Yes to all of this! I tend to be VERY voice-driven, so I often let the first chapter or two roll before I’ve worked out the other major pieces, but if I don’t figure them out in fairly short order, voice alone isn’t enough to sustain the draft. On the flip side, I’ve currently got an entire idea plotted (very uncharacteristic of me!), but the voice has not clicked yet—and consequently the drafting isn’t happening yet. I suspect if the voice doesn’t click soon, I’ll have to let the project sit aside for a while. I love hearing about other people’s drafting processes—i find it reassuring when my own doesn’t work the way it usually does!
Your process/experience sounds almost identical to mine. I've definitely indulged a ch or two because the voice is there, but like you, that can't sustain a whole draft if I don't know more info. And one of my fully realized plots/worlds had to simmer on the back burner for about six months before I finally found the voice, which was my entry point into smoother drafting.
This really resonates with me. I'm a big fan of Save the Cat, as well as Debra Dixon's book Goal, Motivation, and Conflict, so I like to have a pretty good idea of the main character(s) and the external/internal goals (wants/needs). But I 100% agree that I need to hear the character's voice in my head before I can start. Sometimes they have conversations with other characters; other times, I just hear their voice as first-person narration, but it's a critical component.
Yes! That's exactly what happens for me too. I hear their first person narration and/or are start hearing conversations/dialog between characters. It's such a pivotal moment in the brainstorming phase!
Of course!! Do you have any genre-specific plot guides for thrillers that I could pass on to a friend? Or suggestions of adopting Save the Cat structure to thrillers?
Using Save the Cat genres, I feel like most thrillers can slot into the "Whydunit" (mystery) or "Monster in the House" (horror) genres. So I'd start by figuring out if the book leans more horror or mystery, and then use the corresponding beats as a starting point for plotting/brainstorming.
Thrillers often also have big twist at some point in time, when the "truth" is revealed. Pacing that properly and teasing hints along the way is key. My recent post on how to withhold information without frustrating the reader might be helpful: https://erinbowman.substack.com/p/how-to-withhold-information
"you can reach a point where you are spinning your wheels, where thinking and researching are nothing more than procrastination; a way to avoid the writing."
That had not happened to me in my previous mss--I'm much more likely to start drafting too soon--but this last time it did. You see, I was certain that if I just planned enough in advance (I'm mostly a plotter anyway), that I would write a good first draft. Spoiler alert! It's not possible. (I refuse to call what I'm writing BAD, but it's definitely incomplete.)
I made a goal of writing 500 words a day. It felt like a small goal, but it was long enough to feel like an accomplishment and short enough that I could still get there, even on bad writing days. Amazingly, I think it's sustainable?? But even more than that, I've found it easier to write as I get further into the book. I'm getting to know the characters and world better, so the scenes are coming easier to me. ALSO shocking, writing 500 words a day adds up so much faster than *wishing* I were writing 1,000 words a day!
Such a good post, Erin! Thank you for sharing your process!
Thanks, friend!
So interesting. For me it's having a really, clear cinematic vision for the opening and believing it can carry the novel.
I love how different everyone’s entry point and process can be! 💗
Yes to all of this! I tend to be VERY voice-driven, so I often let the first chapter or two roll before I’ve worked out the other major pieces, but if I don’t figure them out in fairly short order, voice alone isn’t enough to sustain the draft. On the flip side, I’ve currently got an entire idea plotted (very uncharacteristic of me!), but the voice has not clicked yet—and consequently the drafting isn’t happening yet. I suspect if the voice doesn’t click soon, I’ll have to let the project sit aside for a while. I love hearing about other people’s drafting processes—i find it reassuring when my own doesn’t work the way it usually does!
Your process/experience sounds almost identical to mine. I've definitely indulged a ch or two because the voice is there, but like you, that can't sustain a whole draft if I don't know more info. And one of my fully realized plots/worlds had to simmer on the back burner for about six months before I finally found the voice, which was my entry point into smoother drafting.
This really resonates with me. I'm a big fan of Save the Cat, as well as Debra Dixon's book Goal, Motivation, and Conflict, so I like to have a pretty good idea of the main character(s) and the external/internal goals (wants/needs). But I 100% agree that I need to hear the character's voice in my head before I can start. Sometimes they have conversations with other characters; other times, I just hear their voice as first-person narration, but it's a critical component.
Yes! That's exactly what happens for me too. I hear their first person narration and/or are start hearing conversations/dialog between characters. It's such a pivotal moment in the brainstorming phase!
I also find that those scenes that play out in my head need less editing - those exchanges don't change much from first draft to final book.
Love this advice, Erin!!
As always, thanks for reading, Liz! 💗
Of course!! Do you have any genre-specific plot guides for thrillers that I could pass on to a friend? Or suggestions of adopting Save the Cat structure to thrillers?
Using Save the Cat genres, I feel like most thrillers can slot into the "Whydunit" (mystery) or "Monster in the House" (horror) genres. So I'd start by figuring out if the book leans more horror or mystery, and then use the corresponding beats as a starting point for plotting/brainstorming.
Thrillers often also have big twist at some point in time, when the "truth" is revealed. Pacing that properly and teasing hints along the way is key. My recent post on how to withhold information without frustrating the reader might be helpful: https://erinbowman.substack.com/p/how-to-withhold-information
hi, 2.5 months later! 😅 If it's YA, Brody's latest book includes a breakdown plot example of each sub-genre of story.
"you can reach a point where you are spinning your wheels, where thinking and researching are nothing more than procrastination; a way to avoid the writing."
That had not happened to me in my previous mss--I'm much more likely to start drafting too soon--but this last time it did. You see, I was certain that if I just planned enough in advance (I'm mostly a plotter anyway), that I would write a good first draft. Spoiler alert! It's not possible. (I refuse to call what I'm writing BAD, but it's definitely incomplete.)
I made a goal of writing 500 words a day. It felt like a small goal, but it was long enough to feel like an accomplishment and short enough that I could still get there, even on bad writing days. Amazingly, I think it's sustainable?? But even more than that, I've found it easier to write as I get further into the book. I'm getting to know the characters and world better, so the scenes are coming easier to me. ALSO shocking, writing 500 words a day adds up so much faster than *wishing* I were writing 1,000 words a day!