Tag Archives: authors on writing

Starting a Novel: Tips, Tricks, & A Little Chaos

11 Jul

I recently finished a major revision on a manuscript. Typically that calls for a well-deserved break, to which I shake my fists at, because I am a write-aholic, and I love nothing more than to immediately jump into my next, shiny, new project. That’s right. 

I already started another novel. 

Why did I already start another book? Well, for one, I’ve been working on the aforementioned revision for six months. It’s been a bit, and I’ve been dying to oil my creative gears and discover something new, whether that be a fresh, exciting world or a character that shocks me. I also know that a writer should never put their writing dreams into one book. If my revision doesn’t work out, well, I need something else, don’t I? Might as well get on that. 

So how does someone start a novel?

Quick answer: It’s different for every writer and often every project. Some of my projects are more outlined than others. Some come to me in a blink; others fight me the whole way. But there are ways you can enhance your chances for success. 

Here are those tips: 

  1. Set Yourself Up Before You Begin

On any given day, I’m working on about three novels. One that I’m revising, one that I’m writing, and one that I’m outlining. Because my recent revision was more of a rewrite, it had been taking up both my revising and writing focus—so, when I turned that in, I had space available for one of the novels I’ve been outlining. (I currently have three strong contenders.) These three ideas have been rattling around in my brain for a while. (One I recently came up with only a few weeks ago; another is based on an idea I actually started drafting when I was 14. That’s right, the idea is 15 years old! But now I’m giving away my age. Always keep your notes.)

By having notes ahead of time, you won’t feel burdened by the blank page, because, well, you aren’t starting on a blank page. You’re starting with bursts of character, fun dialogue snippets, exciting scenes, and more.

2. Research, Research, Research

Research comes into the writing process at different stages for everyone. For example, when I write my fantasy novels, research might not come into play until the later drafting stages. I typically write the book, realize the type of research it needs, then do that. My science fiction novels are the complete opposite. I need to know how certain technologies work long before I start writing, or I’m going to have a mess on my hands. Same thing with the historical novel I wrote. Research happened before writing. Significant research. Knowing what sort of project you are writing and how research will affect the project is important. If you aren’t sure, go ahead and jot down a couple topics you know are in your story but you don’t know that much about. Next time you’re having a writer’s block day, guess what? You now have something to do. Better to research earlier on and prevent a blundering plot hole than to write an entire book and realize the premise is flawed. Amiright?

3. Start Writing that FIRST Draft 

Write however you want to. Write messy. Write in order. Just write. Right now, I’ve been writing in one of those three fun ideas I’ve had laying around, and I’m still at the stage where I’m writing snippets all over the place. I wrote Chapter One – Six, and then I went back and added a short prologue, flipped three chapters, and started outlining the rest. I have one document titled ORGANIZEDwhich includes notes I can put in order by scene, and one called UNORGANIZED, which is my chaos document. I have no idea where these snippets will go or even if I’ll use them, but I love them and hope to use them as the book shapes up. 

A sneak peek behind the curtains

Basically, my Scrivener project looks like a mess right now, but I’ve been here a dozen times before. I trust that it will come together as it should. I trust the process. I trust me. If you don’t trust yourself to write or finish, then you’re still at the stage of your writing career where you’re figuring out what your process is and how to go about it, and that’s totally valid. Try different times of the day. Experiment with new writing methods. Are you used to plotting? Go ahead and be a pantser for the afternoon. Play with a new genre you’ve never tried before. Explore, and eventually you’ll find an adventure worth pursuing. If you’re struggling with meeting your goals, try NaNoWriMo, setting goals, or using tools like PaceMaker Planner

At the end of the day, you’re at the start line, not the finish line, so treat it as such. You shouldn’t be comparing your new words to someone’s edited words. Remember: This is your first draft. You can be as messy as you need to be in order to figure out what your book is about—as long as you plan on revising later. And guess what? No matter how perfect you think your first draft is, you will have to revise, so embrace the moment. 

Start writing your novel today.  

~SAT

P.S. For more tips and tricks on starting a novel, I will be teaching a FREE virtual class on Monday, July 27 at 6:30 PM (CST). More information: Starting a Writing Project. It is taught through ZOOM. Go ahead and register, and I will see you there! 

