I admit it: I just started watching Community. Yes, I know. Better late than never. I kept hearing how great the show was, but never got around to following it. Well, now, thanks to Hulu, I can binge watch while I’m cleaning house or laundry or whatever.
Lately, though, I’ve been hearing about this “Plot Embryo” for writers developed by Dan Harmon, creator of Community. There are many ways to plot a novel. This Plot Embryo simplifies the process more than any other method I’ve seen.
Not only is it a way to outline a novel, but–if the writer has already written a draft or two of it–it’s an excellent tool for evaluating what has already been written.
Writer Rachael Stephen talks about Harmon’s Plot Embryo in her writing YouTube series. She breaks it down several different ways and also talks about the source material for the Plot Embryo.
Here are some more resources to learn about the Plot Embryo:
I plan to use the Plot Embryo up against my novel in progress to see how it fares.
Find my latest book on Amazon: Christ Simply, A Chronological Self-Guided Study through the Life of Christ.
Here are most of the books I’ve read during 2016:
Rereads (these are all pretty much also Science Fiction & Fantasy)
Science Fiction & Fantasy Series
Science Fiction & Fantasy
Find my latest book on Amazon: Christ Simply, A Chronological Self-Guided Study through the Life of Christ.
To overcome feeling overwhelmed by finishing your novel, a writer might want to keep these writing principles in mind:
- She doesn’t have to write chronologically.
- She can write her most important scenes first and then fill in the blanks.
Now, if she has planned your novel with some kind of outline, then these principles become even easier.
So the question is, what are the most important scenes in a novel?
This doesn’t mean some scenes are less necessary than others. In the final draft, all the scenes should be necessary and move the story along. A post from C.S. Lakin’s blog called The First Ten Scenes You Need to Plot for your Novel offers a list of scenes on which the writer should focus.
I concentrated on finishing these scenes and now I am writing the final draft of the “in-between” stuff. If you get stuck in your writing, jump ahead work on the The Midpoint scene. This is the scene, roughly 50% of the way through your story, where the character asks whether or not she wants to continue. She questions who she is. She decides to go on, or maybe decides to take a different tactic. Then write backwards from that scene, or write forwards.
Here is what the writer should remember: if she gets stuck writing the novel chronologically, she can jump around and write one of the scenes listed in Lakin’s article.
There’s no rule against doing that.
I am down to the last 25% of the current draft of my novel which I’m now calling Ziggurat Reach. Whether that is a working title or a final title, I don’t know.
I know what is happening in the last part of my novel. I am building up to the story’s climax and all the characters have finally gathering to one place–the ziggurat, in case you’re wondering– and a lot of things are about to happen.
Here are some thoughts on what I’m trying to accomplish and how I’m feeling as I’m writing this week:
- Each character has a goal he or she is in the process of fulfilling, and I’m figuring out ways the goals will be finalized in this last quarter.
- K.M. Weiland has said she wrote more than one version of the climactic scene. I think I may do that.
- Scrivener has been a godsend in motivating me to get moving on this novel.
- In my next draft, I have a whole new subplot I’ll be writing. At this point, it’s outlined in Scrivener, but I’ll be composing first drafts for those scenes after I finish this draft.
- Saving up to buy some ISBN numbers. Deciding whether to break the story down into four mini-novel episodes. The first one would be free. I would also offer the novel as a whole for a cheaper price than buying the three remaining mini-novel episodes.
- Still deciding whether to use Smashwords or Amazon or both (at different times).
Well, tonight I’ll be toiling away on novel. Maybe I’ll go to my favorite coffee shop, Heine Brothers in Northfield area of my city, Louisville, Kentucky.
Every year I try and read a couple of books on the writing craft. I know that’s not everyone’s cup of tea, but, honestly, I love reading stuff on how to write fiction. Here is what I read in 2015:
Planning a Novel, Script or Memoir
by Hank Quense
Quense offers practical tips on how he writes his novels. What I want is something I haven’t heard before, and that’s what I got with this book. At the beginning, he suggests the reader to just take what he or she needs. Good advice. Not everyone thinks the same way, and, also, who wants to read the same thing over and over?
Structuring Your Novel
by K.M. Weiland
Weiland shows how to make the most of using the three-act structure as you write your novel. She has become sort of an online tutor/mentor to me because books like this one answer my questions about writing fiction.
Your Guide to Scrivener by Nicole Dionisio
Scrivener is a program to help writers organize their projects, both fiction and non-fiction. I can’t praise the software enough. There are dozens of books out there to show the writer how to use Scrivener, and I picked this by Nicole Dionisio. I admit I selected because it was the cheapest ebook on the subject I could find. But it’s all okay, because she did a great job and the book is short, so you can learn Scrivener quickly.
Here is my review of Hank Quense’s Planning a Novel, Script or Memoir as it appears in Goodreads and Amazon:
I’ve read many books on writing fiction and after a while I see the same theories and best practices over and over. This is not necessarily a bad thing because a reminder is always helpful. However, when I come across some new best practices for writing a novel, I feel like I’m getting the most out of my time and money spent.
