Category Archives: Write Your Novel Step by Step

Write Your Novel Step by Step (2) – “Get Out of My Head!”

When beginning a new novel, writers are often faced with one of two initial problems that hinders them right from the get go.  One – sometimes you have a story concept but can’t think of what to do with it.  In other words, you know what you want to write about, but the characters and plot elude you.  Two – sometimes your head is swimming with so many ideas that you haven’t got a clue how to pull them all together into a single unified story.

Fortunately, the solution to both is the same.  In each case, you need to clear your mind of what you do know about your story to make room for what you’d like to know.

If your problem is a story concept but no content, writing it down will help focus your thinking.  In fact, once your idea for a novel is out of your head and on paper or screen, you begin to see it objectively, not just subjectively.

Often just having an external look at your idea will spur other ideas that were not apparent when you were simply mulling it over.  And at the very least, it will clarify what it is you desire to create.

If, on the other hand, your problem is that all the little thoughts, notions or concepts that sparked the idea there might be a book in there somewhere are swirling around in a chaotic maelstrom….  well, then writing them all down will make room in your mind to start organizing that material by topic, category, sequence, or structural element.

For those whose cognitive cup runneth over, the issue is that one is afraid to forget any of these wonderful ideas, or to lose track of any of the tenuous or gossamer connections among them.  And so, we keeping stirring them around and around in our minds, refreshing our memory of them, but leaving us running in circles chasing our creative tales.

By writing down everything your are thinking, not as a story per se, but just in the same fragmented glimpses in which they are presenting themselves to you, you’ll be able to let them go, one by one, until your mental processor has retreated from the edge of memory overload and you can begin to pull your material together into the beginnings of a true proto-story.

Whether you are plagued by issue one or two, don’t try to fashion a full-fledged story at this stage while you are jotting down your notions.  That would simply add an unnecessary burden to your efforts that would hobble your forward progress and likely leave you frustrated by the daunting process of trying to see your finished story before you’ve even developed it.

Sure, before you write you’re going to need that overview of where you are heading to guide you to “The End”.  But that comes later.  For now, in this step, just write down your central concept and/or all the transient inspirations you are juggling in your head.

In step 3, we’ll look at what to do with what you’ve written down…

This article is drawn from:

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Write Your Novel Step by Step (1) – Stages of Writing a Novel

Writers often begin the novel development process by thinking about what their story needs: a main character/protagonist/hero, a solid theme, a riveting plot and, of course, to meet all the touch points of their genre.

Because this is just the beginning of the process, they usually don’t have much of that worked out yet.  And so, they are faced with the daunting task of figuring out their story’s world, who’s in it, what happens to them, and what it all means before they even write a word.  This can throw a writer into creative gridlock right out of the gate and can get so frustrating that the Muse completely desserts them.

Fortunately, there’s a better way.  Rather than asking what the story needs, we can turn it around and ask what the author needs.  What is the most comfortable sequence of activities that will lead a writer from concept to completion of their novel or screenplay?

As varied a lot as we writers are, there are certain fundamental phases we all go through when coming to our stories.  In fact, we can arrange the entire creative process into four distinct stages:

1.  Inspiration

2.  Development

3.  Exposition

4.  Storytelling

The Inspiration Stage begins the moment we have an idea for a story.  This might be an overall concept (computer geeks are transported to the old west), a plot twist (a detective discovers he is investigating his own murder), a character situation (Ponce de Leon still lives today), a thematic topic (fracking), a character study (an aging rock star who is losing his licks) a line of dialog (“Just cuz somthin’s free don’t mean you didn’t buy it.”), a title (Too Old To Die Young) or any other creative notion that makes you think, that’s a good idea for a story!

What gets the hair on your writerly tail to stand up isn’t important.  Whatever it is, you are in the Inspiration Stage and it lasts as long as the ideas flow like spring runoff.  You might add characters, specific events in your plot or even write a chapter or two.  A very lucky writer never gets out of this stage and just keeps on going until the novel is completely written and sent out for publication.

Alas, for most of us, the Muse vanishes somewhere along the line, and we find ourselves staring at the all-too-familiar blank page wondering where to go from here.  Where we go is to Stage Two: Development.

In the Development Stage we stand back and take a long critical look at our story.  There are likely sections that are ready to write, or perhaps you’ve already written some.  Then there are the holes, both small and gaping, where there’s a disconnect from one moment you’ve worked out to the next one, bridging over what you can intuitively feel are several skipped beats along the way.  There are also breaks in logic when what happens at the beginning makes no sense in connection to what happens at the end (like the Golden Spike if the tracks were a mile apart).  There are characters that don’t ring true, unresolved conflicts, and expressed emotions that seem to come out of nowhere.  You may find thematic inconsistency or may even be missing a theme altogether.

