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20.10.12
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 This supplement is also available as an

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ebook from the Kindle and iBook store
guardian.co.uk/shorts

Imagine you could write the first draft

of a novel in only 30 days. Imagine you
could figure out how long it would take
to complete each step down to the day –
that you could set realistic and accurate
goals that would allow you to maintain a
constant momentum.
This 30-day method for outlining a novel,
extracted from Karen Wiesner’s book,
First Draft in 30 Days, eliminates many of
the problems that plague fiction writers.
Why dig for plots blindly when, with a
little preparation, you can craft something
methodically from start to finish? Why go
through countless, lengthy manuscript
drafts when you can create an outline so

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complete that it actually qualifies as the
first draft? Contents
The method outlined in this guide will Introduction 4
Brainstorming 6
work for any genre of fiction and for any Stage 1: Days 1-6
Preliminary outline 8
type of writer. You might think that using Stage 2: Days 7-13
Research 14
an outline stifles creativity. But there’s no Stage 3: Days 14-15
wrong way to write a book – just ineffective Story evolution
Stage 4: Days 16-24
16

ways. Try this method once and see if it Formatted outline 20

Stage 5: Days 25-28
makes a difference … Outline evaluation 26
Stage 6: Days 29–30
Throughout this guide you'll find Revising your outline 29

each stage is accompanied by practical

worksheets. Download yours from
guardian.co.uk/how-to-write/sign-in
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where you'll also find an exclusive series

of live lunchtime masterclasses. Log on at
1pm on Monday 22 October for the first of
four inspirational discussions. Good luck!
Editor Nell Card Art director Matthew Straker Designer Sebastián Massei Illustrations Jess Wilson/agencyrush.com Subeditors Paul Mardles, Sam Noble Production Leon Abrahams
Imaging GNM Imaging Produced by Guardian Creative With thanks to Judith Harvey at F&W Media International
You can order additional copies of this guide for £3.99 including delivery. For all orders call 0330 333 6837 or go to guardian.co.uk/entertainment
 4
Introduction
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Method
in the
madness
Writing a novel can be daunting, but introducing structure to the process can help
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you maintain momentum over the course of a month without hampering creativity

T
he outline you’ll complete productive writer is self-discipline. The 30-day tasks. As you become more familiar
using the 30-day method This method will give you that in with the method, you’ll find it easier to
will become a snapshot of spades – if you’re willing to dedicate
method stay on schedule.
your novel. After finishing a yourself to it. Not everyone will be takes into The first steps to creating a
full outline, you should feel able to complete a first draft outline in account comprehensive outline are very rough
you’ve got the makings of exactly 30 days on their first try, but that you — each building on the previous one.
an entire book (your story should feel that doesn’t mean you’ll never be able The preliminary outline you create in
complete, solid, exciting and satisfying) to do it. This method, like all methods,
may have stage one won’t contain everything.
and you should be desperate to start requires a sufficient amount of practice. your own You’ll just be getting your basics down
writing the book itself. The more you use it, the more time methods of at this point. With each step, you’ll be
This first draft outline is the and effort you’ll eventually shave off getting from developing more details about every
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equivalent to the first draft of a your outlining schedule. In the future, aspect of the book, and your outline
manuscript. Because you’ve revised you may even notice it takes you
A to B will grow to reflect that.
it so thoroughly, it will read with all considerably less time to write the first As you’re writing the first full draft of
the completeness and excitement of full draft of your book. your book, you’ll also be re-evaluating
a finished novel. Using this outline Does it mean you’ve failed if it takes your outline periodically, as your story
to write the first draft of your book you 90 days instead of 30? Of course takes on a life of its own and moves
(which, in almost all cases, will be the not. If you need more (or less) time to in directions you might not have
final draft, needing only minor editing perform certain steps in the process, planned. You won’t stop evaluating the
and polishing) should be so easy you you can adjust your schedule easily. strength of your outline until the book
might even feel a little guilty about But this method will probably make is complete.
it. All the hard work will already have you work harder than you’ve ever
been done creating the outline. worked before. Creativity and outlines
Throughout this guide we’ll work Some will enjoy the challenge; Writers who haven’t tried an outlining
on the assumption that the first draft others will use the method while system have many questions about the
of your book isn’t a fully completed setting their own deadlines for each process. Is it possible for an outline to
draft in the traditional sense, but is step. And others still won’t be willing to be flexible? Can it take into account my
instead a comprehensive outline – allow their muse to be harnessed in this individuality as a writer? Can I continue
your first, whole glimpse of the book way. Find what works for you over the to be creative using an outline? Can
and a snapshot of what it will be once long term, not simply for the moment. I use an outline for writing any fiction
finished. The outline you create over Even if you find the next 30 days genre? Will using an outline reduce the
the next 30 days will become the difficult, persevere – it will get easier number of rewrites I have to do? Will
foundation upon which your entire with experience. using an outline mean it will take me
novel will come to rest. This method is less time to complete a project from
a way to lay out the full course of the Understanding the 30-day start to finish? Won’t setting goals
story as it flows from beginning to end. method schedule clip my wings, rather than allow me
Keep in mind that each of the six stages to spread them?
Your commitment to the identified in this method has its own Authors tend to be suspicious,
30-day method day-to-day schedule. These individual at best, of outlines. Despite this,
Despite its flexibility, the 30-day schedules are discussed at length at the many are looking for a method that
method requires a great deal of start of each corresponding chapter. can give them direction – a method
commitment from you as a writer. Don’t worry if you need to allow that embraces an individual’s way of
The first thing you need to become a yourself an extra day or two for some working but takes away none of the joy
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of creating. They want something that
will streamline the process and make About the author
them more productive, so they’re not This is an edited extract of First

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surrounding themselves with half- Draft in 30 Days (Writer’s Digest
finished projects and manuscripts in Books) by Karen Wiesner. Wiesner
need of major revisions. has had 90 books published in the
An outline can be flexible, can be past 14 years, and been nominated
for and/or won 124 awards. She is
so complete it actually qualifies as the
also the author of the bestselling
first draft of the novel. It can make it
writing reference book, From First
possible for writers like you to achieve
Draft to Finished Novel: A Writer’s
more with less work, reducing the Guide to Cohesive Story Building.
number of drafts required for each Her latest title, Writing the Fiction
project – even to the point of creating Series, will be published by Writer’s
just one draft. Digest Books in May 2013.
Instead of viewing an outline as an firstdraftin30days.com
inflexible, unchangeable hindrance,
think of it as a snapshot of a novel
– one that captures everything the
novel will eventually contain, but on
a much smaller scale. This snapshot
can be adjusted and rearranged until
it’s smooth and strong. By revising a
comprehensive outline of your novel,
rather than the novel itself, you can
revise 50 to 100 pages, instead of four
times that.
Without robbing you of the joy
of your craft, this guide will teach
you how to become a systematic,
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self-disciplined, productive author

– no matter your genre or level of
experience. The 30-day method takes
into account that you’re an individual
and may have your own methods of
getting from A to B, while helping
you to clarify your vision of the story
before you begin writing your first
(and possibly final) full draft. No more
wasted time or endless overhauls and
revisions. The clearer your vision of the
story before you start actually writing
it, the more fleshed out your story will
be once it makes it to paper.
 6
Brainstorming
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T
here are so many skills

Thought crucial to a writer’s success

that it’s easy to overlook
one of the most basic
and necessary skills of
all: brainstorming. It's

provoking
especially important when starting a
new project and invaluable when it
comes to maintaining the ambition and
focus necessary to complete it.
Don’t try to rein in or discipline
your brainstorming, no matter how
inconvenient it is – brainstorming is
what turns an average story into an
extraordinary one. Brainstorm day and
night, whatever you're doing, wherever
you are, whenever you can. Jot down
notes as they come to you and put
Letting your ideas flow freely and them into their own folders. Make sure
frequently – however irrelevant they you create project folders for all of your
strongest story ideas, even those you
may appear – is the key to productivity may not write for years.
Start brainstorming days, weeks,
months, or even years, before you
begin work on a story, As you outline
using the 30-day method, you’ll focus
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your brainstorming, so the process

will become even more inspiring
and productive.

Keep your brain in gear

So long as you brainstorm constantly
and productively during both the
outlining and writing processes, you
will always be fully prepared to begin
writing – without agonising over the
starting sentence or paragraph.
Keeping the outline, the story in
general, or specific scenes ticking
over in your mind throughout the day
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can help untangle basic issues like

timelines, character relationships and
threads of a story. At times you may
even work out whole conversations in
your head. When it is time to outline
and write, fleshing out these scenes
will be very simple.
You must brainstorm productively
if you want the writing process to
go smoothly and quickly. That’s
where your outline comes in. The
brainstorming process will enable
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you to do all the hard plotting and
characterisation work while creating
your outline.
8 Collect magazines, then cut out
pictures of people and settings
that resemble those in your story.
Once you have an outline, you will (These will come in handy when you
know every single day what you’ll be create character and setting sketches
writing about in your book. You won’t in the next chapter.) Clip articles about
have to decide where the story is going strange and interesting events from
as you write, because you’ll have done newspapers and save them for use
all that work in the outlining stage. when you need idea boosts. My working day
The day or week before you begin

9
actually writing a certain scene, Write with a partner on separate Maggie O'Farrell
start brainstorming selectively on projects, in the same room. Then
that scene. This makes it that much read what you’ve written to each other,
easier to sit down and begin work not necessarily to critique so much as

H
immediately when the time comes. to uplift and energise your muse. ow to write while looking after a very young
If you haven’t spent enough time baby: get a sling. Aim for the most supportive,
brainstorming on the coming scene,
you’ll have a difficult time when you sit
down to write for the day.
10 Write a letter to one of your
characters (either from you
or from another character in your
ergonomic one you can find. Strap yourself
in. After the mid-morning feed, while the baby is
still in a post-milk trance, insert her into the sling
story) just to see where it’ll take with the minimum disturbance possible. Forget
There will be times when you find you, or interview one or more of anything like clearing away the breakfast, emptying
yourself mentally blocked, unable your characters. the washing machine, returning calls – even dressing.
to puzzle out a certain idea. If that You won’t be doing anything as rash as answering
happens, try some of the suggestions
listed below: 11 Spend a weekend alone at a
nice hotel or resort and write.
Without the distractions of daily life
the door.
Walk to your desk, averting your eyes from the heaps
of laundry on the stairs, the drifts of cat hair on the

1 Read a book or watch a film in the

same genre as your current project
to create a springboard for your own
at home, you may be able to write and
brainstorm faster and more clearly.
carpets, the flotsam of toys in every doorway. Don’t
hurry. Don’t indicate you have anything in mind other
than a relaxing stroll. Use the swaying, rolling gait of
brainstorming.
12 Try putting each scene in your
outline on an index card and
an astronaut. Try not to show your excitement or your
nerves. You are about to carve some time out of the

2 Make a soundtrack for your playing with the chronological order. day – you are about to step out of the chaos – but keep it

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current project. Choose songs that light. Soothing murmurs at this point are optional but
fit specific parts of your book or the
theme of the whole book. Each time
you hear a song from your soundtrack,
13 List your main character’s areas
of interest (work and hobbies).
might help.
Slide yourself into your chair and switch on the
computer, having previously ensured the volume
it will inspire you to brainstorm on
that project. 14 Interview someone in a career
shared by one of your main
characters.
is turned right down, so the machine doesn’t emit a
sleep-shattering BONG in welcome. Everyone knows
there is no more sombre enemy to good art than the

3 Go shopping. Buy yourself

something your main character
would like. 15 If your book is set in a place other
than where you live, visit this
broadband connection in the hallway, so disable your
router immediately. Do not check your email, do not
click on your favourites, do not check today’s headlines,
setting. Seeing it in person may well do not be tempted to see how your eBay auctions are

4 Get out of the house – anywhere –

and people-watch. Surreptitiously
inspire new directions for your story. faring: go to work, go directly to work.
There is nothing more focusing than the awareness
observe those around you to get ideas
from gestures, movements, hints of an
overheard conversation, or even just
16 Establish a special room or area
where you can write without
interruptions or distractions.
that your beloved infant may wake at any moment,
that tiny, known body flexing and arching into
consciousness, putting an end to work. The tension –
the way people look. will you get 20 minutes today, or 40, or even an hour?