Tracking Character Motivations with a Free Spreadsheet

1 Feb

It’s no secret that I’m currently revising a manuscript. I’ve been talking about revising a lot lately and giving glimpses into what my revision process looks like. I’m currently on my third draft of a multi-POV sci-fi novel, and I am still smoothing out my character motivations. (What can I say? It can be tricky! Especially when you change something in chapter 3 and it causes a domino effect for the next thirty chapters.) In fact, character motivations can get trickier the more you revise. Why? Because you have to remember the exact decision each character made and why in this particular version. Obviously, you might see where lines start to blur. No one expects you to remember every little detail of every manuscript you’ve ever written, but readers do expect consistent, believable characters. And it’s your job as the writer to deliver.

One way I track the motivations of my characters is an Excel spreadsheet. 

If you follow me elsewhere, you might have seen me upload the photo of my Excel spreadsheet, which actually led me to today’s topic. I received a lot of messages asking for more information and tips on motivations, so I thought I would dive deep into this topic today. 

Motivations are important. So. Incredibly. Important. Without motivation, characters will come across as bland and unbelievable, which, quite frankly, makes them hard to follow or care about. There’s a lot to consider when choosing any particular character’s motivation. (Did I mention that ALL of your characters need a driving force? It isn’t just your protagonist, though your protagonist’s will probably matter the most since they are, well, you know, the protagonist.) Mostly, I find there’s a misconception that the bigger the motivation, the more important the story will feel to the reader. But it’s really the opposite. The more personal the motivation, the better. Why? Because the reader is more likely to empathize with personal stakes rather than worldly stakes. Which one do you care about more: A main character who must save the world or a main character who must save their little sister while the world is ending?

Typically, readers are drawn to characters who have personal stakes driving their motivation, even if the overall arc is huge (like saving the world). A great example is Katniss Everdeen. While she is the heroine at the center of a dystopian novel – and saving her country could’ve been the driving force – her true motivation was keeping her little sister safe. Without having a sister to save, Katniss wouldn’t have volunteered. (We know this as fact, because she had been in many lotteries before, and hadn’t volunteered before her sister was chosen.) Without a sister, Katniss wouldn’t be Katniss. Which is why what happens to her sister is so devastating. This sister-led motivation also creates a solid foundation for the reader to see why saving the “world” matters so much. (Why save a world if you don’t care about anyone in it?) Personal motivation will resonant more; therefore, allowing worldly stakes to have a solid platform. So let’s talk about those stakes. 

Your characters’ motivations should be challenged at all times. This is mostly referred to as “raising the stakes”. 

Ex. What does Katniss have to sacrifice in order to save her sister? What does saving her sister do to others around her? How does that affect Katniss’s future decisions? When does it change her decisions and motivation?

In addition to paying attention to your characters’ motivations (and upping those stakes), it’s important that your characters (especially your protagonist), change. At the end of the book, your characters should not be the same people we met on the first page. If they are the exact same person with the same feelings and motivations, then what actually happened in 300 pages? 

By creating a spreadsheet, you are forcing yourself to answer hard questions: “Did my character change in this scene? Did those changes push them forward or hold them back? Did it affect the story at all?” Spoiler alert: you should be answering YES to each of these questions, from chapter one allllll the way to the end.  

Typically, when I start writing a novel, I know where I’m going to begin and end. It rarely changes for me. In fact, I’m not sure I’ve ever started a book when I didn’t know the ending (or have a really close idea to what my ending would be). Why? Because the beginning tells me who the character started as, whereas the ending tells me where the character ends. The middle is going to be my character arc (herein referred to as the “rainbow”). If I don’t know where that rainbow is going, I will struggle to form all those colors that makes the story colorful, let alone form an ending that’s a believable treasure chest of gold. 

The spreadsheet helps me most out in the middle. I’ve found the middle is a place where a lot of writers struggle. In fact, the place I always get stuck at is about 65%. And when I get stuck, I love to work backward. This is where my motivational spreadsheet becomes super helpful. I can see where I want my characters end and compare it to where I got stuck. Then, I can ask myself, “What has to happen to these characters to get them here?” Once I start brainstorming, I can fill those motivations in. 

A spreadsheet is additionally helpful if you have multiple POVs or characters (ex. if you are struggling to track minor characters or the villain’s motivations), especially if Character A and B know something that Character C has yet to learn. In the end, I track the following: Chapter number/title, Chapter Summary, Character A, Character B, etc. (Typically listed in the order of importance.) I put the POV note in the chapter number. I also sum up what Character C is thinking/doing even if they don’t physically appear in a particular scene. That way, I am forcing each character to have their own presence, even in the “white noise” of their nonexistence in a scene. 

