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Posts Tagged how to have ideas
‘I like Nail Your Novel,’ said Lauren Orbison to me on Twitter recently (which was nice). ‘But you now need to write Nail Your Second Novel. It’s tough sometimes to get back to writing after finishing something.’
I understand what she means. First novels are usually written over many years. We might put more time, work and learning into it than we ever dreamed we could put into one project – short of actually rearing the next generation. Then suddenly, the novel’s done, it’s out and we’re wondering: how did I do it?
I’ve certainly felt like this. One minute, I’m stealing time to be with a book that has become as familiar as an old friend, refining to get the depth and finish I want. No other phase for me is so rewarding. I’m understanding my material. I have a book, for sure, at last. It reminds me of when I was at plays at school. In the final rehearsals we’d be adding refinement on refinement, amazing ourselves at how inventive we were being. The shambolic months were behind us.
Then it’s over. On the one hand, my novel is out in the world as a finished piece. Readers might be asking what’s next (bless them). And what have I got? Something much rougher, perhaps – to me – offensively so.
This, I think, is what Lauren is talking about. Some writers find it blocks them completely.
I’ve learned the way to deal with this is to get another novel to a confident state before the mature one sets sail. I know that if I get to the end of The Mountains Novel and I haven’t got a serious contender for Next Novel, I will be severely fretful and will rail at the muses for abandoning me. But The Mountains Novel will need periods of enforced rest after each draft and that’s when I’ll get developing the next one. Could be The Flying Novel, The Venice Novel, or – as I’ve had a few other ideas arrive – Someothernovel entirely.
So far, so good.
But what if you’ve completed the one novel you’ve spent years on, and you haven’t started incubating another? What if that first idea started so long ago that you’ve forgotten how you ever got it?
Or what if you have ideas but they don’t excite you? I have various plots I’ve thought of, but I don’t feel moved to write them. I’m missing the ingredient that will make me want to quarry them – because I haven’t found the theme or idea I want to take to them. They’re clay without a soul.
First of all, if you’re feeling so emptied, you can’t create. Go and stoke your imagination. Your first idea probably came to you out of the blue, while you were following something you were interested in. So read books and do things just because you want to, no ulterior motive of research. You can’t force yourself to have a great idea any more than you can will yourself to fall in love. But you can flirt with things that could bite back (in a good way).
If you’re still frustrated because you’re not actually ‘working on’ something, make this period of exploration into a project. Set yourself a target to read x number of novels, y number of non-fiction books, or have a brief sabbatical at an evening class so that you feel like you’re completing something. Think of it as an appointment with your muse. If you’re really desperate, read something you’re guaranteed not to like. The chances are, you’ll rile yourself so much you’ll be bursting ideas in no time.
And next time, don’t wait until the first novel is over before you work on the second. (There’s plenty more about developing ideas in Nail Your Novel, whether you’re on debut tome or umpteenth…)
Well that’s my method. Have you finished a novel and found it hard to get on with the next? Perhaps you have a steady stream of works in progress… Let’s share in the comments!
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Once upon a time, an idea caught your eye. You wanted to spend tens of thousands of words exploring it. Maybe you now can’t remember that, or the work you’ve done has left you weary and muddled.
If we’re talking about an idea that hasn’t been written yet, the first thing I’d do is make it new again. Recreate the gut ‘wow’.
OMG I must write this
I forget everything I’ve tried to do with the idea so far. I identify what grabbed me when the idea was fresh and new.
I also forget what anyone else has done with it, if they have. It’s easy to end up intimidated by other treatments, especially if I’m frustrated. I disregard all that and find what originally demanded I work with the idea.
I create a mood board. I write down random phrases, images, dialogue snatches that the idea suggests to me. As a shorthand I might note moments from other novels or movies, or snatches of music. Anything to capture the excitement I first felt.
Make it fun
The chances are, I’m disappointed with the pointless work I’ve done so far. Ideas will flow better if I’m not reproaching myself. After all, the original idea came unbidden.
As much as possible, I make this process feel like play. Instead of typing on a computer, I write by hand. I often use the gaps in expired appointments diaries, scribbling notes in a different-coloured pen, or using the pages upside down. This lets me brainstorm without judging the results. Or I go somewhere I don’t usually write – cafes, a bench overlooking a view, a Tube train.
If you use Pinterest you could also start a board for your idea, but I’m not disciplined enough and will probably get lost on a browsing spree. :)
Where to take the idea?
Once I’ve made the idea feel new again, I start thinking about where it can go.
I start new lists for
- characters and what they want
- dramatic events that fit with the idea.
Batteries recharged, I can now face looking at what others have done. I search on Amazon for books tagged with keywords. LibraryThing has even better tags – here’s the page for My Memories of a Future Life and its tags, which I can click on to find other books that tackle the same subjects. (I would do the same on Goodreads but haven’t been able to work out how.) I also use the website TV Tropes (here’s how I use it to fill gaps in my story outline). All these resources will suggest the kinds of events, characters, conflicts and quests I could have.
Importantly, they’ll also help me discard some possibilities. In the novel I’m working on at the moment, I get a heartsink feeling whenever I look over some of my notes. Clearly I’m not interested in that aspect of the characters’ world, even though other writers have tackled it. So I’ll play it down.