5 Ask yourself ‘‘what if ?’’ questions

about your plot and characters.
17 Just start writing – don’t stress
about the perfect words,
sentence or transitions. Write what
– will help encourage a little adrenaline, or so you tell
yourself. You scroll through the paragraphs and find
your place from yesterday, helpfully highlighted in
ideas you do have; you can supplement block capitals.

6 Try throwing unique ideas into

your plot to see where they might
lead in the outline.
and polish later.

Brainstorm as much as you can both

If you find yourself fogged by fatigue or blindsided by
exhaustion, try a square or two of chocolate – dark and
bitter. A glass of water or music can also help. Choose
before you start a project and while something that will transport you to the mood or time

7 Talk to anyone who’ll listen to you work on it. Brainstorming is or atmosphere of whatever you are writing. Put it on
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you about your story. This will not what spurs you to start and continue repeat until you don’t hear it any more.
only help you form the narrative more outlining, and what provides you with Write. The clickety-clackety of the keyboard will
clearly in your mind, but show you the inner resources to write with those soothe her, and you. Write without looking back,
weak or interesting angles of your plot magical elements infused in the most without rereading. Write until your fingers are stiff,
you hadn’t considered before. memorable books. your shoulders sore, your eyes aching. Write until you
feel her twisting her head from side to side, until you
unstrap the sling, lifting her out and into your arms.
You might be in the middle of a sentence but no matter.
Type “HERE” in capitals and then push yourself away
from the desk, carrying her out of the room, shutting
the door until next time.

Maggie O'Farrell's latest novel is The Hand That First

Held Mine (Headline Review)
GETTY
 8
Stage 1 Preliminary outline
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Stitching the
beginnings
Got an idea that just won’t go away? Then spend the next six days
contemplating the fundamentals of character, setting and plot

T
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his chapter will help you

to create a preliminary
and closing scene notes.
As you work on the steps for the
DAY 1
outline, which will be the preliminary outline, keep in mind that Character sketches
springboard for your story this is a layering process. Your initial Character sketches, like most
and the basis for a formatted character sketches may be brief, but it’s aspects of outlining, are a process of
outline. A preliminary not the last you’ll see of them. You’ll be brainstorming. When you flesh out
outline consists of character and setting expanding on every step throughout character sketches for your story, write
sketches, a research list, a plot sketch, a every stage. Get down as much as you down everything that comes to you, no
summary outline, miscellaneous scene can during each step, trusting that the matter how trivial. Remember to give
notes and closing scene notes. What pieces will fall into place of their own all your main characters internal and
you create during these six days will accord eventually. external conflicts. This will bring your
be incorporated into your formatted To keep the story firmly fixed in characters to life.
outline later, as you’ll see in chapter five. your mind, revisit what you write When you first start using this
To create a preliminary outline, it’s during these six days as often as you outline system, you may find that
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necessary to do some preparation. can. This will encourage subsequent you prefer to write your character
The very first thing you need to do, of strengthening of the story. Also sketches free form, rather than using a
course, is choose which story you’re remember that these steps are for your worksheet. Feel free to use Worksheet 1
going to work on. Start by asking own use. No one else will see this early in the way most useful to you: you
yourself if the idea feels as if it is ready work, so don’t worry about the quality can fill it out as it is, follow it loosely,
to be transformed into a full outline. of your writing. The rich imagery, or simply use it as a guideline for your
You can usually tell when a project textured sentences and clever turns own free-form character sketch.
is ready because you can’t seem to of phrase all come later. The goal right If you can picture your characters
exorcise it from your mind. Once you now is to get started. Even if you’re not clearly – actually see them – the
decide which idea is ready to go, get out sure whether you want to use an idea chances are that you’ll write
your project folder for that book. you have for the book, write it down. about them as if you know them
You can use online worksheets to inside out. That’s exactly what
create your preliminary outline (see this worksheet is designed to help
guardian.co.uk/sign-in/howtowrite). you do. It will encourage you to
You’ll start with character, setting and think deeply about characters'
plot sketches, filling out your research appearances, backgrounds and
list as you go. Once the basic sketches motivations, for example, rather
are fleshed out, you’ll create a summary than merely naming them, by taking
outline with the beginning scenes of you step by step through a range of
the book, followed by miscellaneous character facets:
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Physical descriptions anything else that fleshes out the main
This section includes any – or all – of characters in your mind.
the following: age, race, eye colour, hair You’ll be referring back to your
colour and style, build (height/weight), character sketches often – adding
skin tone and style of dress (based on new details and changing old ones
the time period and season of the year whenever you feel the need – so be
the book is set in). It can also include sure you keep them handy and leave
any other characteristics you deem yourself extra room. Don’t worry about
important to the character or the book. depth or organisation right now.
If a character has any physical flaws,
abnormalities or disabilities, describe
them and the affects they’ve had on
DAY 2
his/her life and relationships. Setting sketches and research
You may wish to attach certain or emotional turmoil, is usually strategies
mannerisms to some of your characters handled with a summary or narrative Once you have a firm idea of who
to make them unique. as a character reflects on his actions, your main characters are, it’s time
judgments and perceived mistakes. to start thinking about where they
Personality traits A solid, well-developed internal are. This is also the time to start
This is the section where you detail conflict makes characters more realistic planning the research you’ll need to
what kind of person your character and complex. do in order to make your characters,
is. What are his/her strengths and setting and entire story more realistic
weaknesses as a person? Does he/she External conflicts and specific.
have any vices or hobbies? What kind External conflict is an outside or
of entertainment and food does he/she situational conflict that prevents your Setting sketches
like? What are his/her least favourite main character from accomplishing his/ Before you start the story, you need
forms of entertainment and food? Be her goal. Some examples include an to get to know your settings as well as

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as detailed as you can because your accident or loss that has scarred a main your characters. Setting sketches, like
outline and story will be stronger for it. character physically or emotionally, or character sketches, are very flexible. If
a relationship that eludes him/her or all the characters live in the same area
Background dominates his/her choices. and time period, for example, you don’t
Background is very important in While I’m sure you can think of need to fill out this information for
defining a character and making him/ some genre stories that contain only each character.
her three-dimensional. Creating a solid external conflicts, the most effective Worksheets 2A and 2B will help you
background for each main character plot is one that reveals both the inner focus on even the smallest details of a
will help you fill out your entire outline and outer conflicts of your characters. given setting. Worksheet 2A provides
in detail. Readers usually only root for the you with a guideline for creating a
A main character's backstory might characters they care about. Give them setting sketch for each general time
include information on the character’s a good reason to sympathise. period (year, season) and area (state,
parents, siblings, relatives, friends, town). Worksheet 2B, on the other
pets, life-shaping events and their Occupation and education hand, gives you a guideline for creating
long-term effects. Did this character Provide some insight into your a setting sketch for each character’s
have a happy childhood? What kind character’s chosen occupation and property (street, neighbourhood,
of schooling did he/she have? Was he/ how he/she got there. For example, home, interior, etc), as well as for his/
she popular? Where did the character what educational requirements were her workplace.
grow up? What does he/she consider necessary? What is this character’s These two worksheets may sound
some of his/her worst mistakes and financial picture? How does this similar, but they’re actually quite
greatest achievements? What goals affect him/her? Don’t worry about different in scope. Worksheet 2A
does this character have? Include all researching occupations at this point focuses on the settings shared by
the information that comes to you. – we’ll get into researching specific several characters at the same time.
occupations later. You will need a separate worksheet
Internal conflicts for each city or town in your book.
All characters must have depth, and Miscellaneous notes If the action takes place over several
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this usually comes from internal and You may want to further expand on time periods or seasons, you may end
external conflict. Internal conflict, the character by brainstorming on up with several sketches for one →
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Stage 1 Preliminary outline
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← region. Now, let’s look in detail at for each of your main characters. If a day basis. You may need to interview
what this worksheet covers: character’s home or workplace changes people in a certain profession or area of
over the course of the book, make a expertise, or research the places your
Name of setting new worksheet for the setting. characters live in or travel to. You may
It can be helpful to name each general Again, don’t worry about in-depth need to research clothing for the time
setting by town and time period, descriptions or doing any research on period your book is set in.
especially if your book includes several any of the locations you plan to use. If a character has a medical
settings or time periods. That comes later. Right now, you just condition, or develops one during
need to get ideas down on paper. the course of the book, you’ll need
Characters living in to research that. If your book is a
region/time period Character name mystery or suspense novel, you may
List the characters who occupy this List the name of the character whose need to research police procedures.
setting. This will help you keep track of setting you’re describing. You may need to research specific
who’s living in your setting and when. trees or animals indigenous to an area,
General settings historical events or laws.
Year or time period Where does this character live or If you don’t feel you know enough
The physical description of a setting frequent? Does he/she own a home or about a subject to write about it easily,
depends very much on the time period rent a flat? Does he/she go to school or it needs to go on your list.
in which your book is set. Detail as an office? Does he/she have a favourite
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many specifics as you can in this area

without doing significant research
place to return to?
DAY 3
(that comes later). Character’s home surroundings Plot sketches
You don’t need extensive notes on the Like a tapestry, every story is woven of
Season character’s neighbourhood, street, threads that become invisible within
In addition to the physical setting, the neighbours etc, at this point. Jot down the overall design. By familiarising
seasons in which your story takes place whatever thoughts you have, going into yourself with story threads and being
will determine the type of clothing your as much detail as you’d like without aware of them as you read, you can
characters wear, as well as the activities getting lost in research. learn to weave story threads skilfully
and transportation available to them. into your own novel.
Character’s workplace
City and county Make notes about the character’s Understanding story threads
List any specifics you already know workplace, just as you did with his/her Identifying story threads and mentally
about the area in which your story home. If your character is in school, following them throughout the
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takes place. At this point you don’t adapt the headings in this section outline reduces the need for multiple
need to do extensive research – again, accordingly. revisions. For outlining purposes we’ll
that comes later. Just include brief look at threads beyond the traditional
notes for each section. Miscellaneous notes scope of individual plot and subplot
This is a good place to record additional threads. We’ll also look at individual
Miscellaneous notes thoughts or to indicate how your tension threads, release threads etc.
This section will include any notes or character feels about the general home All of these threads work together to
details that would make the general and workplace settings. form your plot sketch. With this in
setting clearer in your mind (and, mind, your outline will consist of the
therefore, in the reader’s mind). For Now is a good time to start listing the following threads:
instance, is this setting undergoing research you think you will need for
a heatwave, a drought or unusually your novel. Worksheet 3 enables you
heavy snowfall? to create a list of topics that you will
This is also a good place to note how need to look into. Please note that this
the location and time period affect the is not the place for actual research, but
characters and the plot. a list of what you think you’ll need to
research later.
Worksheet 2B focuses on settings that For instance, you may need to
are specific to certain characters, such research your characters’ careers so
as individual homes and offices. You you’ve got a clear idea of what’s done
will need to complete this worksheet and why – both overall and on a day-to-
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affect your entire story. Why are these to you, even if it’s only a few words
characters assembled and what are under each subplot number. Don’t
they striving for? Write as much as you worry about putting the threads in
can on this thread. You’ll be going back order of importance.
over it and tweaking it often to fit your
changing concepts of the book, so don’t Plot tension
worry if you can't come up with much Plot tension is essential, whatever the
at this point. genre. This kind of tension is anything
that brings the reader to a fever pitch
Subplot threads of anticipation. A story without plot
Subplots function as secondary plots. tension leaves the reader uninvolved
They typically contrast or run parallel and unemotional.
to the main plot. They can also function Plot tension is extremely tricky to
• story goal (or theme) outside the realm of the main plot, achieve and sustain. You need to bring
• subplot threads existing largely to provide a change of readers to the snapping point and
• plot tension scene, emotion or tone. These threads only then give them what they want—
• release should work in harmony to effectively temporarily. You can tease the reader
• downtime develop both character and plot. Each by snatching a resolution away just as
• black moment (or climax) will depend on the others as the novel it seems the tension is about to break,
• resolution comes to a close. but don’t do this too often. If you grab
Subplots can range from health resolution out of the reader’s hands too
Your plot sketch is your first real conditions and financial worries to many times, you may lose them. On the
opportunity to start thinking about physical or mental conclusions a other hand, if you give the reader what
and developing each one of the threads character must reach. They might be they want too soon, you take away
listed above. Worksheet 4 takes you returning home after a family member their motivation to keep reading.

