Mindful Content: Towards a Writing System

By Marcus Coates, @homeinriyadh, 27th May 2021

Unsplash: Gülfer Ergin

Blog No. 18

Writing a novel is a big project. And like all big projects, it’s easy to get lost in the sheer size of the thing and miss critical stages and details.

If you’re going to invest the amount of time and energy it takes to write a book, it’s worth having a system to keep the writing on schedule and on track. Below is the approach I use. I find it works for me; I hope you can find it helpful, as well.

1. Initial conceptualizing of the story

I like to think of this part of the writing process: the ‘drink coffee and wander stage’. I hang out at cafes, go for walks, and let ideas drift around until a set of characters pop into my mind, and an intriguing situation emerges for them to get involved in. I ask these questions:

1.1. What’s my story about?

1.2. Where does it happen?

1.3. Who are my characters?

1.4. What’s unique about them?

1.5. What’s the crisis?

1.6. Is it interesting or dramatic or fascinating enough to be a novel?

2. Slugline/Book Hook

Some people like to develop a character and see where that character leads them. I can’t do it that way. I want to plan what’s going to happen. I do this by condensing the story down to a ‘What’s it all about’ statement.

2.1. Can I narrow my story down to one great sentence?

2.2. Situation + hero + significant life event + new direction = outcome.

2.3. The handy equation below, borrowed from ‘Save the Cat! Writes a Novel’ by Jessica Brody is convenient for getting the idea condensed.

On the verge of a (stasis = death moment), a flawed hero (break into 2), but when the (midpoint) happens, they must learn the (stated theme) before all is lost.

3. Synopsis/premise

Once I have my great sentence, I flesh it out and give it a bit more detail while keeping a solid structure to the story: this becomes my premise.

3.1. Can I summarise my story up in three paragraphs of two to four sentences?

3.2. ‘Save the Cat! Writes a Novel, by Jessica Brody, comes in handy again for getting the premise condensed.

Paragraph 1: set up, flawed hero, and catalyst (2 – 4 sentences)

Paragraph 2: break into 2 and/or fun & games (2 – 4 sentences)

Paragraph 3: theme stated, midpoint hint, and/or all is lost hint, ending on a cliffhanger (1 – 3 sentences)

4. Timeline of beats and events

Image - Unsplash: Elena Koycheva

Once I have the initial story concept and characters down in a synopsis/premise, I like to put the main action beats down on paper in a sequenced timeline.

4.1. I draw a line down a page and add the action beats: Jessica Brody recommends 15 essentials to include at these junctures in the story:

Opening image (0%), setting the scene, introducing the flawed hero,

Theme stated (5%), is it clear what the story is about?

Set up (0 – 10%), are the issues to be resolved clear? Does the reader get a sense of the character’s flaws and hurdles? Is there a sense of imminent danger?

Catalyst (10%), what significant event sets the story in motion?

Debate (10 – 20%), what will resolve the issues faced by the main character?

Break into Act 2 (20%), stepping out of the comfort zone into a new world,

Introduce a B story (25%); what new life lessons for the main character occur that would not have been possible before stepping out of the comfort zone?

Fun and games (20 – 40%), does the hero experience pitfalls and success?

Story midpoint (50%), is there a sense of the story gathering pace? Events starting to collide and overtake the character?

Bad guys close in (40 – 60%), the hero can no longer evade the issues and character flaws,

All is lost (75%); it looks like the hero’s luck has run out, death is in the air,

A dark night of the soul (70 – 90%), can the hero overcome their flaws and succeed? Is an epiphany reached?

Break into Act 3 (80%); the hero moves forward with renewed determination,

In the finale (90 – 99%), the plan looks doomed to failure, but drawing on lesson learned from plot A and the B story, the hero overcomes,

In the final image (100%), the hero becomes transformed, a new status quo is reached.

4.2. I take these 15 events and create a summary underneath each one.

Where does it happen?

When does it happen?

Who’s involved?

Why?

What was the outcome?

Does solving one problem create another?

4.3. I add more events to link the 15 main events on the timeline to create a cohesive flow to the narrative. If adding only 5 to 10 more events, that would give 20 to 25 specific events to the story.

5. Chapter headings with synopsis, timeline, and characters

I like to turn my distinct beats into chapter headings with a bulleted list summarizing the chapter events underneath the chapter summary.

I also add a bulleted list of characters involved in the chapter.

I write the chapters and summaries on story cards to move events around if needed: this becomes the novel structure.

5.1. Take the beats and events and name them as chapter headings.

5.2. Summarise the events of each chapter, ensuring the main beats are included.

5.3. Make a list of characters who appear in each chapter in a bullet format.

5.4. Add a timeline of when these events occur (this could be years, flashbacks, days, whatever).

5.5. Add any unique motifs, themes, or cultural references to include.

6. Style Sheet & Research Notes

I type my chapters, summaries, character lists, and timeline on a Word document as the novel structure: this will become my first draft.

