Nanowrimo prep – plan your characters, improvise your plot

Are you planning to take part in National Novel-Writing Month (NaNoWriMo)? Briefly, it’s a worldwide online event where thousands of writers buckle down and steam through a novel. The nominal goal is 50,000 words in November – which might be a whole novel or a good chunk of one. Whichever, it’s a great way to sprint into a first draft because you’ve got a support team of other writers cheering you on, sharing their goals and buddying up to drag you over the finish line. If you’re a first-timer, NaNoWriMo is a great way to have a go and surprise yourself. And many seasoned writers use it as a way to get their first drafts motoring.
November? I’ll wait until then

No, start now. One of the keys to success is preparation. Although you’re not allowed to start the draft until NaNoWriMo month, you can plan beforehand. Research, plot notes and story summaries are all permitted – and serious contenders will be limbering up right now.

Or perhaps planning is the last thing you want to do. Maybe you want to sit down on day 1, summon the muse and channel the voices. Let the novel gush into your head and onto the keys.

Whichever way you work, there’s one kind of planning that will help you steer a steady course – AND write with your gut instincts.

Plan your characters

Indeed, if I had to choose whether to outline plot or characters in detail, I’d spend the time on creating the characters.

Why?

Once I know who my fictional people are, they start acting, talking and steering the show – merely by being themselves. This streamlines the writing process enormously, helps you write in a natural flow. It’s especially useful for project like NaNoWriMo, where you want to get your wordcount done – but still have fun.

Here’s what you need.

Main characters

Work out their central problem The story will come from this. What do they want to achieve or prevent? What makes this problem desperate and ultimately unavoidable? How much of it comes from their personality or life situation? Is it something they have been suppressing or muddling along with? Perhaps they don’t admit to it, because that would open a box they don’t want to look in. The problem might be obviously significant, such as losing a job or discovering a murder. Or it might be apparently trivial – such as buying a puppy that turns nasty or forces the character to face up to responsibility. Whichever it is – whether solving a murder or wrangling with puppy ownership – it will be a big deal for them; and thus will be a landmark episode in their life.

How this generates the plot Devise two scenes. Your climax – the horrible moment near the end where the character confronts the thing they want to avoid. And a scene you can put in early that shows the reader they dread this.

The climax confrontation might be much deeper than the early scene suggests and therefore address a more fundamental problem. These fundamental problems come from a character’s deep needs. So, if your MC is trying to solve a murder, they might ultimately discover that the murderer was their own husband. This might prove that she never really knew him – something she’d always been denying or laughing off. You can still have the plot need – to catch a killer. But the deeper arc that makes it such a landmark will have come from the character’s innermost life.

If you want, you can stop planning there. But if you prefer to build a skeleton story, work out the steps between those points. Especially, concentrate on the ways the characters try to avoid or evade this worst-case scenario. Make those escapades create complications and ensnare them further, taking them down twisted alleyways, so that it seems the universe is conspiring, in sidelong ways, to throw them to that final confrontation.

Add other character details Once you have this core, fill in other details. Early life, job history, interests, relationship status. These will almost write themselves because you’ll have an instinct for what fits.

Add complicating factors These might be a wish to protect someone, a job that drains their energy or makes life difficult. If you’re writing historical fiction, look at constraints from social position or the characters’ way of life.

Respite You might also want to give your main characters some respite – a hobby they retreat to, a way they regroup to feel more like themselves and demonstrate a lighter side. Or maybe they need a dark release, an obliterating escape – an addiction, an illicit love affair, a dangerous sport.

Antagonist or antagonists

Their central problem. For the protagonist we asked ‘what’s wrong’ and ‘who are they’. For the antagonist we begin with ‘why’.

Why do they cause trouble? Is it their personality, a need to cause mischief or take revenge? Are they the protagonist’s opponents in a competition? Do they have a duty to uphold a law of the land or some other obligation that pits them against the protagonist?

Here’s another why: why are they a serious threat rather than something the protagonist can shrug off?

If the antagonist is an entity (such as society or an organisation), considering creating a character who embodies its role. Or perhaps this could be several characters. Faceless organisations are not as interesting to read about as characters who act for them. And characters are more interesting to write about because of their humanity. They will act unpredictably – get tired, bad tempered, unreasonable. They will perhaps feel the voice of conscience, or be in conflict themselves. They might make us laugh.

How this generates the story. Once you know these essentials, you will find it easier to decide how they’ll intrude on and threaten the protagonist.

Lastly, if you need to, develop some background details as for your main characters.

Other characters

You need a few significant others – your supporting and secondary characters. Add the people who will regularly interact with your protagonist and antagonist (although they don’t necessarily have to belong to both).

