mbarker: (Me typing?)
[personal profile] mbarker
Original posting Sept. 22, 2017

Writer's Digest, February 2001, has an article by William Hutchinson on pages 36-38 and 53, talking about your second draft. As the subtitle puts it, "Spilling a story out of your heart and onto the page is easy sometimes. Putting your thoughts into usable form can be the tricky part." But William provides you with a guide…

How do you sort out the first draft and turn it into a great second draft? Well, here's one approach.

1. Start with 250

Do a story summary. If you've got several stories or your story has lots of twists and turns, you might expand the summary to 500 words, but keep it simple. You're looking for the story inside your plot.

2. Set the total count

Now, how many words do you think it takes to tell your story the way you want to tell it. You may have overwritten, and need to cut a lot, or you might need to add. Decide how long you think your story should be.

3. Count chapters

All right, now you know how many words. But how many chapters? This is partly style, genre, and what kind of a story you're trying to tell. Some people like one page chapters, others have long chapters with many scenes and points of view. Thrillers are likely to have short chapters, romance longer chapters. Action? Brief chapters. Character driven? Probably longer meditative chapters. Estimation? Say 2500 words per chapter, so divide your length by that size and see what you come up with.

4. Separate scenes

Most chapters have more than one scene. Three or four chapters is fairly common. Go ahead and lay out how you think the chapters break up into scenes.

"If you're lucky, your first draft will reveal the story you want to tell; not necessarily the story you set out to tell, but the story that has emerged in the writing. Outlining means focusing in on that single thread, recognizing extraneous plot twists and characters for the distractions they truly are and ruthlessly eliminating them, no matter how painful that may be."

5. List your scenes

Make a written list of the scenes in your current manuscript. Check for good scene construction. Does each scene have a beginning, middle, and end? Does it start with action? Does it clearly and quickly establish where we are and who is present?

Now check whether the scene advances the plot, establishes character, and describes setting.

6. Add and subtract

Now, fit that list of scenes into the distribution of scenes over chapters that you have developed. Cut, combine, add, shift the order. Eliminate scenes about people, places, and things that don't match the story you're telling now. Subplots about people that aren't really important to your story? Cut them. Scenic travel that doesn't do anything? Hop a jet plane, and get to the action.

7. Eliminate repetition

One or two good scenes are better than several mediocre scenes – get rid of the extras! If your characters keep doing the same things, show us the best version or two, and then something new.

8. Consolidate

Combining scenes and characters can give your scenes richer texture. One outstanding secondary character will stick in the readers mind, where several bit players just vanish.

9. Build bridges

You may need some bridge scenes to advance the story. Go ahead!

10. Count to three

Construct your outline, using the classic three-part dramatic structure. The first act is about the first third of your manuscript, and it's the character section. Lots of description, get us into that world, and quote tantalizing nibbles of plot." Development and exposition of characters is what you should be focusing on here. The second act? About half of your manuscript. Conflict! Complications. Plot driven, lots of action, keep it moving. The third act, the resolution, is your shortest. 15 to 20% of the pages. "When the monster dies, the movie's over."

So that's it. Then you get to write that second draft! Yay.

Practice? Well, take something you've written, a first draft that you haven't cleaned up, and walked through the steps. Here's the short version that William provided in a sidebar:

1. Summarize your story in 250 words.
2. Set the total word length of the book.
3. Divide the number of words by 2500 to decide how many chapters you need.
4. Divide your chapters into scenes.
5. Make a list of the scenes in the current draft.
6. Cut, combine, add, and reorder scenes.
7. Eliminate repetition.
8. Make sure scenes and characters work together.
9. Create bridge scenes as needed.
10. Make sure you have a beginning, middle, and end.

10 steps, and you're on your way to your second draft.
Write?

tink
[identity profile] mbarker.livejournal.com
Writers Digest, October 2004, pages 45 to 47 had an article by Martha Alderson describing how she organizes her historical novels. The same idea really applies to any kind of novel. Here's how Martha describes it. "Trying to keep track of plots, subplots, characters and themes in a novel you're writing can be difficult. . . . How do you track and interweave all the threads of a successful historical novel -- the dates, history and research; the action plot line; the character development and the thematic significance -- without the whole becoming a tangled mess? The approach I take is to create a visual representation of my story: a historical timeline."

Martha describes using a 6 foot piece of butcher paper with post-it notes, but the same basic approach seems to work with a spreadsheet or even a Word table. One of the nice things about a spreadsheet is that it is designed to allow you to insert new rows or even new columns. However you keep track of it, you might want to start with Martha's columns.

Column 1: Dates/Historical Plot. This is the frame of the story. It needs to start with the date that your story begins. Add events and issues that occur during that time period. Martha points out that even if you aren't basing your story on history, having a background of at least one major and one minor event and maybe a trivial event gives your story a little more richness or depth. What's going on around your story?

Column 2: Summaries. This is where Martha keeps summaries of longer periods that may not even show up in the scenes of the story. That way when a scene starts "seven years later . . ." this column shows what's happened during those seven years.

Column 3: Scene/Action Plot. This is the column for the scenes that actually make up the story. The conflicts, confrontations and turning points show up here. Martha suggests that the notes you put here should focus on the conflict, tension or suspense -- the pivot in the scene.

Column 4: Character Development. Even short stories usually have some growth or change in the characters. You may need to divide this column into several parts, but at the very least you need to record the main character's achievements. You can also keep important character background information in this column.

Column 5: Thematic Details. The theme is why -- what you want readers to realize or take away story. You can use this column to collect plot details that contribute to the theme and meaning , the sights and sounds, smells and tastes, slang  and vocabulary choice, all the little stuff that gives your story texture. This

The trick of course is to fill in the timeline or table working down and across, going back and revising where necessary, and making it a real working document that makes writing the scenes easier.

An exercise you might try is to take a story or working on or story you like and try making up a table like this. Or ask yourself what other column you might like to see to describe your own writing?

In any case, feel free to use the tool to help yourself get organized, but don't forget to write.

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