February 2024

Alec Teffeteller

Preface

Don’t let the enticing abyss of an endless story swallow you whole.

Plotting a novel is incredibly challenging. In my experience, many writers struggle to finish a work because they lose track of their story’s direction. Don’t get me wrong, getting lost in a novel and exploring with characters can be fun—perhaps necessary—but not finding a way out of the depths of a directionless story is discouraging. Presented here are what I hope will serve as some basic stepping stones that aspiring novelists can use when feeling lost and indecisive about the direction of their story.

It All Starts With Character

Who is the main character? What is their current situation? What are their wants and flaws? These are essential questions to answer when introducing a story to readers and helping them understand who the character is that they are about to follow through an engaging plot. The starting point of a novel serves as a reader’s first look at the life of the main character(s), an opening image that should demonstrate that, whoever the character is, the life they’re currently living can’t last. Something has to change. Otherwise, what would be the need for the story? In her incredibly insightful book on craft, Save the Cat! Writes a Novel: The Last Book On Novel Writing You’ll Ever Need, Jessica Brody calls this need for change the “stasis is death” stage (36). Brody elaborates, “It’s the moment that comes somewhere in the Setup beat that shows the reader that change is imperative; otherwise, things are going south. Fast” (36). Notice Brody’s immediacy; a writer should create a necessity for their story and convince the reader of the dire need for a particular story to be told with a specific character.

Force Them Out the Door

Don’t let your character passively stumble into their journey.

There is a passive element that occurs early in the story called the catalyst, usually just after the reader gets a sense of the main character’s need for change, something significant that makes staying where they are impossible. Neutrality is not an option. The catalyst makes it clear that the character must do something, but that something can’t happen to them as the catalyst did; there needs to be an active decision made by the character that initiates their journey. Brody calls this section of the novel the “debate” and the “break into two” (38-40). The debate is a brief section after the catalyst where the character wonders something along the lines of “What do I do? Should I go? Should I stay? How will I survive? What happens next?” and the answer to this question needs to be an active decision that sets them on their journey (38). The break into two is where “The challenge is accepted! The adventure is upon us! The new way of life has begun! The Debate is over, our hero knows what they have to do,” or at least, they think they do, “and now it’s time to do it” (40). Notice that this decision is all about the character’s choice, a reaction to the catalyst.

Deliver On Your Promise

Readers often buy a book for a precise reason. They read the engaging jacket or the synopsis on Goodreads, and the presented premise made them purchase the first edition hardcover without hesitation. For me, this would be anything consisting of YA romance and fantasy. I’m constantly searching for new journeys in worlds I don’t recognize. But what gets me to buy the book? When a reader buys a novel, they do so by accepting the promise from the author that the premise that caught their attention will be delivered in the pages.

Once the main character has made their big decision and is on the road—literally or metaphorically—toward change, the writer has a responsibility to deliver on the premise that was promised (Brody 46). For instance, if I picked up a book that promised a magical island where rulers of various powers go every century to fight to break the curses that have plagued them for five hundred years, then, once the main character decides to go on their journey, there better be a magical island and some powerful rulers fighting to break their curses. (By the way, that was the premise of Lightlark by Alex Aster. I highly recommend it).

To deny those pivotal elements of the premise is deceptive, and the writer must spend a substantial number of pages in the section of the book that Brody calls the “Fun and Games” lest they deceive their reader and tarnish their credibility. By the time the “Fun and Games” begin, the reader has seen who the main character is and why they must go on their journey, and it’s time to see the character in action. The author must deliver on the premise that attracted the reader to the novel in the first place.

Build Toward the Pivotal Midpoint

The midpoint is essential because it decides the story’s trajectory. Depending on how the main character is fairing in the “Fun and Games” of the novel will determine whether the midpoint will be a false victory or a false defeat (Brody 48-51). Let’s say the character has been doing well—aside from a few hiccups because what is a story without obstacles?—the midpoint would peak in a false victory. Perhaps the character gets what they wanted initially but realizes it isn’t what they need. The midpoint should raise the stakes and change the trajectory of the novel’s second half into one involving struggle. The trajectory before the midpoint should be the opposite afterward. Just remember, whichever trajectory the character is on before and after the midpoint, there needs to be some minor failures and triumphs that give the story some variety. If a character is winning all the time or losing all the time, there is a risk of the momentum becoming stagnant, uninteresting, and unrelatable. Readers want emotional highs and lows to ride alongside the character they’ve come to love (or love to hate).

