Patricia C. Wrede has a good post up on her blog this morning, Getting Started, that I think is well worth reading for anyone who wants to write a novel.
At this point I’ve written thirteen novels. One multiple viewpoint fantasy, a YA fantasy trilogy, three romance novels, and six cozy mysteries.
And I’ve pretty much pantsed every single one. Meaning that I had an idea of what I wanted to write and I started writing. Now maybe some would quibble and say that because I’d jotted down four or five plot points that I was really plotting, but no. I don’t do beats or story arcs or have a list of what should happen in chapter ten.
Which is not to say that I don’t end up with beats and arcs and rising and falling action. I’ve been a voracious reader for over forty years. Story structure is in my blood by this point. Stopping to map that out would ruin it for me.
It’s like trying to think about driving a car. If you don’t make me think about it, I know how to shift and which pedal is the brake. (I drive a stick.) But make me stop and think that through consciously and I’m in trouble. I’ll put my foot on the gas instead of the brake because it’s not something that I do at a conscious level.
Same with typing. I’m a seven-finger typer. I think. I use the three fingers on my left hand and the three fingers and thumb on my right hand. Maybe. I’m trying to type this and figure it out without actually paying enough attention to myself that I stop typing and it’s very hard to do.
But make me stop and try to figure out how I type the way I do, because it involves having different fingers type a specific letter depending on the letter that came before it, and I’d fall apart.
Some part of my brain has a spatial map of the keyboard. (Which is why ergonomic keyboards are a flat out nope for me.) But it’s not a conscious place. It’s not something I can deliberately tap into.
That for me is how a pantser works. It’s not that they aren’t looking at story structure, it’s that they’re not doing it at a conscious level.
So how do you write a novel? In whatever way works for you and lets you eventually get those words down.
For some that will mean staring off into space for a week while they think about the story before they ever write a word.
For others it will involve creating a three-inch binder of all of the information they need to create their story.
Others will want a one-sentence-per-chapter outline.
Still others will want a chapter-level outline that’s as detailed as some others’ first draft.
Do what works for you.
For me, I start with (1) story genre (mystery, romance, fantasy with a certain type of conflict), (2) story length (short story versus novel), (3) basic story issue (this can be a theme or a source of conflict or an event like finding a dead body), (4) basic setting (city vs. country, general type of society and technology) and (4) character (who is the main person in this story).
And then I go. If it’s contemporary and real world that pretty much sets up everything I need because the character and setting will drive the rest of the story for me.
If it’s fantasy then about six chapters in I have to sit down and have a little chat with myself about how this world works. What kind of magic does it have? Who has power? Are there magical beasts? Etc.
But usually I only do that enough to keep going and I often have surprises that pop up later. Because no one knows everything about their own world. They often only learn something new when they get out and explore or face a situation that requires them to learn. So I’m there with my character learning along the way.
My last mystery I didn’t even know who the killer was until the chapter before the reveal. I knew who the main suspects were and why each of them could be the killer. But the story world was completely under my control so I could make the killer any of those suspects I wanted to just by choosing which evidence to make real and which to make the red herring.
For me this is why my second draft is just as important as my first draft. Because once I’ve reached the end of the story and understand all the rules and all the players then I can go back through and smooth out rough spots or add foreshadowing or a little more of a reveal earlier on. Although, surprisingly, it doesn’t require as much as you’d think it would. Mostly just a sentence here or there.
(I am also an under-writer on a first draft so I have to add place and people descriptions and actions during dialogue which does increase wordcount by about 25%. But that’s not the main story that’s being fleshed out, that’s just bringing the reader deeper into the story.)
So anyway. There is no ONE WAY to write a novel. You do you and don’t let other people tell you you’re wrong if the way you do things works for you.