Not Quite Words

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When I first started writing at 13, I was a pantser. I’d develop an initial concept for a story, then just write – making everything up as I went.

Within a year or so, I became a plotter. I wrote extensive character sheets, deeply developed the worlds of my stories, and wrote detailed outlines that spanned not just the current novel, but series-long arcs.

In the years that followed (high school, college, MFA), I oscillated between the two approaches, navigating the benefits and challenges of both, as well as my own evolving preferences – before settling on my current method.

I call it “progressive outlining,” and it helps me do two somewhat conflicting things:

Create an outline for structure and direction

Allow my characters the freedom to organically grow, surprise me, and influence the story

The Progressive Outline

There are three parts to my outlining process:

Initial preparation

Creating a rough outline

Incremental journeys

1. Initial Preparation

Here, I do my initial brainstorming. Starting with the original concept, I generate ideas for the setting, characters, motivations, plot points, magic systems, etc. You can spend as much time as you want in this stage, but for me, the most important things to firmly establish are:

Your main character (and what drives them emotionally)

A small, initial cast of characters

Any core magic or sci-fi elements

The opening setting of your story

Those four things are important, because they’re the foundation of the story – the launchpad, both for the writing and the outline.

2. Creating a Rough Outline

Next, I create a rough outline of the story, and I really do mean “rough.” Instead of detailing every beat of the story from beginning to end, I allow the outline to become increasingly broad and vague the further out it goes.

For example, let’s say my story is made up of three parts. The most detailed section in the outline would be Part 1; Part 2 would be pretty broad; and Part 3 would have just a few high-level bullet points.

In all those sections, however, I try to mark key turning points for the characters and the plot, even if I don’t know exactly what will happen. For example, I might say, “Our characters clash at the festival,” or, “A friend will somehow betray the main character’s trust, hurting their relationship.“

The point of this outline is to provide long-view guidance wherever I am in the story. However, I keep things relatively vague, because I like to delay making specific decisions until my characters are closer to each event.

3. Incremental Journeys

Now the fun part. Writing.

To start, I take my rough outline and make sure the first couple sections are nicely fleshed out. Then, considering everything I learned during my initial preparation and using my outline as a general (but not set-in-stone) guide, I write those first few chapters.

After finishing those chapters, I do three things:

I think about what I’ve learned about the characters and story so far.

Using what I’ve learned, I flesh out the next few chapters in the outline, which might include some further world building or character development.

I write the newly outlined chapters.

Then I repeat those three steps, again and again – progressively outlining and writing my way through the story in short, incremental journeys.

Why do I write this way?

As I said at the beginning, this approach gives me the structure and direction of an outline, without denying my characters the freedom to grow and surprise me. 

That’s why I write this way – outlining, yes, but leaving much of the outline initially broad and vague so that I can let my characters play a more active role in shaping how each plot point comes to life. The process is pretty similar to Flashlight Outlining, if any of you are familiar; the main difference, as far as I can see, is that I also maintain an overarching outline.

Should you write this way?

You’d know better than me! A key part of every writer’s development is figuring out their process, and we do that by writing and experimenting. So give this outlining process a shot if you’re dissatisfied with your current process or want to try an approach that draws from both plotters and pantsers.

And if you already love your process?

Please share it below! I’d love to hear how you write (with or without an outline) and why it works for you.

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I have quite a few resources and advice on the topic of building romantic relationships in a story, so I’ve linked some relevant resources below that you might find useful:

How To Fit Character Development Into Your Story

Creating A Love Interest For An Introvert

 Writing Opposites Who Attract

Resources For Plot Development

Guide To Plot Development

Describing Heartbreak

 Developing Complicated Plots Around Characters

Writing Great Fanfiction

How To Write The Perfect Kiss

On Romantic Subplots

Resources For Romance Writers

Tips On Writing Skinny Love

Guide To Writing Friends To Lovers

Guide To Writing Enemies To Lovers

Guide To Writing Faded Love

Resources For Writing YA Fiction/Romance

Guide To Writing Will-They-Won’t-They

Rivalry vs. Abuse

Guide To Writing Forbidden Love

20 Mistakes To Avoid in YA/Romance

Balancing Fluff and Conflict

 Best Friends To Lovers Resources

How to develop an Emeies-To-Lovers story

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So far on my blog, I’ve covered the first two steps of writing a novel: developing realistic characters and coming up with a plot. Congratulations! You now have an A plot. 

An A plot is the surface level plot. It’s what your character is doing and what’s happening to them. This plot deals with questions like:

What is wrong with my character’s life at the beginning of the novel?

What do they think will fix their lives when—spoiler alert—it won’t?

Why haven’t they achieved this goal yet?