In his Planning a Novel, Script or Memoir, which is part of his Fiction Writing Series, Quense offers practical tips on how he writes his novels. That’s what I want—something I haven’t heard before, and that’s what I got with this book. At the beginning, he suggests the reader to just take what he or she needs. Good advice. Not everyone thinks the same way, and, also, who wants to read the same thing over and over? Quense’s recommendation to use Scrivener, his practice of mind-mapping, and the idea of a plot cloud gave me some new techniques to incorporate into my writing disciplines. Of course, he also touches on fiction elements I’ve read elsewhere, but his succinct style on concepts like “character arc” proved to be a great review and motivator.
So if you are looking for some fresh ideas on writing fiction, I recommend this book. He includes lots of resources in the Appendices. The reader may or may not decide to use Quense’s ideas, especially if the person prefers to write without planning, but as he says about his mind-mapping technique, “Ultimately, you have to decide whether to use this method or not.”
I’m definitely going to check out his other books in the series.
In my previous blog entry, I began listing some things I’m learning as I write my current novel. Here are some more:
- Let the story unfold like a snowflake. When writing the discovery draft of a novel, I like to use the snowflake method. This is a method created by writer Randy Ingermanson. I mentioned in my last post how writing this novel was like peeling an onion; this is part of that metaphor. Here’s how I’ve adapted it: first, write one sentence for each scene; next, turn each sentence into a five sentence paragraph; then turn each paragraph into five paragraphs. I use the snowflake method software to develop my characters, but then I jump to a text document and let the story develop. I read about a similar method in a book that is out of print called One Way to Write Your Novel by Perry Dick. You may want to use your own version of this method.
- Write a scribble for each scene. Many different methods float around the internet on how to write a scene for a novel. I’ve come across this list of tips for writing scenes, and the item on this list that I find helpful is write a scribble version (of the scene). Here is an example of what a scribble version looks like (Scroll down a little.). Usually, I write a scribble version for a scene when I turn scene from one sentence into a paragraph. So, a scene is first written out as a scribble, then I expand it with dialogue, action, narrative, inner emotion and inner monologue.
- None of the main characters in my story are married or in committed relationships. They are all in their early twenties, with one exception. I’m beginning to think this could be marketed to young adults.
- In further rewrites, I will be able to see where I can change things. As I write the discovery draft, I make notes about things that have already happen that I can change and strengthen. This includes: characters idiosyncracies; dialogue changes; inner emotion additions; jacked-up conflict; additional sub-plots. I also will be taking out some dialogue in my opening scene in which the antagonist reveals too much about himself too soon–I hope this will create more suspense as in “what’s he up to, anyway?”
- I write a series of scenes that go together and break them into chapters. I write scenes and then break them into chapters. Supposedly, fiction is written as scenes in the same way nonfiction is written as a paragraphs. A chapter in fiction may contain several scenes, or only one–it’s up to the writer. I may cut a scene in half by ending a chapter in the middle of it to create a cliffhanger.
- Most of writing is definitely rewriting. Recently, I’ve come across these articles about editing and rewriting a manuscript. I plan on using some of the tips they offer; in fact, I’m already using some of the advice from them. Here they are:
How to Write a Book: the Five-Draft Method (Jeff Goins)
How I Self-Edit My Novels: 15 Steps from First Draft to Publication (K.M. Weiland)
- I’ve gotten good at avoiding sentences beginning with participles and as. I recommend Self-Editing for Fiction Writers. One chapter discusses sentences in which the writer begins a sentences with an –ing word. This can lead to dangling modifiers: Rowing down the river, the branches of the trees hung over us like protective arms. Anyway, here’s an article that talks about the same thing. The first comment also has some good tips.
- Writing action scenes is not the same thing as action scenes on the screen. An action scene need not include every punch, kick or jab. Every car chase scene need not include every screeching turn around a corner. Actions scenes are an opportunity to reveal character, among other things. Here are some articles I’ve read recently on writing action scenes I’ve found helpful:
5 Essential Tips for Writing Killer Action Scenes (Chuck Sambuchino)
The Kung Fu Panda Guide to Writing Action Scenes (K.M. Weiland)
Writing: Action Scenes (John Rogers)
Just Google “writing action scenes” and you’ll find these articles listed as well as many more.
- I’m avoiding infodumps. I’m writing a science fiction series with certain “rules of the universe” in which the stories take place. With this draft, I’m avoiding infodumps about this crazy place I’ve created–for now. When I rewrite, I’ll need to explain a few things as briefly as possible. How I will do that, I’m still deciding. Should I even do it at all?
- Dialogue is never the best the first time around. When I rewrite, I will be hammering the dialogue to make it stronger in an attempt to give each character his or her own “voice.”
- Writing about the progress of my novel, like this, is helpful. More lessons appear to me as I write and I hope to continue chronicling those lessons in this blog in an attempt to improve my writing and storytelling. Wish me luck.