Sent at 17/10/2012 14:42

through each thread individually and dies, or changing career, for example.
provides you with prompts to get In all cases it should be clear to readers Release
the ideas rolling. You can revise this how the subplots connect with the A release is an easement of plot
worksheet often. It will be especially main story goal. tension. In a mystery, a release might
helpful to you when your formatted How many of these subplot threads take the form of one aspect of the main
outline is complete. you include depends on the length and problem being resolved. In a romantic
We’ll discuss most of the plot threads complexity of your novel. Remember subplot, a release could be a declaration
in greater detail in chapter four, when that you will have to give regular of feelings. The final words in a story
we cover stage three: story evolution. attention to all of your subplots. Even should also produce a release that
Remember, at this stage you probably with a complex plot line, you never satisfies the reader and makes them
won’t be able to fill in all of these want to leave any of your threads for long to revisit the story again, even if
sections, but it’s still important to start too long. You want to generate tension only in their minds.
thinking about them. in the reader – not forgetfulness and
frustration. Downtime
Story goal At times, events in your story will Downtime is a form of release, but it
A story goal is the central idea of a cause some of your subplot threads happens during a time of incredible
novel. You will relate it to your readers to merge. This is perfectly acceptable. tension. It should be one of the most
through the plot, major conflict and In fact, in some ways it’s desirable. poignant scenes in your novel. During
character interactions. In all genres of You want your threads to mesh to the downtime, which comes at the end
fiction the story goal is the catalyst of point that you’ve created a net your of the middle section of the book, the
the book: it's the reason the characters characters won’t easily find their way main character may step back from
are there; the reason the story evolves; out of. If your characters can’t see a way the action and reflect on what happily-
and the reason the reader opens the out, neither will your reader. ever-after could have been (if not for
book, starts and keeps reading. All other The subplot section on your plot all the obstacles you put in his/her
threads and characters are instrumental sketch worksheet may prove to be way). For a time, the main character
in achieving the story goal. the hardest for you to fill out simply may also believe that the story goal is
It’s important that you identify the because most stories have several unachievable, and he/she may seem to
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major conflict or main theme of your subplots working together with the give up the fight.
book before continuing, as this will story goal. For now, write what comes The reader is led to an even higher →
 12
Stage 1 Preliminary outline
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← level of anticipation because of threads, then your novel has not (You can do the same within your
downtime. It functions as a temporary come to a satisfactory end. You, as outline.) You should use any of the
respite from the extreme tension the the writer, must fulfil the underlying information you’ve already come up
plot is creating. promise of a logical, acceptable with in your character, setting and plot
Following downtime, your character conclusion, even if it isn’t a happy one. sketches as you work.
will again realise that he/she must act, In essence, your summary outline
and will find a new way to attempt Weaving threads into details the opening scene of your book
resolution. This new plan of action your plot sketch and moves forward scene by scene
will be a final, desperate attempt to As you’re puzzling out your outline, through the story. For now, try to
reach the story goal, and the ground keep all your plot threads in mind cover the beginning of the book in a
won’t feel at all solid as he/she – they’ll come up again and again. linear (chronological) fashion without
moves forward. Once you’ve added detail and depth worrying about the middle or end
In some cases, your character will to your outline and developed your scenes of the book. Day six will cover
decide to act because the stakes of the story, the threads should become miscellaneous (nonlinear) scene notes
conflict are again raised – danger is almost invisible. They’ll become and closing scene notes.
near and he/she must move forward, wonderfully cohesive and solid. In most cases you’ll be able to
whether he/she wants to or not. This Without foundation, your story would brainstorm enough to fill a few pages
episode will propel the story to the either melt into a puddle on the floor of your summary. Don’t feel that your
next level. or fall flat on its face. With a cohesive summary outline has to be entirely
In nearly every situation, downtime structure, your story can breathe, walk, cohesive. You may realise as you’re
Sent at 17/10/2012 14:42

must be followed with a black moment. talk and live all by itself. writing that you’re not sure what the
Downtime releases the tension for a Go into as much detail as possible on next scene really needs to include. It’s
short period, and that tension must be your plot sketch, but keep in mind that fine to write yourself a note within your
built back up quickly or you risk losing your first effort will be light on details. summary outline – “scene here?” – and
your reader. Don’t worry. Over the next 27 days, it then move on with the story.
will grow significantly. At the end of day five you should
Black moment have made a good start on your outline.
The black moment in the story is
commonly referred to as the climax
DAYS 4-5 Remember to keep adding to your
research list as needed, and go over
of the book. The worst of all horrors is The summary outline what you’ve accomplished often to
happening, or has happened, and the During days four and five of the 30-day keep the story fixed in your mind and to
main characters (as well as the reader) method, you’ll start writing your encourage new brainstorming, layering
are now thoroughly convinced the preliminary outline in the form of a and strengthening of the story.
future will never be happy. The black summary essay, describing the images
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moment, which occurs in the first part

of the end section of the book (when
and specific details you already have
in mind. Worksheet 5 should get
DAY 6
tension is at its highest), leaves the you started. Miscellaneous scene notes
reader and the characters wondering Summarising a story as you’re and closing scene notes
whether evil will overcome good. preparing a preliminary outline will put Inevitably, as you’re working on a
the story’s central elements firmly in brand-new story, you’re going to
Resolution your mind. Things will begin to collate hit a snag in the summary outline,
The resolution – or denouement – of in a stronger way. The story will be on where you don’t know what should
a story comes after the climax, when the page now because of your outlining happen for many scenes in a row. Yet
the story’s main problems have been but, more importantly, it’s also firmly you still have additional ideas about
resolved. This is your chance to provide fixed in your head, where you can what will happen later. That’s where
satisfying conclusions for your subplot arrange, rearrange and work with it. miscellaneous scene notes and closing
threads. The resolutions for the long- scene notes come into play.
term story threads should be relatively Worksheet 6 is for anything that
clean, but subplot thread resolutions doesn’t fit into the outline just yet, but
may be more awkward. still relates to the beginning or middle
Nevertheless, these loose ends of your story. These miscellaneous
need to be tied up. If your reader is scene notes could be about elements
left wondering about dangling plot or threads you’re unsure of, or vague
 13

Section:GDN H1 PaGe:13 Edition Date:121020 Edition:01 Zone:

ideas you want to remember to explore Without
later. Write everything free form.
At this stage, every story sounds a
foundation,
little strange or disjointed. Readers your story My working day
won’t have the benefit of your vision, would either Ian Rankin
so it’s best not to seek the opinion of melt into a
many (or any) outside readers for a puddle on
preliminary outline.

M
As chaotic and unattached as the floor or y working day varies. Sometimes I’m travelling
miscellaneous scene notes seem on fall flat on to a festival or am on the road/in the air as
paper, however, writing down this its face part of a promotional tour. One particular
information is vital, because it helps day on a US tour, I woke up at dawn in Houston, flew
you to widen your perspective. You to Chicago for a signing, then travelled to Milwaukee
want to have these notes and ideas for an evening event, where I was expected to be wise
available when the time comes to insert and witty.
them precisely where they need to be My favourite days, though, are spent at home –
in the formatted outline. planning a new novel or writing it. I’ll start with coffee
and the papers, then maybe move on to emails. But
Closing scene notes eventually I’ll knuckle down. I have an office of sorts
Closing scene notes relate specifically in my house. There will be music on the hi-fi, and I’ll
to your book’s final scenes. Since, at sit on the sofa (if mulling), or at one desk (if writing
this early stage, you may not know longhand notes) or the other (if typing on to my
exactly how everything will come laptop). My writing computer isn’t exactly state of the
together at the end of your story, art – it can’t even access the internet – but I’ve written
notes in this section will be fairly my last seven or eight novels on it, and it seems to
general and nonlinear. work fine.

Sent at 17/10/2012 14:42

The odds are they won’t even fit into If the writing is going well, the hours melt away.
your outline in a chronological order I may skip lunch. I may look at my watch and find
just yet. But don’t let that put you off it’s four or five in the afternoon – where did the time
writing them down in as much detail as go? I almost always break for dinner, but my mind is
you can. When the time comes to drop still upstairs, involved in the plot. On a really good
them into the outline exactly where day I might go back and work until 10 or 11pm. Other
they’re needed, you’ll be glad you days, nothing happens – I sit at the desk and words,
made the fullest notes you could. Write scenes or characters won’t come. So I walk away and
them free form using Worksheet 7 . go to a bar or cafe, then try again later. There’s always
Include closing scene notes in the same correspondence to deal with, bills to pay, shopping to
document as your summary outline be done.
and miscellaneous scene notes. Sometimes I’m neither touring nor writing; but it
Closing scenes are very important to doesn’t mean those are empty days. I may be phoned by
building the structure of your outline a journalist, canvassing my opinion on anything from
and, eventually, your novel. The more Scottish independence to Valentine’s cards. Or I may
pieces you can create for your story have an interview in town – journalists from across the
now, the easier it will be to put them globe like to meet me at the Oxford Bar, as that’s where
together in the right order when the Rebus drinks.
time comes. Not having an assistant or secretary, it’s me that
At the end of day six, you’ll have queues at the post office to send signed books to
miscellaneous scene notes and charity auctions and the like. And I do have a family
closing scene notes for your book. I like to spend time with. For years my wife vetoed
Keep everything in a working project work commitments in July – that was holiday time –
folder and go back over everything but just recently a few appearances and festivals have
you’ve accomplished often, layering crept in.
and strengthening where you can, About a dozen times a year I need to visit London –
brainstorming continuously. my agent and publisher are based there. I take an early
cYanmaGentaYellowblack

train, walk from King’s Cross to my publisher’s office

in Covent Garden, see my agent in the evening, then
take the sleeper home. I get more done that way than I
would if I flew.
I can’t write a novel when I’m travelling, but I can
revise or edit, send emails and resolve plot problems.
I’m envious of writers who can work on their books
STEVE BLACK/REX FEATURES

when they’re travelling, but I need my home comforts

and certitudes – coffee, music, biscuits. I need to be in
my office. It’s where I get to play God.