I highly encourage you to try this out if you are struggling with motivation, pushing stakes, and/or filling in that ugly middle. I gravitated toward this method because I’m an INTJ. I thrive with tasks dependent on logic. (Which is also why writing can be so hard sometimes.) Characters, as we all know, aren’t always logical, and yet they need to make logical sense to the reader. This single truth can feel like a huge contradiction to fledgling writers, when it isn’t. Not really. In reality, readers need to understand your character, even in your character’s most illogical moments. They need to believe that your characters illogical moments made sense to your character. Ex. Let’s say Character A loves Character B, and Character B has been kidnapped. Character A has a chance to save them, but only a 2% chance. And if they took that 2% chance, there’s a 98% chance they’ll both die. And yet, there’s no other chances coming their way. Logically, Character A should probably save themselves and hope for another chance. But we’re reading about heros! Character A is going to take that 2% chance, with all odds against them. Your reader should get that. They should feel how emotions have driven their decision-making. 

That’s what a spreadsheet is for. It’s forcing you, the writer, to give us those reasons, and making sure you’ve made those reasons clear in your story. 

Download your free Excel spreadsheet here. 

How do you track your character motivations? 

Also, what else do you want help with? I love to hear from you! In fact, it helps me help you more when I hear from you. I heard a lot from a lot of you all in my latest newsletter. (Whaaaaat? Shannon, you have a newsletter? I do! It releases once a quarter, and I always include more writing tips, sneak peeks at my work, and an exclusive surprise giveaway. Subscribe here.

My blog posts happen the first Saturday of every month, so check back in on Saturday, March 7. 

~SAT

Writing Tips: Introducing Your Characters

20 Jun

Special thanks to The Leisure Zone for reviewing Minutes Before Sunset: “A great read. I absolutely enjoyed reading it and it does take your imagination for a ride…This is a great leading book. I cannot wait to read the following books.” Click here to read the full review or click here to check out Minutes Before Sunset on Amazon, only $3.89.

Also, you might have noticed that my progress bar is updated on the right side of my website! I try to update it every two weeks, but I am really looking forward to the release of Take Me Tomorrow and Death Before Daylight.

People are obsessed with firsts: a baby’s first smile, winning first place in a race, your first love, getting arrested for the first time. (Okay. So maybe not that last one.) But we do like firsts, and I think it brings up a topic writers don’t normally talk about or even consider.

What are your characters’ firsts?

No. I’m not talking about their first steps when they were a baby. I’m talking about the first time they appear in the story, the first time they talked, the first time they laughed, the first time they really opened up and showed some depth to their created soul.

So I’m going to share some of my characters’ firsts as examples while I explain how important their first line can be. This might seem like a stretch for many but consider the popular phrase, “You only get one chance to make a first impression.” But I really like the quote below, because I believe it applies to how your readers can perceive your characters’ first impressions as well:

quote-a-stunning-first-impression-was-not-the-same-thing-as-love-at-first-sight-but-surely-it-was-an-lois-mcmaster-bujold-214751

Characters are just like people except that we can decide exactly what that first impression will be. Maybe their first impression will be great and readers will consider loving them. Maybe everyone will hate them. You can do both, and that’s the beauty of it. You can even get really complicated and strive to have the reader love them while the characters hate them. But enough of my rambling. Below I’ll explain some first impression parts to consider with examples from Minutes Before Sunset.

First appearance:

This is important for the obvious, main reason: a first impression is largely based on how someone appears, how they act, how they think or talk. This “first appearance” can be an appearance a reader sees first or an appearance the other characters see first. Consider both of those moments carefully because you can set up how a reader might judge a character for a long time. For me – as a reader – I have become very confused when a character is introduced in a very violent or angry way when they suddenly become very nice seconds later. It’s like whiplash. Scenes like that make more sense to me when I already know the character. (I’m not saying it cannot be done. What I am saying is to approach first appearances with care.) Below are examples of characters appearing to the reader first.

In Minutes Before Sunset, Camille appears in the very first chapter. Although Eric is six, she is already his guard (and she is only nine!) We see her as soon as Eric’s father leaves him alone – and, unlike Eric’s father – Camille asks Eric is if he alright. This sets up their relationship as a caring one, but it also shows the responsibility Camille has to take care of the male protagonist. Fun fact: we don’t see Camille’s human appearance until page 21. I could go on and on about how their different identities appear at separated times, but she appeared as a guard first because that part of her life is more important to the story, to Eric, and to her.