What catalyst (or inciting incident) will cause them to get off their butts and start chasing this goal for real? 

Now it’s time to move on to the B plot. The B plot is about your character’s development and changing who they are as a person. This is about working out not what your character wants but what they need.

Remember all those flaws we gave our characters? This is where we need to ask the questions:

How does this flaw affect the rest of my hero’s life?

Do my characters flaws get in the way of them achieving their goal? 

How is the plot going to help them realise this flaw and overcome it by the end of the novel after their breaking point?

How is overcoming this flaw really going to make their lives better?

This character development is what gives novels their sparkle. The A plot is what makes your plot interesting, but the B plot is what makes your characters interesting. 

The question I get the most is how I write characters that feel like real people. 

Generally when I’m designing a human being, I deconstruct them into 7 major categories:

1. Primary Drive 2. Fear: Major and Secondary 3. Physical Desires 4. Style of self expression 5. How they express affection 6. What controls them (what they are weak for) 7. What part of them will change.

1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it. 2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4. 3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.

4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially?  5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?

6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for.  What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of. 

7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot. 

That’s it.

But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?

If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?

How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?

Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.

JOHN MULANEY: I normally don’t notice people. I zone out constantly. Have you ever zoned out for a few minutes? I’ve been zoned out since 2014.

AUDEINCE LAUGHS

MULANEY: I just - all day long, I wander into traffic walking like Charlie Chaplin, listening to a podcast while thinking about a different podcast. 

AUDIENCE LAUGHS

MULANEY: I can zone out anywhere - I was at the doctor’s office, he was reading me the results of a blood test, it was important I listened, and I zoned out! I was like, “nah, I’m gonna stare at the wall and think my thoughts”.

AUDIENCE MEMBER WHOOPS

MULANEY: I was like, “huh. None of the Beatles had moustaches… but then one day, all of them had moustaches.”

AUDIENCE LAUGHS

MULANEY: “That’s weird, I can’t think of a time a group has done that”. Some people in my life don’t want me to zone out as much - they want me to focus, and they want me to be in the moment, and they want me to do this by meditating. I don’t know if you’ve ever tried meditating, but I’ve been trying it. This is how you meditate, okay? You sit on the floor with your back perfectly straight, which I hate more than ISIS -

AUDIENCE LAUGHS

MULANEY: I don’t like sitting up straight! Alright?! It’s never gonna happen! If meditating was sitting hunched over on the toilet with your elbow on your knee while kind of looking at your phone, I’d be the Dalai Lama.  

AUDIENCE LAUGHS/APPLAUDS

MULANEY: I don’t like sitting up straight. So you sit up straight, and you breathe, and this helps you stay in the moment. Don’t bother! The moment is mediocre at best!

AUDIENCE LAUGHS

MULANEY: I mean, it’s fine. Let’s all try right now - let’s all be in the moment, in silence, right now. [A HALF-SECOND PAUSE] Sucked, right? Not fun at all! 

AUDIENCE LAUGHS

MULANEY: That was boring! You gotta zone out! You have an imagination! You have a movie theatre in your brain that plays fake arguments that you win.

AUDIENCE LAUGHS/APPLAUDS

MULANEY: Have you ever just been sitting there thinking about something for twenty, twenty-five minutes, and all of a sudden you’re like “oh my god, I’m driving!” and you remember? You’re like -

AUDIENCE LAUGHS

MULANEY: “I’m going seventy-five miles an hour! I have been for a while! I could’ve changed so many lives!” Sometimes, my wife - I have this wife - she’ll be like, “are you watching the road?” and I’m always like, “I am looking through the windshield.”

AUDIENCE LAUGHS

But can I ask, what about the 25-year-old who just bought their first ever sketchbook?  What about the 32-year-old who’s been drawing for a month and has just about got the hang of a human-looking face?  What about the 67-year-old who finally has time to sit down and learn how to paint like they’ve always wanted?

Not everyone starts drawing as a child.  Not everyone learned as a preteen.  Some people start in college.  Some people start when their career is going well and they feel like it’s time for a new hobby.  Some people start after they’ve retired.

An anguished question from a Trump supporter: “Why do liberals think Trump supporters are stupid?”

The serious answer: Here’s what we really think about Trump supporters - the rich, the poor, the malignant and the innocently well-meaning, the ones who think and the ones who don’t…

That when you saw a man who had owned a fraudulent University, intent on scamming poor people, you thought “Fine.”

That when you saw a man who had made it his business practice to stiff his creditors, you said, “Okay.”

That when you heard him proudly brag about his own history of sexual abuse, you said, “No problem.”

That when he made up stories about seeing muslim-Americans in the thousands cheering the destruction of the World Trade Center, you said, “Not an issue.”