Ian Rankin’s new novel, Standing in Another Man’s

Grave, is published on 8 November (Orion)
 14
Stage 2 Research
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The matter
of facts
Research into shakier aspects of your plot will when you realise, after completing
the outline or while you’re writing the
help you write with authority and confidence book, that you need to do additional

W
research. If it’s minor – and in some
e're going to talk in on it long before you begin a specific cases, even if it’s major – you can do
this section about project. If you’re not already haunting the research while you’re writing
when to research for secondhand bookshops, flea markets or after you finish the book. Simply
your books and how and libraries, now is the time to incorporate the research into the book
Sent at 17/10/2012 16:47

to approach research start. Traditional bookshops, online as you edit and polish the first draft.
while keeping your bookshops and book clubs will also be As a rule, do your research before
outline in mind. We’ll also discuss invaluable to you. or during outlining. However, certain
some crucial outline aids designed to Start gathering contacts, too – types of research should be done
help you prepare for later stages of the experts you might need to interview only when your formatted outline is
outlining process. somewhere down the road. Police almost finished. For instance, if you
The schedule provides seven officers, doctors, lawyers etc, can need to interview a police officer for
days to complete any research and prove very helpful when you need your novel, you may not know exactly
outline aid worksheets you need for specific information only professionals what to ask until the outline is nearly
your novel. There is no day-to-day can provide. complete.
breakdown of the schedule for this Why start gathering your research In a situation like this, it helps to
stage. Research is very involved – you’ll for a project so far in advance? To give keep a running list of all the questions
find your own efficient methods to yourself time to do the bulk of your you need to ask during the interview.
accomplish what you need. However, research between projects. Even when You can use Worksheet 8 for this
Section:GDN H1 PaGe:14 Edition Date:121020 Edition:01 Zone:

it is possible to maximise your you’re not actively writing anything, purpose. Begin this list as soon as you
productivity at this stage ... you can still do research. In fact, doing start to research your story, and keep it
Does completing all your research your research when you’re not worried in your project folder so you can tweak
in seven days sound feasible? For about deadlines is ideal, as you'll be it whenever you need to.
authors with extremely complex under less stress and have more time Do as much preliminary research as
plots, who may be used to spending to focus on the task at hand. you can about the subjects you intend
nine months out of every given year to bring up during the interview. It’s
researching, this pace may sound Why should I research during best if you only ask him/her to fill in
impossible. Don't panic – take the the outline stage? the few holes left after you’ve done
time you need to research your story, Research often unearths important your own research.
then come back to the schedule when details and facts that can affect your If you’ve got a fairly good idea how
you’re ready to move forward. entire story, so it pays to invest the long the outlining process will take,
time early on in the process. It’s also make an appointment with the expert
When to research very hard to write a story with huge you’ve chosen to interview for around
Ideally, you will learn to make the holes in your own knowledge; it's like the time of the outline’s completion.
most of your research time by planning doing the work backwards. This should ensure your list of
it far in advance and getting started Of course, situations will arise questions is complete.
 15

Section:GDN H1 PaGe:15 Edition Date:121020 Edition:01 Zone:

Go over the list of interview but thinking about it early will
questions often as you work on make you more receptive to such
your outline, eliminating those you revelations.
answer for yourself through research For each of your major characters,
and adding those that crop up record information about individual
during outlining. speech patterns and any catchphrases
Revise the questions for clarity if they may use.
necessary. Include the chapter and/or With this information in place on
scene numbers next to each question a dialogue sheet, you’ll know exactly My working day
on your list. That way, when you’re what a given character will say and
done with the interview, you can just how he/she will say it. You can also Lionel Shriver
drop the answers into the outline. use this worksheet during the final
When you interview an expert, use edit and polish of the manuscript to
recording equipment. Once the double-check speech patterns.

S
interview is complete, transcribe tart with large, strong coffee. Read paper, doesn’t
your notes and file them in your Fact sheets much matter which one. Concentrate on little
research folder. As your outline develops, it can stories. Dostoevsky snatched scads of ideas from
Ultimately, it’s up to you to decide become harder to keep track of newspapers. Self could not make this stuff up, so why
how much research you do. You’ll everything – especially once you’ve bother?
know you’ve done your research well added in all the facts from your Repair to desk. Prefer standing – keeps Self awake.
when you can write about everything research. Worksheet 10 can help you Recommend giant OED flipped on side for elevating
in your book intelligently, without chart all crucial bits of information to laptop to proper height. Remember in ancient times email
questioning anything you're saying. ensure the heart of your story remains (incredibly) considered exciting and fun, but now email is
consistent from outline to outline and evil foe. Even once crap cleared off, what remains? People
Additional outline aids draft to draft. nagging Self to do things Self does not want to do. SAY
Now that you’ve completed your NO TO EVERYTHING. A sucker for badgering, Self will fail
preliminary outline and research, it’s Background timelines in this ambition, but never hurts to try. Dispatch queue
time to dig a little deeper. Before you Background timelines can be written with alacrity, and DO NOT CONSULT AGAIN. Self will fail
begin work on your formatted outline, for any character in your story. It’s in this ambition, but never hurts to try.
go through worksheets 9-14. usually best to start with a defining Load latest chapter. Acceptable to reread what Self
These worksheets address key moment in the character’s life – an wrote yesterday, at most to reread from beginning of
issues, such as dialogue, character event that has proved to be pivotal in chapter; let’s get into character, as Samuel L would say.

Sent at 17/10/2012 16:47

and plot facts, and timelines. They some way. Acceptable to make small changes on reread, reminding
will provide a crucial foundation for While the information in a timeline Self that all text is liquid, and reassuring Self that even if
a more detailed outline, and they will may never appear in your finished text sucks now text will not necessarily suck later. But DO
help you stay organised as your outline novel, it can still influence how you NOT LOOK AT EARLIER CHAPTERS. Do not pour through
becomes more complex. tell your story. On the other hand, thousands of words searching for whatever Self called
Try to keep all the worksheets with timeline information may turn out to some character’s yappy dog several chapters back. First
your outline in your working project play a crucial role in your story. drafts rely on MOMENTUM. Refining adjectives does not
folder. If you find that you’re not ready This type of timeline is generally count as work. Solving what-does-she-say-next and why-
to fill out all the information on these written free form, but Worksheet 11 would-he-do-that, or making daily effort to construct at
worksheets, just read over the blank should get you started. If you find that least one paragraph justifying stupid book’s existence
worksheets and allow the questions the formatted worksheet hinders your – one paragraph other people might conceivably want to
to percolate. creative process, or takes your story in read in sloshing sea of unnecessary, look-at-me prose in
directions you don’t want it to go, then which whole world is drowning – this is work.
Dialogue worksheets write the information down free form. At 5pm, Self may have tea.
It’s never too soon to start thinking At 6.45pm, fetch logs and build fire. Congratulate Self
about what your characters will say Miscellaneous timelines smugly for installing wood stove.
and how they’ll say it. Giving each of Worksheet 12 is used to keep track of At 7pm, watch Channel 4 News. Between Jon Snow,
your characters a distinct voice is key miscellaneous events that occur before papers, Newsnight and ABC News from America, Self will
to writing great fiction. or during the actual story and that are spend 3.5 hours per day consuming news, most of which
The goal of Worksheet 9 is to important to the story, rather than a Self will instantly forget. Self has problem.
encourage you to think about your specific character. At 8pm, exercise, doesn’t much matter how – just so
characters’ individual speech patterns Record the page numbers for each routine takes long time and is unpleasant. Self will not
and specific word choices. Your fact so you can use the worksheet as feel like doing this. Tell Self to shove it. Self’s occupation
characters will probably reveal these a handy reference while you outline, is sedentary. Self does not want to become pudding.
distinctions as your story progresses, write or perform editor revisions. Self is now horribly old, and Self probably has another
athletic injury. Nevertheless, Self gets no free pass.
Showering, thank Self for glorious near-24-hour
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reprieve from further disgusting exercise. Make popcorn

on dot of 10.30pm: nightly offering to Jeremy Paxman.
Paxman neglects to eat any. Finish bowl.
Make dinner. Eat at midnight. Drink copiously – Self
has endangered authorial reputation for abandon,
excess and inebriation to maintain! Confess to husband
sheepishly over candlelight all email requests idiot
wife did not say no to. Clean kitchen. In front of ABC
News, reflect on depressing fact that even a “bestselling
novelist” has to floss.
MURDO MACLEOD

Lionel Shriver's latest novel is The New Republic

(HarperCollins)
 16
Stage 3 Story evolution
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Train of thought
A propulsive plot is crucial to the success of your novel. Spend the next couple of
days reinforcing the structure of your book – including that elusive middle section
Sent at 17/10/2012 14:41

E
ach story has a beginning, the story evolution worksheet in Don't be Conflict
a middle and an end. whatever way you choose. Your reader needs to be assured from
In this section we’re
afraid to get your very first sentence that something
going to discuss how The beginning inside your suspenseful and exciting is happening
every memorable, well- Plots, subplots, characters, goals characters' or about to happen. Conflict is the root
constructed story evolves and conflicts are introduced at heads to of everything exciting and suspenseful
through each of the three sections of the beginning of a story. Your in your story.
a book. This steady, logical evolution goal is to pull the reader in with
create Conflict can be internal or external.
is the basic framework of any strong an exciting opening, then begin compassion Each of your main characters should
Section:GDN H1 PaGe:16 Edition Date:121020 Edition:01 Zone:

novel and will form the structure of setting up the basis for the rest of in readers have internal conflicts – opposing
the formatted outline you’ll begin the book. Depending on the length desires, beliefs or motivations. External
in the next section. This framework and complexity of your story, the conflict can (and should) occur between
is what will make up the invisible, beginning generally amounts to about characters, but characters can conflict
unshakable foundation of your story. the first 50 pages. with other things as well (such as fate).
If you learn to see this structure in other The start of your story is where A solid plot gives all main characters
novels, it will be easier to construct in you introduce your main characters’ (including the villain) internal and
your own. attributes and motivations. The external conflicts.
qualities you give your characters are Be sure to lay the groundwork for
DAYS 14-15 what makes the reader care about
them. Your characters’ behaviour,
conflict in the beginning section of
your outline.
The preliminary outline you completed reactions and introspection, as well Keep the following tips in mind
on page 8 stated your novel’s basic as their ever-evolving goals, draw when building opportunities for action
premise, conflicts and issues that need sympathy and interest from the and suspense into the beginning of
to be resolved. The plot sketch further reader. The main characters in your your story:
detailed these points. Now it’s time to story don’t have to be the moral
complete your story evolution with the
help of Worksheet 13 . This worksheet
is broken down into three parts
equivalent of Snow White, either.
Even character flaws and sins can draw
the reader’s sympathy.
1 Keep the reader on edge with
baffling contrasts in characters,
setting and dialogue. If you put two
(beginning, middle and end), so you Don’t be afraid to get inside your seemingly opposed characters in play
can take a logical and detailed approach characters – revealing their most together, you’ll intrigue your readers
to weaving your plot threads through heinous thoughts and secrets along and they will stick around to figure
your book from start to finish. with their most noble ones – in order out why.
Keep your plot sketch in mind to create compassion in your readers.
as you fill out the story evolution
worksheet. By the time you complete
this worksheet, your plot threads
It’s important to think about your
characters’ conflicts, motivations,
intentions and weaknesses right
2 Take advantage of pacing,
especially as you move toward
and through the middle of your story.
should be firmly enmeshed with the from the start. As the outlining process Don’t rush in to pick up the story
story evolution framework. grows more intense, your insights into threads. Keep the reader guessing.
Story evolution is a process of your characters will deepen, and your Draw out scenes involving rescues
brainstorming and therefore it tends finished manuscript will be much the and explanations. Offer the reader
to be anything but linear. Work through better for it. unsatisfactory alternatives to
 17

problems. Alternate suspense and Writers are plot thread. You will introduce it at largest portion of any book. In this
action within your outline, even if just the beginning of the book. Review section, plots, subplots and conflicts
by giving yourself stage directions for
advised your plot sketch worksheet from your work together to create a tug-of-
accomplishing this. to begin preliminary outline (Worksheet 4), war between the story goal and the
each story then describe the story goal and how it opposition. Essentially, the action in

3 Carefully construct mood by using

description, dialogue, introspection
and action.
with a bang
for a very
will push your story forward through
each section.
the middle section of a book revolves
around the main characters confronting
the opposition, though most of the

3
good reason Characters are outfitted for time this opposition is hidden from or

