I have a notebook for every novel I write. I make notes on short stories I write, but novels deserve an entire notebook.
My novels, as with all stories I write, begin in my head. Since earning my MFA I give much thought to my novels before I write, sometimes as much 3 years or more. I’ve grown even more committed to this time of thinking my novel through since hearing Edward P. Jones after reading from All Aunt Hagar’s Children, here at the now deceased Cody’s Book Store, describe his preparation for crafting stories.
Jones stated that he doesn’t begin writing a story or novel until he’s thought the story completely through and knows all that is going to happen.
While I don’t need to know everything that will take place in my story, nor do I want to, I do need to develop a sense of the three major developments, or revelations, that will take place in my novel. Novels come to me through images and/ or scenes usually of the crisis point.
From here I decipher the problem. I’ve gotten better at thinking my novel through in this manner this since reading Jon Franklin’s Writing for Story and adopting his plan for organizing how I will write my novel.
For an explanation of the Franklin’s Plan or Outline see my earlier blog entitled:
With these two the crisis point and situation, dilemma or problem leading to the ultimate crisis clear in my head, I then think of a resolution. Every problem begs for a resolution.
Seeking resolution, which is the major goal of any good protagonist, is the process through which the major character undergoes transformation.
And so it is that after identifying the resolution to my story or what my protagonist will set out to do to resolve her or his problem, I begin considering possible developments or revelations, discoveries, and obstacles or stumbling blocks that can or will take place along the way.
All of this I write in my notebook, after establishing basics such as names, place(s), date and time of the story.
I also like to consider back-story when writing in my notebook.
Jon Franklin calls this everything that has occurred to the present moment of the story. I also like to think of back-story as holding the basis or key for what has triggered my protagonist’s present dilemma.
Often as writers we forget that stories don’t simply appear. Like problems or crises, stories, novels, novellas rise out of human intricacies and actions that are often times long brewing. Even acute occurrences are rooted in long established situations.
It’s important that writers get these facts down on paper for four reasons.
One, these facts breathe life into your characters and prevent them from being flat. As with real living people, the back-story of a character, their history, lifts them off the page.
Back-story also defines and delineates personality. It tells me the writer who they are and why I am to write their story. Learning a character’s back-story allows me to become invested in the positive resolution of her or his dilemma.
It renders her or him empathic, and again, more real and authentic.
Lastly, writing down back-story before I begin writing the story or front story that takes place in present time helps me to clarify what of a character’s history is pertinent to the novel or story I am writing.
It lets me decide and distinguish what a reader will want to as dictated by the narrative line of the story or novel I am writing from what I need to know as the author.
A fourth and last reason to chronicle a character’s back story before writing the novel is that back story holds the seeds and roots not only of a character’s personality, the basis for how she or he will respond to the present problem she or he is facing in the novel.
In that a character’s history holds the roots to her or his personality and the basis of her or his character, back-story also holds a reservoir of possible obstacles that she or he may face in trying to resolve her or his present dilemma.
In short, we as writers look to back-story to gain a better sense of the identity of our antagonist, or what that antagonist will use to stop or better yet antagonize our protagonist along the way to achieving her or his goal.
I do not want to write my story simply to re-write it. And yet many authors use their first draft, what they call their throw-away-draft as preparation for writing the novel they present readers. This method in today’s culture of writing is rather inefficient.
On a more personal note, I find it a bit confusing. Writing for me is largely a path of discovery. I want surprises. I also want not to be startled by surprises. A skeletal plan such as the one Jon Franklin suggests allows me to develop a blueprint to my of the story I’m writing that is quite adaptable to changes and alterations as the needs arise, but keeps me on track so that I don’t have to hold too much in my head while writing.
With ample room to write the scenes that fill in the gaps between developments and revelations I also have premium opportunities for making discoveries that enrich the story I am trying to tell and my experience and process in bringing them to paper–or computer screen.
How do you write your novels or short stories?
Do you plan them out or out line them?
If so, how?