using it to fill gaps. At the moment I have a rudimentary cast of characters and a fundamental conflict, so I need to see what else could gather around it. Poking around in the subject sections (‘topical tropes’, in the left sidebar) suggested a lot more places I could take the characters and ways to develop the plot. It also gave me ideas for more defined roles my characters could play.
If you want to hit a particular genre, zip down the left-hand sidebar and look up ‘literature’ and you’ll find a list of categories to clarify where you fit. You can also check you’ve covered enough bases to satisfy readers and identify possibilities you might not have thought of.
But even if you don’t fit traditional pigeonholes (like certain folks I could mention), you can look up story ingredients, such as ‘war’, ‘betrayal’ or ‘family’ – just for instance, under the latter you get a delicious sub-list with suggestions like ‘amicably divorced’, ‘hippie parents’, ‘dysfunctional’.
Some writers get their first inspirational spark from a setting – if that’s you, you can research how other authors have done your setting justice, from pre-history to ‘4000 years from now (and no jetpack)’.
One of the other things I like about it – very much – is its tone. No judgements are made about whether genres are fashionable, overworked, lowbrow or highbrow. It’s all about celebrating how stories work – or sometimes don’t. As we know, that comes down to the writer’s skill anyway, not whether a ‘subject’ is en vogue. And after a few hours in the company of their rather breezy descriptions, not only will you be better informed, you will be spurred to avoid the lazy story decision.
If you’re sprucing up your outline – especially as NaNoWriMo looms – spend an afternoon exploring Television Tropes and give your story a thorough workout.
Do have any go-to sites when you’re planning a novel – and how do you use them? Share in the comments!
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. You also might like my multimedia course with Joanna Penn – more than 4 hours of audio and slides with an 86-page transcription – find it here.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Is your main character you? How to tell – and how to widen your character repertoire August 31, 2014
- ‘The power of music and friendship’ – The Undercover Soundtrack, Paul Connolly August 27, 2014
- Find the style that fits the story – Jose Saramago’s Blindness August 24, 2014
- ‘Music to grieve by’ – The Undercover Soundtrack, Natalie Buske Thomas August 20, 2014
- Heroes and heroin – writing a character who has an addiction August 17, 2014
- ‘Music, grief and sibling rivalry’ – The Undercover Soundtrack, Lindsay Stanberry-Flynn August 13, 2014
- ‘Plundered people and rotten exploitation’ – The Undercover Soundtrack, Paul Sean Grieve August 6, 2014
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