4 Use foreshadowing.
Foreshadowing shouldn’t
answer the crucial questions of a
their tasks
The character sketches you have
created as part of your preliminary
unseen by the lead characters.
Your main characters must grow
throughout this section of the book.
story but, instead, create possibilities outline will help you continue to think Therefore, each of the events that
or uncertainties that will evoke mild about who your main characters are take place within this section will
or extreme tension in the reader. and how they’re involved in achieving require multiple scenes to work in and
the story’s goal. work out. In other words, you will be
Conflict, suspense and motivation will Your characters should be designed planning multiple scenes for each pull
be the driving forces behind your story. with the resolution of the story goal in the tug-of-war between your main
Lay the groundwork for them in your in mind. They should have strengths characters and their opposition. The
outline, and they will reach their full they themselves aren’t aware of at longer your book, the more complex
potential in your story. the beginning of the story – strengths this tug-of-war will be.
Now that we’ve reviewed the that evolve steadily throughout the Here’s how the story evolution
fundamentals of writing a good course of the book as the characters worksheet can help you to plan out the
beginning, let’s discuss the first section face adversity. middle of your book:
of the story evolution worksheet: They also should have internal and/

1 Conflict is introduced
Most writers have been advised to
or external weaknesses that hinder
their progress. Detail these things in
this section.
1 Characters design short-term goals
to reach the story goal
For each main character, introduce
begin each story with a bang. There’s As you think about the first 50 or so short-term goals that will assist that
a good reason for that. You want to pages that set up the premise of your character in reaching the story goal. Give
hook your reader as early as possible. book, continue to expand on the three a brief description of each goal and how
Detail here what will happen in your points we've just covered. These points each character is attempting to reach it.
first scene, and briefly describe how will help you come up with everything Use your plot sketch (Worksheet 4) as a
the conflict you introduce at this point you need to keep your audience springboard for this section.
will dominate your story through each reading voraciously.
section. Also, hint at looming conflicts.
As your beginning progresses, you’ll
want to fully introduce the villain.
The middle
If you haven’t already, review the plot
2 Quest to reach the story
goal begins
In this section the characters put
sketch worksheet (Worksheet 4) you their first short-term goals into action.

2 Story goal is introduced

The story goal is your dominant
began while creating your preliminary
outline. The middle is usually the
Sketch out what they go through
during this time. →
18
Stage 3 Story evolution

3 First short-term goals are thwarted

The first short-term goal proves
impossible. What events take place to
8 Quest to reach the story goal is
continued
The characters put their new short-
Something
must occur 13 Downtime begins
The last section of the middle
portion of the story begins with the
make this failure come about? term goals in action. In this section, to make it downtime, which precedes the black
sketch out what they go through during impossible moment. Your characters are coming to

4 Characters react with

disappointment
this time. for the hero
to concede
feel they have nothing left to hold on
to. Detail these feelings.
Characters react differently to
disappointment, and these reactions
show the kind of people they are.
9 Short-term goals are again
thwarted
The new short-term goals prove as
defeat
14 Characters revise old or design
new short-term goals
Provide insight into each major impossible as the first. What events Your characters are going to make
character’s reactions. took place to make this failure come their next decisions out of sheer
about? desperation. From this point on, they

5 Stakes of the conflict are raised

Giving up the quest to reach the
story goal is never really an option, 10 Characters react with
disappointment
seem to lose much of their confidence
– or, worse, they’re feeling a reckless
sense of bravado that may have tragic
though the characters may wish they Character reactions will run the gamut consequences. What are their new
could. In every exciting story with here, but each character will be tiring goals and how do they plan to reach
worthy heroes, something always of the battle a little more each time he/ them?
happens to make it impossible to she fails.
concede defeat. Inevitably, the
stakes are raised and a new danger is
introduced. Detail the new danger and 11 Stakes of the conflict are raised
Remember that each time
15 The quest to reach the
story goal continues, but
instability abounds
its effect on all subplots. something happens, it must create Though your characters are ploughing
ever more dire consequences if the ahead bravely, each step is taken with

6 Characters react to the conflict

In this section describe each main
characters don’t act quickly. deep uncertainty. How does this action
unfold?
character’s initial reaction to the new
danger or problem. 12 Characters react to the conflict
Show marked growth in
the characters. Make the readers 16 The black moment begins
The worst possible failure has

7 Characters revise old or design

new short-term goals
Though the initial reaction to the
empathise with them. At this stage you
can repeat steps 7-10 as many times
as necessary to accommodate your
now come to pass. The short-term goals
made in desperation are thwarted, and
the stakes are raised to fever pitch as
danger is usually one that’s far from story’s length and complexity. Steps the worst of all possible conflicts is
calm and logical, this must be a 11 and 12 aren’t repeated here because unveiled. Describe it in detail.
temporary reaction. Eventually, each the cycle becomes more dramatic with
main character will need to devise
a new short-term goal to lead him/
her closer to reaching the story goal.
each repetition, thus allowing the last
half of the middle portion of your book
to be even tenser and your characters
17 The characters react to the
black moment
Characters react to this major conflict
Briefly describe each character’s plan more desperate. with a sense of finality. Never will
of action. there be a moment when the outcome
 19

My working day
Tim Lott

M
y average working day bears very little
resemblance to that of most people. It wasn’t
always so. When I began my first novel, White
City Blue, I would not only sit at my desk for seven hours
a day, but don a suit to go to work. Those were the days
when I believed that the amount of effort you put into a
piece of work were directly related to the quality of work
that resulted.
I realised quite quickly that sitting in front of that
desk all day in my suit was a silly way of working. Much
of the time I spent staring out of the window, or being
bored, or feeling angry with myself for being unable to
get any words down on the paper. I was permanently
frustrated, and the fact I could only manage a few
hours of writing a day, invariably in the late afternoon,
produced extreme outbreaks of guilt.
I eventually got realistic. Nowadays, I know exactly
is more in question than in this
concluding section of the middle of
the book.
5 The story goal is achieved
That which all the characters have
been striving for has come to pass and
how much juice I have in me and don’t try to squeeze
out more than is available. So I usually turn up at
my office in North Kensington at around 9.30, and
this will affect everything. Detail the spend the morning doing general non-creative work –
The end consequences of victory. answering emails, doing accounts, reading newspapers
At the end of a book, all plots, subplots and books. I do a bit of tweeting and maybe hustle for a
and conflicts are resolved. In the last
few chapters, the characters are finally
given a well-deserved break from their
6 Characters react to the resolution
of the plot and subplots
In this section, release is given to the
bit of journalistic work. This is a form of limbering up.
At 12 o'clock I go and have lunch – a proper meal,
two or three courses, in a very nice, cheap cafe near
recent crisis. Here’s how it takes shape characters who have worked so hard to Portobello Road, where I meet friends who are, like me,
through the story evolution worksheet: achieve the story goal. Describe their unwedded to the idea of busy-ness. We chew the fat,
reactions. sometimes just have a nice time, sometimes discuss

1 A pivotal, life-changing event

occurs Something crucial must
happen in the first part of the end 7 Characters revise their life goals
At this point the main characters
ideas, some of which I use in my work. I often do a bit
of shopping, and I’m usually back in the office by about
1–1.30pm. Now I am almost ready to start. But not quite.
section – something that will change have learned what they’re capable of. Come around 2pm I have an energy slump – especially
the lives of the characters irrevocably. Now their life goals are revised. if I have had a glass of wine. This has been happening to
me since I was a teenager, but in those days at school I

2 Characters modify short-term

goals one last time
Whatever the life-altering experience
8 Possible re-emergence of the
conflict or opposition
At the end of a book it’s possible for
was in no position to do anything about it. Now I have a
bed in my room, I take a nap. I never wake later than 45
minutes on.
the characters face, the desperation the conflict or opposition to re-emerge Come 3pm I am finally feeling sharp and determined
that drove them only a few chapters – just when you and the characters and motivated and ready to go. But before I can really
earlier is completely gone. They’ve thought it was safe. address myself to creative work – which I always find
never had such clarity of purpose as Using a story evolution worksheet intimidating, and therefore put off as long as possible –
they do at this moment, and they to plot the course of your story helps I switch on a computer program called Freedom, which
revise their goals with the kind of you to: prevents me from accessing the internet.
determination that convinces the (1) see a snapshot of the highlights of I then write for 45 minutes solid. Then I take a
reader they can’t possibly fail. your story; (2) pinpoint with accuracy break. Then I do the same again. And again. And again.
precisely where potential problems Until I have got three solid hours of writing under

3 The showdown begins

The main characters and opposition
come face to face. It’s in these moments
are within the story; (3) make the weak
areas of your story more solid; (4) avoid
sagging, uninteresting middles; and (5)
my belt, which usually translates into around 2,000
words. In these hours, my peak hours, I am fluid,
productive and full of zest. The rest of the working day
of confrontation that the main avoid repetition in your stories. is mere steam.
characters move to accomplish the Once you’ve learned to see the I go home. My wife asks me how my day’s work went.
story goal. framework of a story, you’ll never look She usually puts the word “work" in invisible inverted
at a book the same way again. What commas. Understandably. I tell her the same as ever. It

4 The opposition is vanquished and

the conflict ends
was invisible has become visible, even
stark. As an author yourself, you now
went well. To tell you the truth, it was as good as it gets.
LINDA NYLAND

You know the showdown that follows hold the key to creating the strongest Tim Lott's latest novel is Under the Same Stars
the moment of clarity very well. framework for your novels. (Simon & Schuster)
20
Stage 4 Formatted outline

How to balance
your new book
You are very close to achieving your first draft. Over the next week, gather
everything you have into one single, satisfying document, ready for editing

A
s you now know, putting • Because you’re still working on your You’ll know of information you need as you work
together an outline is outline, the process of consolidating on a particular scene.
much like putting together all your research, character and setting
at a glance
a puzzle, except in this case sketches etc, into one main document what still Outlining tips
you’re not only assembling will help you flesh out your outline needs work, Outlining can and will be messy at
the pieces, you’re creating even further. During this consolidation where the times, regardless of how well organised
them. You’ve already created several of process you’ll be able to see the holes in you are throughout the process. Here
your puzzle pieces by brainstorming, your plot. You’ll know at a glance what
pacing are some tips to help you stay on track:
completing a preliminary outline, doing still needs work, where the pacing is is too slow
your necessary research, and filling slow, where you need to drop in a clue • Chapter numbers will change often.
out the three-part story evolution or increase the tension. You can list all For now, in the earliest stage of creating
worksheet. In this section you’re going your questions and issues that need a formatted outline, it’s best just to
to create a formatted outline and learn further attention in the “questions” divide your book into scenes. Once the
how to navigate it. We’ll also discuss section of the formatted outline for outline is complete, or nearly complete,
what to do if you get stuck anywhere in easy reference as you work your and isn’t likely to change much, you
the process. way through. can add the specific chapter numbers.
The formatted outline will be the • Going over the outline scene-for- • It’s fine to switch between past
first draft of your novel. Once you finish scene as the story progresses will help and present tenses at this early stage.
the formatted outline, you’ll be ready encourage your mind to brainstorm and You’re the only person who will see
to begin your second (and perhaps even your creativity to snowball. your outline.
final) draft, which involves putting • You’ll provide yourself with a • Sentences can be incomplete or even
your completed outline into book form. snapshot of the entire book – a snapshot written in shorthand.
you can revise and fine-tune as much as • Outlines do not need good
Consolidating your information you need to before you start writing. transitions between paragraphs.
The primary goal of stage four in the Your outline will skip from subject to
30-day method is to consolidate all of Many writers tend to get sidetracked subject, sometimes randomly by all
the information you’ve worked so hard by small details. Having everything appearances, and that’s fine. You’ll
to develop thus far. you need in one place will help you smooth out rough edges during the
Combining all your outline stay focused when the time comes to actual writing of the novel.
information from several different actually start writing the book. You • Do look for roughness in the logical
worksheets into a single document has won’t have to interrupt the flow of progression of events in the outline.
a number of benefits: your writing to find the little pieces If the progress slows or halts in one or
 21

more scenes, it may be a signal that

a scene should be placed elsewhere
or taken out altogether. As long as
everything is clear to you and progress
is steady in your outline, go with it.
• Use description, dialogue,
introspection and action within your
outline. Flesh out the outline in as
much detail as possible, because it’ll
make the writing of the book go that
much more smoothly.
• The outline must include the
information you want to impart in each
scene – but it doesn’t have to include it
eloquently.
• Never stop viewing your outline and
your story as flexible.

