One Writing Process

The process I am using currently involves keeping detailed logs of pages,
chapters completed, and any other information I can track. Consider it
from the standpoint of an assembly line, from design to completion. While
not the romantic vision most entertain of writers and other artists,
it makes the process flow much better for me.

For years I was conceited enough to ignore planning. That’s a common
problem among younger writers, but overconfidence knows no bounds. I
managed to produce nearly three dozen complete scripts without outlines,
so why change? There are two obvious answers: 1) complete doesn’t mean
compelling; and 2) longer works aren’t the same as short scripts. Now,
I realize that organization helps not just my students but almost every
writer.

Long Creative Works

I admit that I do not and probably never will outline
short works. It is the longer works that allow my mind to wander, letting
my worst habits win. Longer works require a plan and a schedule or I
manage to complete about half the work before I either get distracted
or frustrated. I plan to salvage some older works now that I have some
semblance or organization — maybe a bit of maturity as a writer, too.

Concept

Draft a one-page outline of the story. If the draft is
interesting, continue writing, otherwise, place it in File 13. If it’s
too complex for a one-page summary, it is more than one story. Some writers
struggle to create a summary or outline, but you need to remember that
when you try to sell a story the query letter will have to summarize
the story in single paragraph. I can spend an entire day trying to condense
a story to a page.

It’s Alive!

If it survives the concept stage, begin a file for the
project. Actually, I create several files: a real manila folder in my
filing cabinet, a computer directory (folder), and a binder for the current
draft of the work. My physical file is extremely important, I have learned.
I place any handwritten pages, audio tapes, and my research for the story
into this file. Only when I am finished with a story do I move the file
from one drawer to another.

Brainstorm

Once there is a working concept, I brainstorm the basics.
In the past, I used blank, unruled paper. I still like paper for the
early brainstorming. There is something about the physical process of
writing words and phrases that appeals to me. I draw shapes, write words,
and generally doodle away until I have some sense of the major elements
in a story.

It is difficult to explain brainstorming, since everyone seems to develop
a personal style. Brainstorming is meant to be quick, done without over-analyzing
the various elements of the story. There are some items that should appear
in the brainstorm:

• Major conflict
• Minor conflicts, challenges, and obstacles
• Major characters
• Primary settings

Once a quick, somewhat sloppy, brainstorming session ends, I switch
to software. One benefit of softare is that inserting and deleting items
becomes more important. I add the basic details, including why characters,
scenes, or settings are essential. I stick to the essentials during brainstorming.

Major Characters

During the brainstorming, I make sure the roles of the
major characters are in place. This is not the same as developing character
sketches. This early step is to define which characters will or will
not be in the story.

Software

I use OmniGraffle and Inspiration for brainstorming. Both allow you to create an outline from a mindmap, or you can start with an outline and have the software create graphical diagrams. Visuals help me see new connections. I have experimented with other diagramming and mapping applications, including several free ones, but OmniGraffle remains my favorite.

Outline the Story

There are various ways to outline, again depending on
personal preference. I use a basic outline based on a fixed
structure — even though I might change the structure while outlining. Starting with a basic structure forces me to place the elements from the brainstorming into a structure. This might not work for everyone, especially those writing literary fiction, but most genres have a familiar skeleton on which to place the story.

1. Prologue
   1. Background
   2. Context
2. Beginning
   1. Challenge
   2. Conflict
   3. Catalyst
3. Middle
   1. Revelation
   2. Climax
   3. Showdown
4. End
   1. False Dawn
   2. Resolution
5. Epilogue
   1. Proof of Change
   2. Tease of Future

Consider the format you plan to write: novel, short, play, et cetera.
The choice is not final, but it gives some idea of structure and length. Novel
structures are possibly the most flexible, while Hollywood prefers rigid structures with
page counts for each “movement” within a story.

If writing a play or novel, I used to detail every chapter or scene
on a half-page or index card. Indicate the setting, characters, lead-in,
conflict, resolution, and hook. There are some great software applications
for taking notes and even some dedicated word processors that include
a “notecard” view.

Software

I use OmniOutliner, Dramatica, and Scrivener. If I had to limit myself to one program, and only one, for all my writing tasks, it would be Scrivener. It is a specialized word processor, without the feature bloat.

Character and Setting Sketches

Construct character and setting sketches, figuratively and literally. Know your characters and their motivations. Realistic characters seldom change abruptly or without a catalyst. I have told students that if you know a character as well as you know your best friend, that might not even be good enough. You need to know the thoughts and dreams of a character.

I tend to spend more time developing the “bad” characters; they are
more interesting and complex. What makes a character commit questionable
acts? What makes the character think the choice is not only justifiable,
but even morally “right” when the rest of the characters (and the reader)
likely see things differently? Those are interesting questions and make
for depth.

For settings, I draw maps, chart timelines, and plan anything else I
might need to insure continuity. A sloppy work in which settings seem
to drift will be rejected by readers.

Research the Details

Details make a story believable. Once I know the basic
structure, characters, and setting, it is time to conduct research. Again,
you can never know too much. Writers of historical fiction have an audience
that demands factual precision. Science fiction readers expect the science
to be based, at least in part, on genuine science.

The Web has replaced libraries, but you should only rely on trustworthy
sources. Wikipedia and most vanity sites are not the best sources for research. The old rule to distrust “dot-com” sites, but many business do publish reliable, carefully cited material. I rate a Web source based on its use of additional sources, just as reporters like to have more than one source for a story.

Software

I use Bookends to store my sources, especially any documents in Adobe Acrobat format (PDF). Another good tool is EndNote, which most libraries support.

Draft the Story

Establish a schedule for drafts, by chapter or scene. Follow the schedule,
placing completed chapters into the draft binder. People ask if it is
necessary to constantly print and file a work. Trust me, once you lose
a hard drive with a year’s work the backup process becomes routine —
and things still go wrong. I have recovered several documents by resorting
to the last printed version.

You can use a chart of average work
lengths to help guide your writing. I try to remind myself that these lengths are averages, of course, but it is always better to write too much than too little in a first draft. All works get the knife, once written.

Software

I use Scrivener and Dramatica for drafts. I like to focus on the words during the draft stage, not the manuscript formatting.

Edit and Polish

Despite a love for etymology (logophilia), I scramble
letters when I write. And though I study grammar, I know there are some
questions on which even the famous grammarians cannot agree. It is ironic
that I can edit for others, but like most writers I need an editor to
catch my own mistakes.

Transitions and minor corrections are part of the polishing, but I do not
move and revise major portions of the work. The goal is to get the draft as smooth
as possible so any structural issues are revealed.

Revise

Revising is not editing, nor is it the same as the first
polishing. Revising takes a time and energy.

Format

Formatting can be a painful process, depending on where
the manuscript is headed.

Software

I use Screenwriter and Word to format manuscripts. I also suggest you purchase Final
Draft if you are writing a screenplay or any other type of script. You shouldn’t have to spend hours formatting a manuscript.

Revise Again

Celebrate when the first draft is completed, and then
it is time to revise the work, again. Once formatted, you should revise
the manuscript at least one more time. Formatting reveals issues with
length and pacing.

Submit

Send off the manuscript and hope for the best.