And so, the work begins – tackling each and every one of these by itself, even while trying to make them all fit together.  By the end of the development stage, you’ll have added detail and richness to your story and gotten all the parts to work in concert like a well-turned machine, but it probably wasn’t easy or pleasant.

Eventually (thank providence) you’ll have all the leaks plugged and a fresh coat of paint on the thing.  You now know your story inside and out.  But, your readers won’t.  In fact, you realize that while you can see your beginning, ending and all that happens in between in a single glance, all at once, your readers or audience will be introduced to the elements of your story in a winding sequential progression of reveals.  You also realize you have quite unawares stumbled into Stage Three: Exposition.

You know your story, but how do you unfold it for others?  Where do you begin?  Do you use flash backs or perhaps flash forwards?  Do you mislead them?  Do you keep a mystery?  Do you spell things out all at once, or do you drop clues along the way?

There are endless techniques for revealing the totality of your story, many can be used simultaneously, and each one adds a different spice to the journey.  Like a parade, every float and band has a position designed to create the greatest impact.  And when you have all that figured out, you are ready to write as you begin the Storytelling Stage.

Storytelling is all about word play and style.   Whether you are writing a novel, a screenplay or a stage play, there are media-specific manners of expression and conventions of communication, but within those there is plenty of room to maneuver artistically.

Before we send it out the door, we writers shift and substitute and polish until (almost regretfully) we let it go, just like a parent bundling up a child for school.  In the end, as Da Vinci’s famous saying goes, “Art is never finished, only abandoned.”

So, Inspiration, Development, Exposition and Storytelling are the four stages of story development that nearly every writer travels through on the way from concept to completion.

In Step 2 we’ll explore Stage One: Inspiration to discover tips, tricks and techniques for coming up with ideas for your characters, plot, theme and genre.

This article is drawn from:

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Developing Your Theme

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Steps 58 – 61

Developing Your Theme

~ Step 58 ~

Counterpoint

For every human quality, there is the opposite quality. For example, greed is balanced by generosity, denial is balanced by acceptance, and living in fantasy is balanced by remaining grounded in fact.

What is the counterpoint to the message issue you selected? List it and write a brief description of how it is opposite to your message issue.

~ Step 59 ~

Counterpoint Illustrations

The Main Character will usually only exhibit the thematic topic, not the counterpoint, as the story’s message revolves around whether the main character changes his ways or not.

In contrast, the counterpoint must be equally represented through your other characters to avoid making a one-sided moral argument. It is the comparison between the two that develops a thematic conflict that holds your readers’ interest.

For this step, list as many scenarios as you can easily devise in which other characters employ the counterpoint quality. Later, we’ll work them into a balanced thematic argument.

~ Step 60 ~

Thematic Conclusion

At the end of the story, there is usually one moment at which the author makes his or her own statement about which is the better side of the thematic conflict.

This moment should not be an attempt to prove which is better, as the proof has been already created by the balance between them in the ongoing examples over the course of the story. Rather, this is the time the author confirms the conclusions the audience has drawn for itself by showing how those characters who favored one side of the conflict ultimately fare against the characters who favored the other.

Referring to your story synopsis and what you have developed already for your theme, devise an event or situation for the end of your story that will provide a conclusion to the thematic conflict by confirming whether the message or counterpoint came out on top.

~ Step 61 ~

Revised Synopsis

Time to blend your enhanced thematic argument into your evolving novel. For this step, revise your existing story synopsis to incorporate the material you have recently developed for your counterpoint and thematic conclusion.

Protagonist Personal

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Step 49

Protagonist Personal

Characters have dramatic functions, but the reader or audience needs to identify with them as real people. A necessary but difficult task is to intertwine the personal and structural aspects of each character so that they blend seamlessly together and become interdependent in a unified person.

For your protagonist, what personal qualities or previous experiences have led them to become a protagonist in this particular story, the Prime Mover in the effort to achieve the goal? Conversely, if your character by nature is wishy-washy, how does that affect their efforts when called upon by story circumstances to function as a protagonist?

By integrating all aspects of a character together, it will seem to be driven by real motivations, enacted in a truly human manner.

To further refine your protagonist, refer to the material you developed for that character including personal goal and moral issue. If your protagonist is also your Main Character, consider what you developed there as well.