DAY 16
Starting and organising your
formatted outline
By now, your project folder includes
the following:

• in-depth character sketches

• setting sketches
• a plot sketch
• a summary outline
• miscellaneous scene notes
• closing scene notes
• all or most of the completed research
from your research list
• an interview question list
• the appropriate outline aid
worksheets
• a story evolution worksheet

Formatted outline capsules

The first step in combining all your
information is to complete a formatted
outline capsule Worksheet 14 for each
scene. These brief scene summaries
help you organise your information
scene by scene and allow you to start
thinking about all your information
in an organised, linear manner. A
formatted outline capsule includes the
following information:

• the day the scene takes place in

the story
• the chapter and scene number
• the point-of-view (POV) character
• additional characters in the scene
• the location where the scene takes
place (the setting)
• the approximate time of day
• the facts necessary for writing
the scene
• notes
• questions
• a draft of the scene

Let’s go over these categories so that

you have a clear understanding of what
to include in each space.

Day
The day or date will affect many aspects
of the scene, so it’s important to be
certain of this fact, even if it’s only →
22
Stage 4 Formatted outline
← for your own use. Consistency is very While some notes and any additional notes that order of the scenes easily later, so don’t
important in every novel. pertain to another place or event within worry too much about putting scenes
Keeping track of the day each
writers hop the outline. If you’ve done an in-depth from your miscellaneous notes in
scene takes place becomes extremely from one background timeline (discussed on p8- exactly the right place.
important when your book may head to the 13), you might reference it here. If you’re not sure the scene belongs
eventually reach 60,000 or 100,000- next in a If you have way too much in the book at all, you can either leave
plus words. Jot down either a specific information to fit into the formatted it out (highlighting it on your hard copy
scene, very
date or just the day on which the scene outline document, you might want to so you can come back and evaluate
takes place. few can do record in this section a reference to the its worthiness later), or you can put
this without exact location of the information in it in wherever it seems to belong for
Chapter and scene annoying your research notes or other document. now. Because you won’t necessarily
One chapter may contain many scenes, their be incorporating scenes in order
although some authors write very Questions during this step, it may be easiest to
brief chapters containing only one readers If you need to figure something out put a question mark next to the scene
scene each. The end of a scene within a before you can write a scene – for number field in the outline capsule.
chapter is usually indicated by several instance, you need to do more research
blank lines or a series of asterisks. on specific details or plot points – Incorporating closing
These visual indicators tell the reader you can leave yourself a question or scene notes
that one scene has ended and a new reminder in this area. Once you have all or most of your
one is beginning. miscellaneous scene notes checked
In this section of the formatted Draft of scene off, get out a copy of your closing scene
outline capsule you would include the This section will include a sketch of notes, also created on day six.
chapter number and the scene number: what happens in this scene. You may Incorporating closing scenes won’t
“chapter 4, scene 3”, for instance. not be able to put much in this section be as hard as including miscellaneous
Initially, you should skip the chapter on your first pass, but ultimately you scenes, because most of them will fall
number and simply number the scenes will flesh it out fully with description, in the last section of the book, so you
in order – “scene 1” for the first scene, dialogue, introspection and action – as can just put them at the end of your
“scene 2” for the second, and so forth. well as your plot sketch threads and document in the appropriate order. If
story evolution elements. you’re not sure about the precise order
Point-of-view (POV) of these scenes, don’t worry – you’ll be
Who’s the main character in this scene? Incorporating your summary able to switch them around later.
While some writers hop from one head outline into your formatted At the end of day 16 your outline
to the next in any given scene, very few outline should be shaping up very nicely. You
authors can do this effectively without Once you’ve finished filling out as will have incorporated your summary
annoying their readers. One character much information for the capsules as outline notes, miscellaneous scene
POV per scene is the best option in possible, it’s time to start incorporating notes and closing scene notes within
nearly every case. You just need the information from other worksheets. the formatted outline document. Now
first name, or you can use first and last It’s a good idea to have a copy of take a look at the outline from top to
name if you prefer. your summary outline created on days bottom. You’ll see a lot of holes, but
four and five to hand as you work to you’ll also see a solid progression.
Additional characters incorporate it within the formatted Each scene you write has to advance
List any other important characters outline. That way you can check off the story. It must add to the previous
who are in this particular scene. the areas you’ve used as you go along, scene and work to move the plot
and you’ll know when the scenes are all forward. Your formatted outline acts
Location in place. as a road map: you can see the path
Where exactly does the scene take When you put the events from you must take, and you can place your
place? You can put a location without your summary outline into the scenes accordingly.
specifics, or you can put the location formatted outline document, work It’s much easier to pace your novel
and details about that location here. chronologically and go as far as you when it’s in outline form than it would
can. If you’re not sure about a scene, be if you just started writing the story.
Approximate time how many you should have, or what With an outline sketching out each
What is the approximate time of day should go into a scene or scenes, insert scene in detail, you can tell at a glance
when the scene takes place? The time, a blank capsule, start a new capsule on whether each scene pushes the plot to
like the day or date, will affect many the page after that, and keep going. a tight conclusion.
aspects of the scene; it’s important to Once you complete the formatted
be certain of this fact, even if it’s only Incorporating your outline, any scene that seems to slow
for your own use. miscellaneous scene notes or halt progress – or that simply doesn’t
Once your summary outline is belong – can be moved or cut before the
Facts necessary completely incorporated into actual writing of the book begins.
What information is important for you the formatted outline, find the
to know while you draft this scene? miscellaneous scene notes that you The ‘‘pick up the pace’’ ploy
Generally, this section will include created on day six. If you want to pick up the pace of your
facts that you need to be aware of as Incorporating scenes based on your book in a simple way your readers
the author, but that the reader doesn’t miscellaneous scene notes will be a bit probably won’t even notice on a
need to know. Any of the information harder because many times you won’t conscious level, try writing one scene
from the additional outline aid be sure where they should go, or even if per chapter. This accomplishes several
worksheets you filled out in stage three they should go. things:
(including dialogue, fact, timeline and Make a guess where you think
alibi worksheets) would fit here. certain events might sit best – toward • Fairly short chapters allow the book
the beginning, middle or end? Near to move along swiftly from one chapter
Notes other events already in your formatted or scene to the next.
This is the place to include research outline? You’ll be able to switch the • Your reader is likely to read more
 23

in one sitting, since many readers

glance ahead to the next chapter
when considering whether or not to
stop reading.
• If the next chapter is short, your
readers will be much more inclined to
keep going for “just one more” chapter.
Frequently, they won’t put the book
down for several more short chapters.

DAY 17
Incorporating story evolution
elements
On day 17 you’ll be incorporating the
elements from your story evolution
worksheet into your formatted outline,
which was created on days 14 and 15.
Your story evolution worksheet
lists events in chronological order, so
figuring out where they fit into your
outline shouldn’t be too difficult.
Incorporate as much of your story
evolution elements into your formatted
outline as you can. If you’re not sure
about something, highlight that area on
the hard copy of your story evolution
worksheet so you can come back to it at
a later date.
At the end of day 17 take another
look at your outline from top to
bottom. Flesh out the outline wherever
you can. Once you’ve gone as far as you
can for the day, print it.
Spend the rest of the day looking at
it, trying to fill in the holes.

DAY 18
Incorporating character and
setting sketches
Today you’ll be incorporating your
character sketches directly into the
formatted outline.
Up to this point you’ve been
putting scenes in chronological order.
Incorporating a character sketch isn’t
as easy as dropping a scene into its
chronological place, so today’s tasks
will be a bit trickier for you. However,
because much of your outline is now
in a progressive (or linear) format, you
should be able to determine the best
places to intersperse your character
sketch information.
Remember as you work that,
in general, most character sketch
information will appear in the
beginning of the book, when the
character is first introduced. As you
introduce your characters and they
begin to interact with one another,
drop in short physical descriptions.
Include some information about
your characters’ personalities and
motivations in every scene they appear
in. Writing sensory descriptions of your
characters and their behaviour gives
your readers the ability to use their
senses. Put these descriptions directly
in your outline.
Blocks of description are fine in
the outline. Don’t worry about →
24
Stage 4 Formatted outline
← being eloquent in delivering the important to them or that hold special Take time anyway. So what do you do? Here’s a
description. When you’re writing the meaning for them. Their current state list of ideas you can try:
book, you can scatter the information of mind will also affect what they
off. Setting

1
throughout several scenes in creative notice. a story aside Use any of the brainstorming
ways that tie together naturally. • What season is it? What kind of is not a sign techniques included on pages 6-7,
Ask yourself some or all of the day within that season? Rainy? Hot? of failure especially verbal brainstorming with
questions below as you’re incorporating How does your character react to the a partner. You might be able to work
character sketch information into your weather? out the kinks and return to outlining
formatted outline: • Where are the characters within the in no time.

• What are the characters seeing,

touching, smelling, hearing, tasting?
scene?
• Does your setting description match
the mood of the scene?
2 If you haven’t started your
research (or if you haven’t finished
your research), do it now, or follow
• What are they wearing? another logical research angle. You
• Where are they within the scene? At the end of day 18 review your might discover some new threads you
Is there anything nearby that holds outline. Type out any handwritten can explore in your outline.
meaning for them – if so, what and why?
• What are their expressions? Do they
seem nervous, emotional, guarded?
notes and reprint your formatted
outline. Spend the rest of the day
looking at it, brainstorming to fill in
3 Remember that you don’t have
to brainstorm or puzzle out your
outline in a linear fashion. If you can’t
• What is happening around them? the holes. figure out what should happen in
What is the POV character’s reaction to scenes 12-20, but scenes at the end of
the event(s)?
• What are they thinking?
DAY 19 the book are coming to you, skip ahead
and work on those. In the process, you
• If there are other characters in the Incorporating research might figure out what needs to happen
scene, does the POV character know On day 19 you’ll be incorporating in scenes 12-20. All that matters is that
them? If he or she does, how does this your book research directly into the you keep brainstorming and allowing
relationship affect him/her? formatted outline. If there’s a fact in your muse to help you work.