That when you saw him brag that he could shoot a man on Fifth Avenue and you wouldn’t care, you chirped, “He sure knows me.”

That when you heard him illustrate his own character by telling that cute story about the elderly guest bleeding on the floor at his country club, the story about how he turned his back and how it was all an imposition on him, you said, “That’s cool!”

That when you saw him mock the disabled, you thought it was the funniest thing you ever saw.

That when you heard him brag that he doesn’t read books, you said, “Well, who has time?”

That when the Central Park Five were compensated as innocent men convicted of a crime they didn’t commit, and he angrily said that they should still be in prison, you said, “That makes sense.”

That when you heard him tell his supporters to beat up protesters and that he would hire attorneys, you thought, “Yes!”

That when you heard him tell one rally to confiscate a man’s coat before throwing him out into the freezing cold, you said, “What a great guy!”

That you have watched the parade of neo-Nazis and white supremacists with whom he curries favor, while refusing to condemn outright Nazis, and you have said, “Thumbs up!”

That you hear him unable to talk to foreign dignitaries without insulting their countries and demanding that they praise his electoral win, you said, “That’s the way I want my President to be.”

That you have watched him remove expertise from all layers of government in favor of people who make money off of eliminating protections in the industries they’re supposed to be regulating and you have said, “What a genius!”

That you have heard him continue to profit from his businesses, in part by leveraging his position as President, to the point of overcharging the Secret Service for space in the properties he owns, and you have said, “That’s smart!”

That you have heard him say that it was difficult to help Puerto Rico because it was the middle of water and you have said, “That makes sense.”

That you have seen him start fights with every country from Canada to New Zealand while praising Russia and quote, “falling in love” with the dictator of North Korea, and you have said, “That’s statesmanship!”

That Trump separated children from their families and put them in cages, managed to lose track of 1500 kids. has opened a tent city incarceration camp in the desert in Texas - he explains that they’re just “animals” - and you say, “well, ok then.”

That you have witnessed all the thousand and one other manifestations of corruption and low moral character and outright animalistic rudeness and contempt for you, the working American voter, and you still show up grinning and wearing your MAGA hats and threatening to beat up anybody who says otherwise.

What you don’t get, Trump supporters in 2018, is that succumbing to frustration and thinking of you as stupid may be wrong and unhelpful, but it’s also…hear me…charitable.

also cloth rots pretty quickly when left exposed to the elements and after the first few years or so anything we manage to scavenge isn’t going to be wearable anymore and anywho we’ve got to teach the kids everything or they’re not gonna know what to do some decades down the line when everything’s too rusted or rotted out to be of any practical use anymore, etc etc, and he’s reckoning that things like woodworking and smithing and ranching are more important than say, cleaning or cooking or dairying and meanwhile i’m just smh may all the gods have mercy on this poor fool

So, as someone who went through childhood development classes in college, works with kids for a living, and knows multiple people who specialized in childhood education, here are some pointers when you are working with kids:

1. Model emotional response for kids. Children are learning how to recognize and respond to their own emotions. All the way up through high school, children’s brains are still developing, and the emotions they are learning to process become more complex. So with really young kids, the easiest way to help them with this is to model emotional self awareness and self care. 

“Oh wow, mommy is feeling angry because the cat made a mess. I’m going to clean this mess and then go sit in my room in the quiet for a short break so I feel better.”

“You know, I am feeling very sad about not going to the park because it is raining. I bet some hot chocolate and a book would make me feel better.”

”Huh, I’m feeling kind of cranky and hungry, but daddy won’t be home for dinner for another hour. I bet I’ll feel better if I eat a little piece apple while we wait.” 

2. Understand what causes child frustration and work to preempt it. 

-Transitions (from one activity to another, getting in the car, etc) can be stressful, especially if the activity or location they are leaving is fun. Give kids a warning when this is going to happen. With young kids, give them about 5-15 minutes of warning (”10 minutes until we are going to leave the park and go home. Do your last thing.”), with older kids, just give them a time frame. (We are can play at McDonalds for 30 minutes, but then we have to go grocery shopping, ok?) 

Not being able to communicate what they want to is frustrating. Babies can learn simplified baby sign language months before they are verbal. Kids may not know the words for what they are trying to say. Be patient and help them find the right words. On a similar note, don’t ignore kids. If you really can’t respond to their question right away because of something else, at least tell the “Yes, I heard your question. I’ll answer you as soon as I’m done talking on the phone.”

Not being able to make choices or having too much choice can be overwhelming. Give kids a limited, reasonable selection of choices. “Do you want apple slices or juicy pears on the side for lunch?” is much better than “What do you want with your sandwich?” or just giving them apple slices. “Do you want to give grandpa a hug or a high five?” is better than demanding they hug grandpa right away. 

