Tools to Help Structure One’s Writing

I recently attended another great class at Lighthouse Writers Workshop. This 2 ½ hour session on structuring a book-length manuscript was conducted by award-winning author Rebecca Makkai.

For quite some time, I have been daunted by the management the huge document created when writing a book. Rebecca’s class, titled Build It up—Blueprints for All Writers, was extremely helpful because it provided concrete ways for me to organize my work.

We all approach writing in different ways. What works for one person will not be best for another; however, the tools that Makkai provided are a great starting point.

Here are my notes from the class, which I organized for my own use. Hopefully, they will also be helpful to others.

Planning Files

Keep files of random ideas of story lines, titles, notes, questions to consider, characters, etc. I see myself creating separate files for each of these topics. I already have a huge box filled with notes, plus many vignettes written on the computer. Now I need to print everything out and organize it. 

Beginnings

Beginnings can happen in various ways. Here are some possibilities:

• Start with normal characters leading normal lives, then introduce an event that changes everything.
• Start in the middle of the story and then create a flashback.
• Don’t save a big idea for the end; instead, make it known early in the book.

Outlines

• While it is important to work from an outline, do not be married to it; instead, think of it as an itinerary. When planning a trip, it helps to consider where to stay, which restaurants to try, activities to pursue, and sites to visit; however, sometimes it is best to be spontaneous. Once at a destination, one may discover new possibilities and change plans. The same is true with an outline. Use an outline as a flexible guide.
• Don’t write an outline until about 60 pages into the book. Ideas not previously considered may develop during this initial writing stage.
•  An outline may take different forms, including writing, pictures, diagrams, post-its on a wall, a computer document, etc.
• Re-outline later in the writing process to determine what is missing in the story. You may find holes.
• Blind outline—After you’ve written your story, write down scenes from memory. Compare this to your actual outline. Is what’s left out essential? Use this information to find gaps in instances of cause and effect.
• Write a one-page synopsis of your book. (You will need to do this anyway to present to an agent or apply for a writing grant.) Find examples of synopses on the Internet. By writing a synopsis, you may more clearly see the structure of your book. Think about how you would briefly explain your story at a dinner party. 

Timeline

A timeline can be created as the book is being written. In your timeline, actually name dates for every event. A timeline may be written in traditional linear form, or it may be documented on a calendar. Track fine points within each event so that all necessary details are included. Make certain that backstories have been established so that your tale makes sense.

Revisions and Read-Throughs

• Resist the urge to revise too early. First you need to get all your ideas on paper.
• Read-throughs—Once the book has been written, print out the story on single-sided, double-spaced paper. You will want to do numerous read-throughs.
• Read the manuscript it as quickly as possible for structure. This is not a final edit. Write only the most basic notes. Keep a separate file of things that need to be done later to improve the writing.
• Take time off from immersion in the book between read-throughs to clear your mind.
• Print out the manuscript differently between read-throughs so that you will view it with fresh eyes each time. Do this by changing the margins and/or font, justifying the print, etc.
• Color-code your manuscript by using highlighters, different colored fonts, etc. to use in any way you find useful. Examples:
• To show different points of view
• To indicate what is happening now as opposed to later, helping you to create balance between the two
• Another possible read-through is to make certain the flow of each character makes sense. 

Characters

•  Character maps—Use character maps to show relationships between individuals. What are their feelings toward one another? Does one character need another character for a particular reason? How do they interact? When aiming for complexity in a story, also aim for complexity in these maps. There needs to be conflict between people. Every individual should want something, perhaps desperately. Samples of character maps can be found on the Internet.
• Character arcs—characters change within a story. Map out the arc of each character. (This could easily be a class on its own. Do an Internet search on character arcs to have a good understanding of the possibilities.)
• Development of personas should include lots of cause and effect. Rather than having your book filled with “thens”—a series of sequential events—it should be filled with lots of “therefores” and “buts”—A happened, which caused B to happen or even though A happened, B came along and changed the outcome. 

Floor Plans and Maps

•  Actually draw detailed floor plans of structures used in your story. Include the orientation of main building structures. Make certain that your character is gazing out the correct window as the sun is rising.
• Map out gardens and surrounding landscapes so that you have a clear picture of the places your describe.

Personal Note: I can actually imagine creating imaginary places and characters before deciding upon an actual story line. If I have established my buildings, landscapes, and individuals, and know the general themes that I want to create, the story may just fall into place on its own.