At this point start adding dialogue

to your formatted outline as well.
your research that’s pertinent to a
specific scene in the outline, you would
incorporate it into the “facts necessary”
4 If you’ve tried all of the
suggestions above and you’re still
not able to move forward, take a few
Dialogue advances and enriches a section of the scene capsule. Include days off to brainstorm in your head
scene, and, in your finished story, the fact in all the scenes where you instead of on paper. If that doesn’t
provides the reader with a sense of might need it. work, take a longer break. Give yourself
“being there”. Use both external If you have large amounts of research permission not to take notes so you’ll
dialogue (what characters say out loud) that can’t be incorporated into the feel freer to go in any direction while
and internal monologue (what the outline without causing your page you brainstorm.
main POV character in the scene thinks count to triple, place a reference to the
to him/herself). Dialogue can also be research in the “notes” section of your Ultimately, if you can’t get past the
used to reveal important details about scene capsule so you’ll know exactly roadblock with any of the previous
a character’s personality. It can be used where to find the information when suggestions, you may need to set the
to start a scene with a bang, and it will you need it. project aside. Perhaps the story just
paint a clearer picture in your mind of Putting all of this information isn’t finished brewing. The work you’ve
the purpose of the scene. directly into your outline will shave done so far will prove invaluable when
Now it’s time to incorporate your considerable time off your schedule you’re ready to start again. For now,
setting sketches and any setting- when it’s time to write the book. take some time off, do some research
specific research directly into the Everything you need is just where you for another story, brainstorm on other
formatted outline. Much of the need it, when you need it. books, or concentrate on one that’s
discussion pertaining to incorporating At the end of day 19 review your ready to be poured out. Setting a story
character sketch information into your formatted outline, type in any aside is not a sign of failure.
formatted outline also applies to the handwritten notes, and reprint it.
incorporation of setting sketches. Outlining and writing in tandem
Most of the important setting
sketches will come at the beginning
DAY 20-23 If you find yourself unable to make
further progress, the cure is almost
of the book, when the setting is first Brainstorming always outlining and writing in
introduced, but you’ll also establish On days 20–23 you’ll be brainstorming tandem. Stop outlining, sit down and
setting for the reader with every to fill out the remaining holes in write some scenes from the book based
new scene. Include all necessary your outline. You want to layer and on your outline. This will encourage the
information in each scene in the strengthen your story. Hopefully, story to take shape in your mind and
outline. For instance, if you introduce your work thus far has inspired you to will almost always inspire you toward
your hero’s home in the first scene, that brainstorm constantly. further brainstorming, which will help
would be a good place to drop in a short As you work, you can type your you complete your formatted outline.
description of his or her abode. As with notes directly into your formatted When outlining and writing in
the character sketches, put your setting outline document or write by hand tandem, start by outlining as many
information wherever you might need on your printed copy. Reprint the scenes as you can. When you can’t
it within the formatted outline, so you formatted outline as often as you need go any further, stop and use the
won’t have to hunt for it when it comes to during this time. completed portion of your formatted
time to write that scene. outline to write the first scene of the
Ask yourself the following questions Roadblocks book. Once that scene is complete, try
as you incorporate setting sketch With the proper brainstorming and going back to the outline. If you’re still
information into your outline: discipline on your part, the 30-day stuck, write the second scene. As you
method should keep you outlining push forward, eventually the story will
• What about the setting is important? from start to finish. However, there reveal itself, allowing you to complete
Characters will notice things that are may be times you’ll hit a roadblock the outline well in advance of the book.
 25

break at the end of each scene will keep

you focused on writing at least one
scene per day, which is important to
completing a project on schedule.
A day sheet Worksheet 15 is a
valuable tool when you’re evaluating
the strength of your outline. The
information in your scene capsules
will help you fill out the first three
columns. In the first column insert
the day the scene takes place. Enter
the chapter and scene number within
that chapter in column two. Then list
the scene’s point-of-view character in
column three.
This number in column four is a
running tab counting how many times,
up to that scene, that a particular
character has held POV. Keeping
track of this number is especially
helpful in books with more than a
If you’re outlining and writing in minor editing when it’s complete. couple of points of view. In one of the
tandem, please note that you probably At the end of day 23 (if you’re not books in the Falcon’s Bend series, my
won’t be able to follow the 30-day outlining and writing in tandem) partner and I discovered that one of
schedule. This method is designed review your formatted outline from top the characters had only one or two
around completing a full outline before to bottom. You should be pretty close POV scenes in the entire book. These
you begin the writing, so follow your to filling in all the gaps in the outline at scenes, we realised, were extraneous or
own schedule while you’re doing this. this point. Once you’ve gone as far as worked better from another POV.
In general, once you get all you can for the day, reprint it. If you find that one of your
your summary outline ideas, characters has only two or three
miscellaneous and closing scene
notes, character and setting sketches,
DAY 24 POV scenes, you might want to cut
them. Your readers don’t want to get
research, plot sketches and story Creating a day sheet interested in a character who doesn’t
evolution worksheets incorporated If you’re writing a 100,000-word book, have a strong purpose throughout
into a formatted outline, you can your complete formatted outline will the book. The exception to this rule
start writing. be nearly 100 pages long, or longer. is the prologue, which can be written
Your goal should be to get to the Even a shorter book, say 60,000 words, from a point of view not repeated
point where you’re able to outline a will require about 60 pages of outline. elsewhere in the book. The technique
book straight through before starting How do you navigate something this of using a one-time POV character in
to write the book itself. It’s much easier big and complicated? the prologue is especially common in
to revise an outline than an entire The first step is to separate scenes mystery novels.
book. You can strengthen weak areas with page breaks so each scene can Column five on the day sheet
and remove huge blunders before these be viewed completely on its own. features a high-concept blurb, which
flaws have spread over 300 pages. Doing this will make your document is a very succinct sentence summing
Because your outline is, essentially, far more workable. When you finish up what takes place in that scene. You
the first draft of the book, your first writing a scene, you’ll shuffle the scene could also look at it as a summary of
attempt at actually writing the book capsule to the back of the stack until something a particular character must
will produce your second (and possibly you eventually end up back at the do or wants to do. What is his/her
final) draft, which will require only beginning of the outline. Adding a page short-term goal for this scene?

W
hen I first began writing I was so terrified fiddling and fixing, reacquainting myself with my
I wouldn’t be able to do it, I made myself characters, my landscape, my plot, and then, like
start as soon as I got up. Three hours was a motor revving up, incredibly slowly, I’m moving
what I promised I’d do. No more or less. To my forward, writing into the unknown. People often
amazement, this worked. The pages accumulated. ask about the dreaded blank page, but I almost
The story grew. Within a year, I had my first novel. never see it. I’m working from the inside out,
But as time has passed, I’ve become less strict. fattening things up. This is the happiest time.
Partly through necessity and partly due to a Nothing can distract me now.
My working day willingness on my behalf to be distracted. I work till 2pm, but it’s the last 20 minutes that
Esther Freud Another writer once told me about a sign they’d are often the most productive. It’s when, faced
been given: Writer at work, please disturb. And with my self-imposed deadline, I stop scrutinising
I’ve noticed that as my anxiety has subsided, my each sentence and write into the story, almost
discipline has slipped. But by 10am I’m desperate with my eyes shut, forging ahead, laying words
SUTTON-HIBBERT/REX FEATURES

to get to work. If I don’t start soon, I won’t be able down to be examined the next day. Now I am no
to start at all. My morale is higher in the morning, longer available for distraction. If I hear a door
my eye sharper, my doubts ring less loudly in my open, or a phone ring, my stomach lurches and
ears. In the morning anything seems possible. In my body goes still. Please do not disturb.
the afternoon I can’t imagine why I bother at all.
I start every day with rewriting. I go back a Esther Freud’s latest novel is Lucky Break
few pages or, sometimes, to the very beginning, (Bloomsbury)
26
Stage 5 Outline evaluation

The final
pieces of
the puzzle
With the bones of your novel laid bare in front
of you, now is the time to scrupulously scour
your outline for weak or missing elements

O
nce you have a formatted stand on its own – when you isolate
outline of your book, you any thread, you should see a clear
should be able to look at progression from start to finish.
it critically to decide if the There are no worksheets for the
story has a solid plot with steps in this chapter simply because
plenty of tension in all the every story is so different. Just follow
right places. You can assess the outline the instructions contained in each
to make sure everything is consistent. section, and you’ll be able to evaluate
Is each plot thread introduced and the strength of your outline. If you
concluded properly? Does each plot discover weak areas in your outline,
thread follow a logical, steady path you may find it useful to revisit your
to its resolution? Is your plot infused story evolution worksheet (Worksheet
with tension? Do plot and tension lag 13). If you have an editor, agent or
anywhere? If you discover problems, critique partner you trust, ask that
you can rework scenes until they all person to read your outline to help you
flow forward smoothly. evaluate its strengths.
But what if examining your book
in this way doesn't satisfy you that
it has everything it needs? You can
DAYS 25-26
evaluate the strength of your outline Tagging and tracing
more systematically by deconstructing Start day 25 by checking for
it using a method called tagging and unanswered questions on your
tracing. Basically, tagging and tracing is interview questions worksheet
identifying all the plot threads within (Worksheet 8). If you still need answers
the outline, then following them to to some of the questions, set up an
make sure they’re strong enough interview with your chosen expert. Try
throughout each section of the book. to schedule the appointment for day 29
Remember that each plot thread should of the outlining process – at this point,
 27

