Steps to Writing a Fiction BookThe steps to writing a fiction book
Like writing a novel: An easy way to beat the pad
It is Monica who is giving away 10 pieces of her latest book called World Better, Faster: The book How To Try Your Writing Speeds and Writes More Every Today, which illustrates the processes of outline, beat, sketch and design with unique samples from one of her fiction publications. Writing a fiction book isn't always simple, especially when you try it for the first or second tim.
One of the first time I ever wrote fiction, even with years of blogs, copy-writing and more under my belts, I was still struggling to get the history that was in my mind to look good in the words on the screen. What was that? With so many moveable parts - storyline, scenery, history, subject, character, descriptions, vocabulary - it was difficult to keep an overview of everything that was necessary to make a sound, legible narrative.
This was a devil's circle that often led to the month of zero fiction writing. Throughout the years I have worked on a straightforward procedure that has assisted me in combating all these anxieties, concerns and blockages in writing the first draft: Begin with something very, very basic (one or two sentences about your chapter) and continue little by little.
Usually I used to write about this as a side remark in my paper about writing more than 3,500 words per lesson on a solid base, but some authors wanted to get more deeply into the notion. Here it is: my idiot-proof way to get away from the writer's inhibition forever (and have a lot of writing fun!).
Everybody has his own processes and every one will work well with these steps. Section 1: Harry Potter (so to speak) vanquishes He-Who-Must-Not-Be-Named as a newborn. Section 2: Harry's fellow linguists are horrible to him and he is an outcasts in the non-magical state. I' m inclined to have one sequence per section, but I know many writers who are writing more than one sequence in a time.
If this is the case, I suggest writing one or two sentences about the dispute in each film. I' m not recommending to skip beat. They have more detailed beat information on each section. So, what do you say in your heels? Always tell what happens in each of the scenes as if you were writing your book to a mate.
You could describe each of the scenes to your boyfriend if it would help you finish this section. While you are describing your scenes, your boyfriend (or you, if you do it alone) will ask it. Every block in your structure can be extended to 1-2 par. You' ve got to choose what information/actions are happening in your scenes and how this information is output, how much the readers know, what the readers and/or character actually see and live, and so on.
There are several ways in which your beat can help you reduce your workload. First you' re gonna tell a better tale from the beginning. You will receive your friend's feed-back on what makes and doesn't make good business sense in live, which means you can fix it before you do it. You ever write a synopsis of chapters that looks like this:
Yes, that' s the case from a technical point of view, but it's an extremly little helpful phrase when you get to the design. You' ll be spending many long lessons (and a lot of beating your head) writing this particular sequence with exactly this information. However, the great thing about the beat and the reasons I suggest it is that you will be creating a useful blue print for your novel that will touch upon character, story, theme, settings and more.
It will help you to make your design run like clockwork, which will help you in the long run to avoid a lot of work. Sure it must be dragged now. Here is what I have learnt about ambitious literate, especially one with days work - they don't exactly have a ton amount of case to motion those speech out and out.
Instead, they have small bags of paper - 25 min here, one hours there - where they can compose a small piece of their book if they could only concentrate. Rather than tackle the design, I suggest trying out drawings. Sketching is essentially a snappy design at half-mast.
While sketching, I am writing the naked bone or skeletal of each of these guys. So, if I had a passage that was a talk between two guys, I would write: I' ll put it all in later, when the drawing makes it into the sequence (it could better match another sequence or not at all).
Imagine the sketch as a very bright line on the page for which you think you want to go with the scenery. You' re not writing in inks. Or I could put it in the Magic Potion lesson, or I could put it in the Hogwarts Express with just a few easy adjustments to the Dialog.
It is this versatility that makes it easier for me to "see" my history, but still move it, rearrange it and make it work as needed. Fewer writing choices you have to make, the better your fluency will be. This may or may not work for you, according to what kind of author you are, but if you are a big pictorial artist like me, this is an easier way to complete your design quickly in the interludes of your everyday work.
Make a few drafts a days and soon you'll have a metric ton of chapter to go into design on. I can' t believe at this point that you will have much difficulty writing your design. Throughout the design I am adding the following "types" of content: Describtion: the set of scenes, what the protagonists wear and even the definition of what they do in a talk - Ginny tilts her mind, Ron knocks with her feet, etc...
Exercise that has no immediate influence on the plot is quite dull, so this usually only takes one or two sentences; but let it go and your reader will be seriously disturbed as their mind moves magic through history and place (though, to be honest, that is Harry Potter).
Colour: I smoothen the folds in the writing and give the movements themselves a little character. Most of the times this means making the design more fun or cleverer. As you know, you need to give your storyline even more pizzazz to unfold its fullness... now is the part.
As I studied computer engineering, my teachers always had the policy that the first thing to do when writing a programme was to compilate it. For me, the design is the "compile" move. This does not mean that writing does what it should do, or that it is effective or classy - it just means that a person can comprehend it.
As soon as you have finished your first design, you can continue with the revision, processing, etc. - but I really look forward to seeing how much quicker these workflows are. These four steps will not only help you to become a more powerful narrator and better author in the long run, but will also help you to tell this tale well the first day.
This means you can type the first design more quickly and use less of your own processing and headbanging later! Following these four steps, I am sure that not only will you quickly complete your first design, but that you will never again have this terrible, paralyzing writer's embarrassment in your novel - and you may even find out a great deal more about how you want to tell a tale.
What does your writing experience look like - do you use contours, beat and sketch to help you design? She wrote and edited half a million fiction words, divided into 12 volumes under two pseudonyms. She has been blogging for 10 years and her writing and merchandising concepts have been presented in Advertising Age, The Huffington Post, the AMEX OpenForum, GigaOm, Mashable, Social Media Today and the Christian Science Monitor.