The Dark Before the Dawn

After the false victory and the following downward trajectory, the main character should have a moment, just before entering the story’s finale, where they are at their lowest. Brody calls this the “All is Lost” moment (59). Similar to the initial catalyst, it’s an event that happens to the character that makes all seem lost; they can’t seem to win, and nothing is going right. They’ve realized that what they wanted wasn’t what they needed. But the story can’t end here. Not after all that we’ve been through. The main character must make another decision similar to the one that started them on this journey. The character must dig deep and make one last effort to reach their new goal. This time, that goal is the right one, what they need rather than what they want because they are wiser now than they were at the start. They have learned from their journey and transformed before the reader’s eyes.

The Finale

They’ve made it. The main character has reached the peak of their transformative journey, and it all ends here. Even if there is a plan for a sequel, everything needs to be left on the field of the finale. Don’t hold anything back. Don’t pull any punches. The pace should build, and the character’s resolve should be firm. Whether the character wins or loses at the novel’s end, they better learn something worthwhile. If the main character doesn’t learn anything by the end, readers will wonder what the point of it all was. Following the conclusion of what should be a sensational climax of an undeniably transformative journey, there must be a snapshot given to the readers of what the character they’ve been following looks like now that their journey is over, and, for the writer’s sake, the character better be unrecognizable compared to the flawed one introduced at the beginning.

A Final Note

Plotting a novel is hard work! Don’t let anyone tell you differently. Yes, it’s a creative process and can be extremely enjoyable, but if you plan on finishing a publishable piece, hours of dedication, determination, and consistency are required. Writers sometimes shy away from plot structure, fearing it will make their story seem derivative and unoriginal. But a successful author I follow on Instagram, Lauren Kay, says that structure is like a drinking glass: no matter how tasty a drink is, no matter how delicious of story you want to tell, it needs a cup to be poured into, a structure to hold it all together. Don’t be discouraged from going down the rabbit holes of your story and exploring with your characters—some of the best writing happens when you allow yourself the freedom to get lost and make mistakes. Still, when you want to get unlost, use your plot structure beats as lifelines to get you back on track.

Whatever happens, never give up. Ever. The world is a better place with your stories in it.

Happy Writing!

Works Cited

Brody, Jessica. Save the Cat! Writes a Novel: The Last Book On Novel Writing You’ll Ever Need. Kindle E-Book First edition. Berkeley, California, Ten Speed Press, 2018.

Mikaela Schmierer

STEP 1: “Now finish the work, so that your eager willingness to do it may be matched by your completion of it, according to your means.” (2 Corinthians 8:11)

A finished manuscript or rough draft must be completed to begin the editing process. This will help to cut out unnecessary and excessive editing during the writing process to detract from the overall story. Although you may want to edit or completely rewrite a scene, hold off on that feeling and finish the scene or chapter as close to your intended plot arc as possible. If the need to edit or rewrite persists, I recommend using a second document as a placeholder and comparing the two written versions. A fully-fledged manuscript before beginning editing will also help maintain consistency in voice, style, diction, and a thorough plot.

STEP 2:  “Proofreading… is a basic and mechanical process.”

The editing process should feel rudimentary, simple even as you begin to sort through your work. To start editing, read through the manuscript entirely, either printed or online, based on which is better for you. When you read through, you want to have a couple of things at your disposal and ready for the read-through, such as a highlighter, a pencil or underlining tool, and something to take notes on, like sticky notes. You should focus on three main things as you read through your rough draft. Grammar and punctuation will be principal elements you look for and will notice immediately. Voice and style, however, might be tricky to keep tabs on. To help keep your story clear and concise as you edit and revise, I suggest keeping a system with notes and ideas either online or on an easily discernible notepad– you do not want to lose this! Another aspect you want to keep an eye out for is tense and perspective. If you switch between them in the work, you want to ensure it is continuous and consistent– such as flashbacks or prologues. Otherwise, pick the tense that makes the most sense for your writing style and the story itself.

STEP 3:  “Perfect is the enemy of good.” –Voltaire

After considering the essential editing elements, your first draft’s new layout and document will be pretty messy. But do not fear! The first draft, the second draft, and even the fifth draft will not be perfect. A good reminder in the earlier stages of self-editing is to have grace with yourself and to trust the process. The proverb “consistency is key” is a highly regarded phrase for a reason. Messiness isn’t always bad; it can lead to patterns and ideas being more exposed from your work than you initially noticed.

