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.
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