You might want to start with just a handful – perhaps a colleague, romantic partner, close friend, henchman – and add others as new roles become necessary. Or you might sketch out a complete network of people who your leads will regularly see.

Focus on relationships As these characters are secondary, focus on their relationships with the principals. Are they willing participants, wise observers, moral support, meddling do-gooders? Do they have needs of their own that could help or hinder the main characters?

Some salt and sugar in everyone

Protagonists will be tedious if they’re thoroughly good. Antagonists will be pantomimish (and wearisome) if thoroughly evil. Give each of your nice people a dash of vinegar, and each antagonist something good (even if it’s only the conviction that they’re right).

Relationships – again

Now you have a rough cast list, take another look at how they feel about each other. If you do this, you’ll never be at a loss when you wriggle inside a scene with them. You’ll know how to make them distinct in their dialogue because you’ll understand their hidden agendas and individual voices. If one of them needs a favour from the other, you know how easy (or otherwise) it will be to get it. If one of them tells the other off, you know whether they gloated about it or found it extremely uncomfortable; whether it drew them closer or drove them apart.

If you know your characters, you’ll want to tell their stories.

There’s a lot more advice on developing characters – and detailed questionnaires to help you create distinctive people – in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel.

If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, including my own (much drafted) third novel, find my latest newsletter here and subscribe to future updates here.

 

Avoid this plotting pitfall when writing drafts at speed

Husband Dave and I have recently been watching the Showtime series Ray Donovan. And sometimes, we’re finding the storytelling is rather uneven.

Interesting developments pop up that seem to promise a new and unexpected direction for the plot. Instead, though, they’re defused and then the main story trots along again, pretty much unaffected.

Here’s an example. Ray is a hired troubleshooter for the rich and famous, and has a few skeletons in the closet. In the first season he’s pursued by an FBI agent of formidable reputation; we’re told he always gets his man. This seems to be setting up a potent adversary. But then the writers then did their best to hustle him out of the story.

First they made him into a figure of fun by spiking his coffee with LSD. Then he’s shot by one of the characters. It’s clear the writers didn’t want to let him cause big trouble, so they got rid of him. (And in case you’re wondering, the shooting doesn’t seem to have had any consequences either.)

This seems to happen a lot in the Ray Donovan scripts. Interesting obstacles pop up that promise a swerve into a more serious gear. But they’re neutralised, and in a way that looks rushed or unbelievable.

For the audience, it’s terribly frustrating. If a serious problem arises, we want to see it cause lasting trouble. And we want it to have serious, unpredictable consequences. We don’t want it to be solved, and for everything to continue as before.

Tunnel vision

Last week I talked about rookie plotting errors, and this was one of them. Tunnel vision; not giving brilliant plot ideas enough development. No of course I’m not suggesting the Ray Donovan writers are rookies. But there’s another characteristic reason that this problem arises – when writing to a deadline. When a daily quota must be filled. And when the writer has to fit an overall outline.

In TV, a writer probably doesn’t have much leeway to alter the master series arc. They have to fit the show runner’s mission. But if you’re writing a novel, you’re the master. If you’ve made an outline, you can change it, even if you’re rattling the words out against a deadline.

Here’s a plan to examine a show-stopping idea without losing control.

1. Acknowledge – stop and look that idea firmly in the eye. Might it upset your plans? A sure sign is if you’re already looking for a way to stifle its effects. Take a moment and let it breathe.
2. Assess the consequences. Step away from your outline. Open a new file or Evernote tab or grab a pen. Make a what-if list – if you incorporated this development fully into the story, what would the consequences be? Explore them in this safe space.
3. Run the comparisons. Make another list. In one column write the reasons to change. Perhaps a character’s motivation would be stronger. The setting might be used more effectively. In another, write the reasons not to. It might cause inconvenience – perhaps you’d have to rethink earlier passages. (Might that be so bad?) It might take the story into territory you’re not interested in or would be off genre. (That’s a stronger reason not to.) Be honest. Sit and mull.
4. If you decide to keep the idea, adapt your outline – and sail onwards with a more robust story.

Thanks for the pic, Pixabay. Discreet cough… There are a lot more tips on outlining and on making the most of plot developments in the Nail Your Novel books.

Another discreet cough… if you’re interested in ghost-writing, my course starts its live period tomorrow. The course will be available after that period as well, but for the next four weeks, you get to take part in a secret online forum and I’ll be holding live Q&A sessions where you can pick my brains. Learn more here.

 

Back to plots etc. Do you write using an outline or a daily quota? Do you find this sometimes hampers your creativity, or you feel you can’t use an off-the-cuff idea? Or do you have a method for harnessing these brainwaves and making the most of them?