3. Understand that kids are people to. They will get hungry, tired, an annoyed just like adults do. Sometimes you have to be flexible and give them time to self care. Talk to them, explain things to them, let them be people and not just dolls.  “Because I said so” is really unhelpful for a growing kid. “We can’t buy Fruit Loops today because we are already getting Frosted Flakes. We only need one cereal at a time.” is going to do you a lot more favors. “Don’t pick up the glass snow globe. It belongs to grandma and can break easy. She would be sad if we broke it on accident.” is better than “don’t touch that.” 

And look, no parent is perfect. No baby sitter, no teacher, no care taker is going to be awesome all the time. And no kid is going to be perfect. They will cry and have tantrums, and not be able to tell you what they need, and be stubborn sometimes. Sometimes they need space, or quiet time. Sometimes they need attention and validation. 

Formatting your Manuscript

If you’re planning on one day turning your manuscript in to literary agents and publishing houses, you need to make sure it’s formatted correctly. In many cases, your manuscript will be skipped over if it isn’t done to industry standard, so here’s the basics that you’ll need if you don’t want to be ignored. Before I get started, please know that this is aimed specifically at fiction manuscripts. If you’re writing non-fiction or a memoir, the expectations will be different, so it would be wise to Google what you need.

The Basics

Make sure your font is 12 point Times New Roman, Courier New, or Arial. These are the only three fonts you are allowed to pick from.

Your spacing should be 1 inch on all sides of the text. This is the default on most word processors, but double check your settings just to be sure.

Your text should be double spaced.

All of your indentations must be a half inch. Do not press indent. Instead, drag over the top arrow on the ruler to have every new paragraph automatically indent.

The Title Page

The top left-hand corner of your title page will have all your personal information. They want to see your name, address, phone number, e-mail address, the novel’s genre, and word count.

Your novel’s title is allowed to be between 20-24 point font if you want. Bold is also an option, but not necessary.

The title will appear halfway down the title page.

“A novel by [your name]” will be about three quarters of the way down the page.

The Next Pages

If you have a dedication, it will be on its own page.

If you have some sort of verse or quote, those will also need their own pages.

Do not include a page for acknowledgements.

The Chapters

Chapter titles will be 12 point font. No bolding or italics.

Chapters will start from one quarter to halfway down the page.

An easy way to format chapter headings is to press enter five or six times

Make sure you always start your chapters the same way every time.

When you start a new chapter, make sure you use a page break to bump the new chapter onto a new page. This will keep it in place so that it will never budge, no matter how much you cut out or add to the previous chapter.

Page Numbers

Page numbers will start with 1 on Chapter 1 of your manuscript. Page numbers will not appear on the title page or dedication page.

Page 1 will be labeled in the footer of Chapter 1. It should be centered.

Page 2 will be in the header of the next page.

From page 2 onward, your headers will be labeled like this:

If you insert a section break after the title and dedication pages, it will make it easier to insert the page numbers.

For the most part, this is the most important of what you’ll need to know for formatting your manuscript. I used this video as reference, so I’m trusting everything it says is true because it was made by an author who has several novels published, and because it was uploaded this year, it should be up to date.

But more importantly, if you’re going to be sending a piece to a publisher, you must read the publisher’s specific requirements which most have listed on their websites. Some publishers will request different fonts, line spacings, or font sizes, for various reasons, some will want you to list the length of the story by page count, or by word count.

I noticed in the tags someone was under the impression that you should just copy and paste your story into the body of the email–some publishers do want that, but it is much less common than publishers that want stories sent as an attachment. Again. Read the specific instructions given by the publishers. There is no one-size-fits-all.

By looking up and following the specific instructions given by the publishers, you show that you are someone who pays attention to detail, who is able to work cooperatively and follow instruction when necessary, and most importantly, that you respect the time and work that the publishers are trying to do. I’ve been on the other end of the slush pile, and when you’re faced with 500 stories, it becomes very easy to toss out the ones that don’t care what they’re sending out because they clearly can’t be bothered to do the most basic formatting.

I also want to correct a misconception by the late wrote-miss-ibis a couple of reblogs above here: the slush pile is good. It isn’t somewhere that stories get put. The slush pile is the pile from which all stories come. When you send a story (unless it has been specifically requested by an editor) that story goes directly into the slush pile, and the editors then go through the slush pile to find the things they want to keep.

From the makers of the no-effort character checklist, I bring to you… The no-effort complete character sheet for lazy writers like you and me™! 

Because the extra effort I put in staying up until 3 am to do put this together can save us all a lot of effort filling out longer character sheets ^^

You’re supposed to print it out and fold it in half to make a little booklet but you can save ink and do it on your computer :P