STEP 4:  “A schedule defends from chaos and whim.” –Annie Dillard

Getting to your first draft and setting aside time to edit can seem daunting, but let’s reshape the approach to the revision process as just that. Processes are meant to take time, and if they’re finished during the first attempt, you risk overlooking details that can be vital to the work. Having a schedule or game plan, as basic or detailed as you like, can be a great tool. One way to approach a schedule can look like setting aside thirty minutes a day to crack open your manuscript, reading through a couple of pages at a time, and making some marks or notes. Another way could be going through a chapter or section per day. At least having a schedule will help relieve some stress and anxiety surrounding wrestling with the editing process, offering options such as revising characters and settings to redoing entire scenes. This is all according to your timetable and how much time you want to set aside. That way, you have control over the entirety of your work.

STEP 5:  “Comparison is the thief of joy.” – Theodore Roosevelt

Once self-editing has begun, it is important to remember that your work is yours, the writing will be distinctly individual, and other’s works will vary in audience and recognition because their works are starkly theirs. Try your best to maintain confidence in yourself and your ability to write. While going through the editing process, keep your mind set on the story you want to tell and not how it compares to other works. Worry and nitpicking won’t help in the end regarding the final product, so keep your head high and aim for the stars.

Works Cited

The Bible. YouVersion. NIV, 1 Corinthians. https://www.bible.com/

Dreyer, Benjamin. Dreyer’s English : An Utterly Correct Guide to Clarity and Style. Random House Publishing Group, 2019, pp. 9.

Dillard, Annie. The Writing Life. HarperCollins Publishers, 2009, pp. 32.

Madison Head

When people write, it is nothing more than putting pen on paper—or fingers on keyboards nowadays. It is an action that is solitary in nature and can be done entirely alone. If left alone, a writer can create an echo chamber of their own thoughts and opinions and get stuck in their work without any way out. Because of this, it is extremely important to find a community to share your work with. A writerly community can be helpful in a variety of ways.

Finding a Group

The first step is to find the community. In high school and college, you can find those with a similar interest in the immediate vicinity. You can find a club or a group of people who love writing and plug yourself in. Outside of that, it can be more complicated. The key is to look for ways to get connected. Find your local library and see if they have meetings or readings. Reading in any venue would be an excellent way to find other writers in your area. You can hear others’ works, read your own, and connect to those who come. Look into community centers or websites and Facebook groups focused on your area’s community and look for groups and meetings happening. There are opportunities all around you if you are willing to look. You might also be able to find Zoom calls of people worldwide coming together and sharing their work. Once you find the community, you can see the incredible things that happen in it.

Creating Stories

The original idea of a story is often created by the individual, but it can be even stronger if shared with others from the start. Bouncing ideas off of other writers can lead to new ideas you may never have thought of on your own. Two heads are better than one, and many are better than two. Besides, it is more fun to create a story with others. Of course, the original idea needs to be your own, but sitting down, ironing out the plot, and naming the characters is better when others are helping you. My friends have named my favorite characters, and I love those characters even more because of it. Then, you start writing.

Workshopping

Once you have something written, you can edit it even if it’s not finished. That is where workshopping comes in. You can read and edit your piece a million times, but as soon as you show it to someone else, they will find the mistake you accidentally overlooked. It is the nature of writing and being so familiar with your own work and words that you cannot catch every mistake. The first time any of my stories have been workshopped, someone always points out that I use a word too often. Every time it is a different word, but it always happens. It is also harder to see what is not working well together within the story. Sometimes, things are out of order, or the dialogue sounds unnatural, but it seems to work because you have read it so many times. The editing process needs other readers and writers; editing as a group will make every member a better and more conscious writer. When you look at other pieces, you become a better editor too.

The most magical part of a workshop is when you all take the time to really help each other, and you make the work better. When everyone comes together in sincerity and kindness and helps find the weak link in the chain, it improves the piece and the writers involved in the process. It also brings them closer together. Iron sharpens iron, and those forged through the fire bond together.

You are Not Alone

Above all else, this is the most important part of creating a writing community. While it is good to create well throughout stories and become better writers and editors, being surrounded by a community is important. We are not made to be alone in life; God created us to be with others. It is fun to get together with friends and write and talk. My favorite memories are from workshops when we realized how to improve one of our stories or from the moments after we finish when we talk about anything and everything that comes to our mind. 

A writing community makes writing more fun. I would look forward to seeing others’ stories and seeing them evolve. I get excited to write a new scene or story and share it with them, knowing which parts they will each love. It makes the hard times when you cannot think of another idea and think you might give up together better. All it takes is one of them to remind you of the good of all you have written up until now and the potential for everything you could write later, and you fall back in love with writing. 

Everything is better with community, and writing is no different. It should not be done in an isolated echo chamber. Find a community. Search for writers’ workshops, online and in person. Find the people to whom you will send your novel before you publish it. Find a community that will help you become a better writer. Don’t go it alone!