First spoken line:

What a character says can define them just as much as what a character does. I find first lines to be good indicators on what we can expect from a character: are they funny? Angry? Bitter? Responsible? Yes, of course their personalities develop far beyond their first lines, but first lines normally happen at the same time as first appearances, which are usually important scenes, so first lines – by default – reveal extra insight, like if a character speaks with an accent or not. Moments like these then become defining factors. But I would say that you don’t have to take this literally. The first line doesn’t necessarily mean the exact first line. It can mean the first conversation they have.

For this example, I wanted to share a few first spoken lines:

Since I explained the first scene in Minutes Before Sunset, let’s look at Camille’s first line: “Eric.” Yep. That’s her first word. In contrast, Eric – as Shoman – first appears in chapter two, and his first line as a shade is “Camille.” One another’s names are the first things they say because it focuses on the depth of their relationship while insinuating how close they are on a regular basis. But if we wanted to look at Eric’s VERY first line – again, this line is spoken when he is six years old in chapter one – he simply says, “I’m fine.” It’s important to note that Eric is lying here, and lying later becomes a defining factor of Eric’s personality. On a lighter note, when we see Crystal – a side character – for the first time, she says, “Don’t answer that.” to Jessica after Robb begins flirting with her. Crystal’s first line not only shows how she can take the initiative, but it also shows her comfort with interrupting Robb, insinuating that their friends (or at least that they know one another.)

First time they interact with another character:

This can get tricky, because stories have dozens of characters and each one of them is going to interact for the first time eventually and – most of the time – it’s only the “first time” for the reader. Most of the time, characters have a past, so they aren’t speaking for the first time, but that’s also the point – the “first” conversation can show whether or not characters have a past as well as other things, such as a social ranking difference (sir, ma’am, etc.) and/or if their past is a good one. Are they friends? Are they enemies? Are they competitors? Do they talk or is this a rare instance? Considering these questions can help shape how one character approaches another one while also hinting to the reader about how they always interact – before and during the story.

In Minutes Before Sunset, we get to see two, very different types of first interactions. Since Jessica is new to Hayworth, the reader gets to be introduced to everyone just like Jessica does, but Eric isn’t new. Through his eyes, we see interactions that have history – a very dark history – and we see repercussions of that in his various interactions. For instance, let’s focus on the human identities in Minutes Before Sunset. Jessica first talks to Eric on page 36. They’ve been assigned as homeroom partners, and Jessica is trying to be amicable but Eric – obviously – does not have the same intentions. (Scene told from Eric’s perspective.)

“Hi,” she said, turning briefly toward me to smile. “I’m Jess.”

She laid out her hand for a handshake, and I pushed my chair against the wall. “I heard your name when Ms. Hinkel assigned you,” I said, opening the chemistry book left on my desk from the previous period. I was not interested in small talk.

Now – moving onto another scene to use as a comparison. Crystal – a girl who has gone to school with Eric since childhood – doesn’t speak to Eric until page 127, and the only reason they do speak is because Crystal is sitting in his seat. (If you haven’t read the books, spoiler alert: Crystal and Eric used to be friends until freshman year in high school until Abby – Eric’s previous girlfriend – died. Eric stopped speaking to everyone. Crystal and Robb take this very personally.) But here is the scene so you can see: (scene told from Jessica’s perspective)

“Hey.”

We both jumped, and our conversation halted as we turned around. In front of us, Eric stood inches away, and the teacher hovered behind him, crossing her arms.

“Er—Eric,” I managed, and Crystal stared.

“Hey, Jessica,” he said, turning his gaze to my friend. “Crystal.”

“Welborn.” She returned the acknowledgement with a cold tone. “Hey.”

His smirk faltered, and his lips thinned. “I hate to interrupt,” he said, swinging his hand over his shoulder to point at our teacher. “but I probably need my seat.”

Both of these “firsts” show Eric’s history as well as his emotional state, but the moments also reveal character traits of Jessica and Crystal. While Jessica wants to be nice at first, Eric isn’t interested, and the tension between Crystal and Eric is still present, despite the two years that have passed since Abby’s sudden death. However, this would be a good time to say that “first” interactions are just as important as how the characters continue to act and grow. Later in the story, all of these characters’ relationships shift dramatically.

So I hope you have a few places to start in regards to your characters’ firsts. You might even crack open a favorite book you’ve read just to see what those characters’ firsts were. They might surprise you. I know I had a few that shocked me.

Happy writing and reading!

~SAT

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