you’ll be putting the finishing touches story goal. Tag each of these elements
to your outline. by marking it [Story Goal].
In stage two, you created the plot When you’re working on your book,
threads for your story: remember to judge each plot thread
both individually and within the
• story goal context of the entire story. When does
• subplot threads a certain thread need to be introduced?
• plot tension When is the best time to bring it up
• release again? How often does it need to be
• downtime touched on in order to maintain tension
• black moment and reader interest?
• resolution Balancing plot threads is tricky,
• aftereffects of resolution (optional) but it’s extremely important to the
development and success of any story.
All of these threads should become As you trace your story goal through
invisible as you write the book. your formatted outline, ask yourself
Pacing – the steady progression the following questions. Does my
of your unfolding plot – is, in part, story goal develop correctly? Is the
dictated by genre. A coming-of-age pacing steady, or does it lag? Is there
story or an angst-driven romance any point where the conflict fizzles,
will have a much slower pace than an or just stops altogether? Are there any
action-adventure or mystery novel, rough transitions? Is the path constant,
for example. or are there holes in the course of its
Nevertheless, all stories need development? Is the development of
consistent development. If your pacing the thread logical?
is off, if it comes and goes, if it isn’t Remember that none of your plot
infused with tension, then editors and threads should be considered minor,
readers are likely to throw your story because all threads should work in
against the nearest wall. harmony. But the plot elements will
Now that you’ve completed your have varying degrees of importance.
formatted outline, you can tag There will be times when some of
(identify) each plot thread, then your story threads merge, and you’ll
trace (follow) it from start to finish have difficulty deciding which thread
to make sure it’s solid. In order for is which as you tag. This is a good sign
each thread to be strong within the – it means that you’ve successfully
written book, it must be strong in the interwoven your threads into the fabric
outline. Evaluating the strength of your of your story.
plot threads now can save you many A tangential or disjointed thread has
rewrites in the future. no place in your story. You want your
So, take out the hard copy of your threads to mesh together. If you can’t
plot sketch worksheet and open your decide how to tag a certain thread, then
formatted outline document on your you can use multiple tags – as many as
computer. You’ll also need the most you need to.
current hard copy of your formatted
outline. If you’re working on your Tagging and tracing
computer, I suggest you save a new, subplot threads
separate copy of your formatted Subplot threads can be traced in
outline specifically for use during the much the same way as the story goal.
tagging and tracing process. You’re Ideally, if you tag and trace the entire
about to make your outline very messy, book, you’ll be able to pull out each
so be prepared. individual thread and evaluate its
development from start to finish.
Tagging and tracing That’s what you’re striving to do with
your story goal your own outline.
As you know, your story goal is your
main plot thread – the one that starts Tagging and tracing tension
at the beginning of the book and You can trace tension in your book just
continues until the very end, involving as you can trace plot threads. Tension
all the characters and subplot threads. is essential in any genre, in every single
You identified your own story goal book. A quality story demands it. Your
when you completed the plot sketch readers will demand it too – without
worksheet; you clarified your story it, there’s no reason to turn the pages.
goal when you completed the story Tension can come from many different
evolution worksheet; and you gave the areas, such as description, dialogue,
goal context when you incorporated introspection and conflict.
all your plot threads into a formatted You can use pacing, foreshadowing
outline. Using information from these and backstory to create tension.
documents to tag and trace your story Remember, tension and conflict go
goal is simple. hand in hand. Wherever you have
Start by reviewing your story goal. conflict, you need to have tension.
Then read through your scene capsules, Because you have tagged and traced
identifying elements that further the your plot threads throughout your →
28
Stage 5 Outline evaluation
← story, you know exactly where you document. This method enables you
need to have tension. to isolate all the plot threads at the
By following each plot thread, you same time.
can imagine exactly where the tension Once you’ve removed a subplot
needs to be. Each thread needs conflict, thread completely from your formatted
and conflict must be infused with outline, try rereading the outline.
tension. But don’t worry if you can’t Without that thread, something is
feel the tension while you review the missing, isn’t it? Now, try putting an
outline. Just because the outline isn’t isolated subplot thread into a different
nail-bitingly tense, it doesn’t mean spot within the outline. Does it fit in
your book won’t be full of suspense. any other place? It might.
In the outline, it’s enough just to If some portion of your thread fits
give yourself directions for adding in more than one area in your outline,
tension. These directions don’t have you’ll need to decide where it fits best.
to be eloquent – they're just there to Each thread should unfold logically
serve as a reminder for you to include and steadily, while maintaining tension
tension in the appropriate scenes in within the story. If you’re uncertain
your outline. about a subplot, try moving it around
until you’re sure you’ve got it in the
DAY 27 right place.
When you isolate a particular plot
Isolating plot threads thread in your outline, you should be
Once you’ve completely tagged and able to see any holes in the thread. If
traced the plot threads and tension in it’s lacking motivation or tension, you
your outline, try reading it through should be able to determine what’s
and seeing if you feel more confident missing and where you should add
in judging the strength of your outline. something relating to this thread. If
Does each plot thread stand on its own you can’t identify what’s missing, make
and follow a strong course from start some educated guesses until you figure
to finish? out what works best.
If you’re still not as sure as you’d like At the end of day 27 your outline
to be, there’s one more step you can should be extremely solid. If it’s not,
take – a procedure called isolating plot you may need to revisit your story
threads. When you isolate a particular evolution worksheet in order to figure
plot thread in your outline, you should out where your story fizzled.
be able to see any weakness in that Incorporate new ideas and scenes
thread and gauge what’s needed to into your formatted outline, then start
improve it. the deconstruction process again to
Isolating threads is also an ideal make sure the threads are strong from
way to identify and get rid of a sagging start to finish.
middle or weak tension. A sagging It could be that once you’ve
middle, in blunt terms, is a lull in the completed your formatted outline,
middle of your book caused by a plot tagged, traced and isolated your
thread that isn’t well thought out and plot threads and revised your story
doesn’t unfold naturally. By isolating evolution worksheet, you discover you
each plot thread, you can discover don’t have enough subplot threads in
exactly where the problems are and your book. Don’t be upset! Be glad you
correct them. discovered the problem before you
You’ll eventually become an expert committed it to 300-plus manuscript
at unfolding your plot threads slowly pages. It’s never too late to bolster your
but steadily and maximising the story with another layer of texture.
potential for plot tension. What’s in
your outline should carry over into the
actual book. So if your pacing is solid in
DAY 28
the outline, it will be solid in your novel Shoring up weak elements
as well. in your formatted outline
Begin day 27 by saving a separate On day 28 continue shoring up weak
copy of your tagged and traced outline. elements in your plot. You may want
You’ll isolate your plot threads from to verbally brainstorm with your editor
this second document so you don’t or a trusted critique partner to help
mess up your tagged outline. Then evaluate the strength of your outline.
create a separate document for each Each thread as plot tension resulting from subplot Tagging, tracing and isolating plot
thread you’ll be isolating. You’ll wind 3.) Do the same thing for each thread threads are all huge jobs. The good
up with files named “Story Goal” and
should within your plot sketch. Expect this news is that you won’t have to do
“Subplot 3”, for example. unfold part to be even messier than the initial this for every book. With experience
You can take two approaches to logically tagging phase, because you’re really you’ll be able to complete these
isolating the plot threads. If you were and steadily, deconstructing your outline into little steps in your head. The more times
isolating subplot 3, you could save while bits now. you go through it, the better you
your entire tagged outline as a new Another approach would be to open get. You’ll eventually come to a
document called “Subplot 3”, then maintaining your tagged outline and go through point when you instinctively know
delete everything without a subplot 3 tension it scene by scene, copying each plot whether your outline is strong
tag. (You would also keep text tagged thread and pasting it into its own enough or not.
 29
Stage 6 Revising your outline

Emerging from the maze

Summon your strength for two more days of final checks before the most
challenging task of all – putting some distance between you and your project

S
o you’ve incorporated needed some answers to the questions You’ve throughout your outlining process,
everything into your formatted on your interview questions worksheet you should know at a glance what
virtually
outline, evaluated the strength (Worksheet 8), you probably have an still needs to be done. Perform any
of that outline and found it to appointment with your chosen expert eliminated research, interviews or brainstorming
be complete. What’s the next coming up. To prepare yourself for this the need necessary to fill in those holes.
step in the process? appointment, review the interview to fully
From day one we’ve considered question list. If you’ve already revise your Starting the revision process
the outline to be the first draft of your answered some of the questions On day 29 you’ll also begin revising
novel. Now that you’ve completed that on this list through other research,
manuscript your outline. Now is not the time for
first draft, it’s time to revise. That’s delete them. editing and polishing. Editing and
exactly what you’ll be doing in this final Then figure out where each piece of polishing should be minor tasks (in
stage of the 30-day method. new information you plan to get will terms of amount of work rather than
go in your outline. Since your outline is importance) — clean-up jobs that could
DAY 29 almost final, you will be able to figure
out where this information is needed
include any of the following:

Filling in the final holes and include accurate chapter, scene, • rearranging sentences or scenes
In the revision stage of completing your and/or page numbers directly on the • tightening sentences and individual
outline you’ll be performing a multitude interview question list. words (such as changing passive voice
of tasks. You may find yourself dragging Once the interview is complete, to active; dull words to lively; removing
from all the effort you’ve put into your slot the information directly into your repetitiveness)
outline so far, but the good news is that formatted outline in the appropriate • adding details or minor research
you’re almost done … place. When all your interview answers • adding a necessary scene or deleting
As you work, be sure to keep are incorporated, you need to take an extraneous one
your outline current by recording a fresh look at the revised outline • any minor correction
corrections, revising chapter and scene and see if any additional questions
numbers, and printing out clean copies remain. Remember, your formatted Don’t start the editing and polishing
of your work. Stay organised. outline capsule has a section for scene process until you’re sure you’ve
questions. Questions in this area finished revising.
Incorporating last-minute should be highlighted to alert you
research to any holes in the outline. If you’ve Revising the outline instead
Today’s agenda should keep you busy. highlighted the questions and crossed of the manuscript
If, on day 25, you discovered you still them off when they were answered By creating a formatted outline, you’ve
made the revision process much easier
for yourself. You can revise the outline
as much as you need to in order to fine-
tune your story, and you’ve virtually
eliminated the need to fully revise the
manuscript itself later.
Does that sound impossible? Or, at
least, unrealistic? Are you wondering
if it even makes sense to revise the
outline instead of the manuscript?
Think of it this way. Each page of
a typed manuscript has around 250
words. So a 50,000-word book will run
to approximately 200 pages. In your
outline, on the other hand, each scene
will generally take up one or two pages,
meaning the 50 or so scenes that make
up your novel are covered in 50-75
pages. Revising 50 – or even 100 – pages
of outline is a whole lot easier than
revising 200-400 manuscript pages.
On top of that, revising a completed
manuscript is a nightmare. Any writer
can attest to that. If you haven’t been
working with an outline, everything
that happens from one scene to another
affects everything else in the book. →
30

← Before you know it you’re better off Once you’re sure your outline is as
ditching the whole thing and starting robust as it’s going to get, make any
from scratch. final corrections.
At the end of day 29 you might want Now is the best time to put in the
to mentally tag, trace and isolate your actual chapter numbers, since they’re
plot threads again, to make sure they’re unlikely to change at this stage.
strong enough. Getting together to Make sure your table of contents
brainstorm with an editor, agent or also reflects any changes. Then
critique partner about any areas you feel print out a clean and fully updated
may still be weak is also a good idea. copy of your formatted outline.
Put everything associated with this
DAY 30 project – including the outline, all
the hard copies of your research, the
Putting it on a shelf preliminary outline etc – into your
The final day in your 30-day schedule project folder. Then put this book on a
is here. You may be sick to death of the shelf and forget about it, for as long as
outline at this point, but force yourself you possibly can.
to go over it scene by scene one last Allowing your outlines to sit for a
time, asking yourself the following couple of weeks – or even months –
questions: before beginning to put everything
into manuscript format is absolutely
• Do I have enough conflict to sustain essential. The next time you pick up
the length and complexity of the book? your formatted outline, you’re going
• Are my characters properly to need a fresh perspective – you’ll be
developed? Do they grow consistently reviewing the outline again to be sure it
throughout the book? is as solid as you believed it was when
• Is the pacing correct? you finished it. The only way you’ll be
• Does the middle sag anywhere? able to get a fresh perspective is to put
• Does the story unfold naturally with your outline on a shelf, out of sight and
consistency and tension? out of mind.
• Are my characters likable, with Get to work on something else
strong goals and sufficient motivation? so you don’t think about this
project. When you do return to it,
If your answer to any of these plan on spending one or two weeks
questions is no, you know what to just re-evaluating the strength of
do. Go back to your story evolution your outline.
worksheet or deconstruct the threads Only then, finally, is it time to start
to make sure each one is solid. writing the book itself.

T
he day starts too early, with our five-year- swimming lessons or only dream I did?
old shrieking “mine!” in her sleep. But hey, Argh. I should have picked a different average
here I am at my desk with my cafe au lait day to write about, one with some writing in
and it’s only 5.53. The characters in my play, like it. Forty hours a week of child-free time – that
abandoned puppets, are ready for me to bring sounds like plenty; I must be using it wrongly.
them to life again. How do those with real jobs, or kids at home, get
First, the really urgent emails: the third from anything written at all? Fill the jar with the big
my agent about German tax forms, another stones first, I remind myself, then the pebbles,
My working day discussing my responses to her suggested then the sand. The problem is that there’s
Emma Donoghue changes to a short-story contract, one from a so much sand, I tackle it first so I won’t get
radio producer asking for proposals, another swamped and drown in it …
from my US publisher asking for 500 words of I’ll have lunch at my desk to save time, and
“original content” ASAP for a fiction promotion not get goat’s cheese on the keyboard this time.
in a major discount grocery chain … and ah, look, Travel arrangements. Polite refusals to appear
a woman who’s reading Room on her phone at faraway book festivals for free dinner and “a
while breast-feeding in the night. Surely she guaranteed warm welcome”. A phone interview
deserves a quick reply … in which I gabble about my new story collection,
Thumps overhead. Kids are up. Press save. Astray, at such speed that I’m sure the journalist
By half past eight, the house is quiet again. will mix up the puritan with the escaped slave or
I’m about to tackle that shapeless bit in act two, the counterfeiter.
when an urgent reminder comes in about an Finally, an enjoyable half hour Googling
overdue Festival Author Preference Form and Victorian babyfarms for the novel. Should get back
Media Questionnaire. I print it out fill it in, sign to 1950s New York for the play now. Except that
it, scan it, send it back. I’ve just had a whisper of an idea about the Breton
RICHARD GARDNER/REX FEATURES

Ransack the basement for our son’s rainboots, resistance in the second world war, and any future
ring to complain about a lampshade that arrived work is a beckoning mistress, whereas whatever
dented weeks ago … oh, and I must cut my I’m committed to writing now is a stern wife …
nails as I happen to be passing the bathroom. The baleful yellow of the school bus turning
I’m really not one of these procrastinators who the corner! I slap my laptop shut and run.
cleans the house in order to put off writing,
but life gets in the way. Did I book the kids’ Emma Donoghue’s latest novel is Astray (Picador)