When is the idea strong enough?
Ultimately the idea is strong enough when I know:
- who the hero is and who or what might oppose them
- what people are trying to do
- how it will get worse
- what the setting is
- why it will take a long time to reach a resolution
- a rough structure – what kicks off the drama and various twists that will form the turning points. Sometimes I decide the end beforehand, or I let it find itself once I’m writing.
You might have covered all these bases but the story still seems limp. In that case, beef up the material you have –
- increase the stakes so that the goal matters more to the characters
- make it more difficult for them to get what they want
- turn up the conflict between the characters.
You don’t have to get it all instantly
This is important. Some ideas need to be shut away and wiped from your fretting brain. If the idea looks feeble, don’t junk it. Give it a sabbatical. The Venice Novel, which I talked about in the TV Tropes post, has worn out my ingenuity for now so I’ve put it in the deep compost department. Meanwhile another novel I thought I’d worried to shreds has – to my surprise – woken up with real substance. I’m working on the detailed outline. For now I’m calling it The Mountain Novel.
Partner it with another idea
Sometimes an idea doesn’t have enough juice on its own. But it’s still worth working it as far as you can. A few key elements in My Memories of a Future Life and Life Form 3 began as separate story ideas. Negligible on their own, they harmonised perfectly in a bigger work.
Don’t be afraid to restart
Sometimes we go wrong with an idea or get lost. If I’m in the early stages, trying to work out what to do with an idea, I return to the pure inspiration and look for a stronger angle. If I’ve already drafted and the story doesn’t seem to matter enough, I look at ways to turn up the heat. (Speaking of which, thanks for the distillation pic Brankomaster.)
Have you had to strengthen a story idea? What did you do? 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. Book 2 is now under construction – sign up for my newsletter for details as soon as they become available. 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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In infants’ school I remember being taught to write neatly. Servicably. We copied letter-forms. As we matured, certain pupils were singled out for approval and the rest of the class fell in with their styles. The Debbie – slanting copperplate. The Elizabeth – small and round. The Katie – wide and loopy.
Seeing this, I chose to invent my own.
I don’t know why. Perhaps because we spent most of our time all writing the same thing. Copying from the blackboard, taking dictation, answering questions – 20 girls all processing the same words and thoughts. I must have decided I had to do it differently.
I experimented with letter-shapes. One week, ys and gs might curl under the line in luxuriant loops. The next they would be jagged reversed lightning bolts. I might team this with a Debbie cursive slope for a while, enjoying the clash of styles. All possible Greek letters were tried, and for a while all Rs were small capitals (very time-consuming, so not practical).
Fascinated by a computerish font on the back of a sci-fi novel, I tried to emulate that.
Serifs were another passing phase, too fiddly for everyday use. An American girl arrived at the school who dotted her ‘i’s with a little bubble. A teacher told her off for it in front of everyone. Outraged, I adopted it immediately.
This makes me sound like a rebel. I wasn’t. You couldn’t have pointed to a more obedient pupil. I wanted a hassle-free life, even if the rules were bewilderingly dumb. But no matter how often I was penalised for eccentric letters or lack of neatness, I couldn’t toe that line. My identity on the page was not the teachers’ business. It was a sacred search for originality in world where everything else was repetition and regurgitation.
Freedom – or not
At least English allowed us to express ourselves.
In the middle school, that changed too.
One day we were discussing exams, and how to tackle the essay question options – factual, debate, true-life account, story prompt. ‘You mustn’t pick the story prompt,’ said the teacher. ‘They’re very hard. From now on, we won’t do them.’
This was ludicrous. I always, without hesitation, picked the story. I got high marks. (And I bet I wasn’t the only one.)
I didn’t want to write an account of a holiday or discuss the popularity of the motor car. Not when I was being invited to finish the story that started ‘I should never have gone for that bicycle ride…’ And if no one did these essays well, should we not be taught to do them better?
This was my second great disobedience. I carried on choosing the story option, as I always had. Again there were grumbles but it did me well enough at O level, if A is a respectable grade.
These tiny rebellions gave me habits that I now realise are essential to the creative nature, whether our weapon of choice is art, music, writing (or handwriting). This is how we do what we do.
- We will not accept the ordinary
- We dig for the remarkable in the everyday
- We ignore what everyone else is looking at and peer around the corners instead
- We collect what moves us, especially if we don’t know why
- We listen to our instincts instead of the voices who tell us we can’t
- We play endlessly
- We see expressive potential in everything
- To non-creatives we probably seem infuriating and insane.
What would you add? How did you first start being creative?
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- ‘Music that seeps beneath your skin, then grows’ – The Undercover Soundtrack, Andrew Lowe June 30, 2015
- Three signs that your novel has too many main characters – and what to do June 28, 2015
- ‘Music and love transform your internal landscape’ – The Undercover Soundtrack, Louisa Treger June 24, 2015
- How to write dialogue that’s convincing and full of life June 21, 2015
- ‘Sleaze, self-obsession and sentimentality’ – The Undercover Soundtrack, Garry Craig Powell June 17, 2015
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- How I cope with writers’ RSI – and when your books come back to haunt you June 14, 2015
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