For this step, write a brief description of your protagonist’s overall nature, incorporating all of this material.

 

Identifying Your Antagonist

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Step 48

Identifying Your Antagonist

While the protagonist attempts to accomplish the goal, the antagonist seeks to thwart that effort, either preventing the achievement or by achieving it himself.

These efforts have nothing to do with whether the antagonist is a good guy or a bad guy. 　For example, in most James Bond films, the Villain is the protagonist, for it is he who initiates a plan, thereby driving the plot. 　Structurally, James Bond himself is an antagonist, since he tries to return things to the status quo.

So, who we cheer for and our moral prerogatives are really not involved in this choice.

Referring to your cast of characters, your plot synopsis and the refinement of your protagonist you wrote in the last step, pick one of your existing characters as your antagonist and describe how he, she, or it is focused on preventing the protagonist from achieving the story goal.

In the off chance that none of your characters can easily fulfill the role of antagonist, return to the character development steps and create a new character specifically for this task.

 

Does your plot end in Success or Failure?

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Step 44

Success or Failure?

A story without a clear indication of success or failure is a failure of a story. You need to work out exactly how your readers will know the goal is achieved or not.

This might seem obvious in an action story, but may be much more difficult in a story about character growth.

Success and Failure don’t have to be binary choices; they can be matters of degree. For example, the effort to bring back a treasure may fail, but the adventurers discover one large ruby that fell into their pack. Or, someone seeking true love might find love but with someone who is rather annoying.

Whether either of these examples is a partial success or a partial failure depends largely on how you portray the characters’ attitudes to the imperfect achievement.

In this step, state whether your story ends in success or failure, and how that is measured.

Story Consequences

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Step 43

Story Consequences

A goal is what the characters chase, but what chases the characters?  The consequence doubles the dramatic tension in a story by providing a negative result if the goal is not achieved.

Consequences may be emotional or logistic, but the more intense they are, the greater the tension.  Often it provides greater depth if there are emotional consequences when there is an external goal, and external consequences if there is an emotional goal.

Your novel might be about avoiding the consequences or it might begin with the consequences already in place, and the goal is intended to end them.

If the consequences are intense enough, it can help provide motivation for characters that have no specific personal goals.

In this step, describe the consequences that will occur if the characters in your story fail to achieve the story’s goal.

Plot Requirements

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Step 42

Plot Requirements

The success or failure in achieving the goal is an important but short moment at the end of the story. So how is interest maintained over the course of the story? By the progress of the quest toward the goal. This progress is measured by how many of the requirements have been met and how many remain.

Requirements can be logistic, such as needing to obtain five lost rubies that fit in the idol and unlock the door to the treasure. Or, they can be passionate, such as needing to perform enough selfless acts to win the heart of the princess.

The important thing is that the requirements are clear enough to be easily understood and measurable enough to be “marked off the list” as the story progresses.

In this step, list the requirements that need to be met in order for the story’s overall goal to be achieved.

Characters’ Personal Goals

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Step 41

Characters’ Personal Goals

Personal Goals are the motivating reasons your characters care about and/or participate in the effort to achieve or prevent the overall goal. In other words, they see the main story goal as a means to an end, not as an end itself.

Although a personal goal for each character is not absolutely essential, at some point your readers are going to wonder what is driving each character to brave the trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole.

Referring to the descriptions you wrote about what your story would be like if told through the eyes of each of your characters and about their personal issues, describe what each of your characters might have for a personal goal that would lead them to participate in the effort to achieve the central story goal.

Developing Your Story’s Goal

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Step 40

Developing Your Story’s Goal

Some novice writers become so wrapped up in interesting events and bits of action that they forget to have a central unifying goal that gives purpose to all the other events that take place. This creates a plot without a core.

But determining your story’s goal can be difficult, especially if your story is character oriented, and not really about a Grand Quest.

For example, in the movie “Four Weddings and a Funeral,” all the characters are struggling with their relationships and not working toward an apparent common purpose. There is a goal, however, and it is to find happiness in a relationship.

This type of goal is called a “Collective Goal” since it is not about trying to achieve the same thing, but the same kind of thing.

So don’t try to force some external, singular purpose on your story if it isn’t appropriate. But do find the common purpose in which all your characters share a critical interest.

Referring to your story synopsis, have you included a Goal in which all the characters are involved?

If so, describe it below in as much detail as readily comes to mind.

If not, consider your subject matter and the activities in which your characters engage. What singular achievement would affect them all for better or worse?