However, I duplicate the document first and use this as a style sheet. I would define a Style Sheet as a set of precise notes to keep the writing on track and prevent errors from creeping in, such as sudden name or age changes, setting disjoints, events omitted, etc. I add notes throughout the writing process. This is how I start the Style Sheet off:

6.1. Duplicate ‘Chapter Headings’ (point 5) and use this as the basis of the Style Sheet and research notes.

6.2. Add more detail to the characters listed – quirks, character traits, emotional states, etc.

6.3. Add research notes concerning the era, cultural references, adding more detail to flesh out the story.

6.4. Add a box under each chapter to place notes and ideas as they occur whilst writing draft 1.

7. Draft 1

As the structure is already in place, I take each bulleted summary and create a series of cause and effect narratives. I describe the event, get the characters talking to each other, create tension, and try to finish up on a cliffhanger where possible.

I aim for 1,000 to 3,000 words per chapter (20 chapters of 3,000 words = a novel of 60,000 words).

7.1. Using the ‘Chapter Headings’ (point 5) document, expand each summary into a chapter of events and expand the action beats, adding dialogue and inciting events: aim for (1,000 to 3,000 words) per chapter.

7.2. During this first draft, I don’t use a spellchecker or worry about grammar – I get ideas down on paper in a series of chapters. The first draft is all about getting the story out of my head and down on paper. Who cares if it’s a mess? I don’t have to show it to anyone until I’m ready!

7.3. Wherever appropriate, I have the characters ‘show’ and not ‘tell’ the story.

7.4. I get the characters speaking to each other. What causes tension, attraction, disgust, fear?

7.5. Exaggerate, exaggerate, exaggerate (it’s fiction – not autobiography).

8. Edit 1

Unless you’re a genius, the first draft is going to be a mess. So what? That’s what a spellchecker and a grammar checker are for!

I have a terrible tendency to slip into the passive voice. I use Grammarly to run through and check my sentence constructions and spelling.

I use the Word feature ‘Find and Replace’ for specific issues I have noted (going through errors one by one).

Unsplash: Michael Dziedzic

8.1. Now that the first draft is down on paper, I switch attention to readability by placing on my editor hat.

8.2. I Run a spellchecker through it (Grammarly or perfectIt, for instance).

9. Draft 2

For me, draft 1 is about getting the story down; draft 2 is about ‘flow’. I read it from the beginning and work on making the dialogue between characters more natural.

I work on making the description of events crisp. I prune for excessive adverbs and adjective usage. I ensure events are sequenced as I imagined them. I aim to cut flaccid paragraphs.

9.1. For this draft, work on flow,

9.2. Read the story from the beginning and add sharper dialogue,

9.3. Cut unnecessary scenes, sharpen the action,

9.4. Make the events more extreme,

9.5. Swap out boring words and repetition for synonyms,

10. Edit 2

Edit 2 is all about running the spellchecker and grammar tool through the manuscript once again.

There are always more errors than can be caught on one pass. As is often quoted from Ernest Hemingway: “Writing is rewriting.”

10.1. This second edit should be relatively quick, as most eyesore mistakes would have been dealt with in edit 1

10.2. Don’t skip the editing! Any punctuation and grammar issues that readers note take them out of the novel world and spoil the story for them.

11. Alpha Readers

Now that it’s starting to look like a novel and read like a novel, I like to give it to a family member or good friend to get some initial feedback. Alpha readers provide you with feedback but are not as critical as beta readers.

11.1. Alpha readers help by getting eyes on your work in the public domain - without crushing your confidence.

11.2. Locate some people with an opinion you trust and who you know are supportive.

11.3. Set them a time limit to read and return the writing.

11.4. Discuss the feedback – strengths, and weaknesses.

12. Draft 3

My writing was out in the public domain, and I survived to tell the tale! There will always be issues to resolve. I consider the feedback from my alpha readers and set about fixing the plot holes, flesh out the characters, and remove rambling passages that add nothing to move the story forward – and consider all other feedback.

12.1. After gaining critical feedback from the Alpha readers, it’s time to fix issues they may have noticed. These could be plot holes, problems in the timeline, character tweaks to make them more individual, or issues with overuse of the passive voice or a tendency to use elaborate prose.

12.2. Just because Alpha readers give criticism, I don’t have to change my story … it’s my writing and my choice to accept or reject!

13. Edit 3

As with any changes to a draft, follow up by editing and spell-checking.

13.1. Don’t skip the editing phase!

14. Beta Readers

Now it’s time to hand over the work to

Beta readers. Beta readers should be friends or writing peers who are less likely to sugarcoat critical feedback.

You can find Beta readers amongst online writing communities or give your manuscript to peers you know who like to read with a critical eye. The idea is to get discerning critical feedback that doesn’t crush your writing soul.

14.1. Give the manuscript to Beta readers.

14.2. Set a time limit for reading and returning.

14.3. Many Beta readers have online communities and enjoy receiving free books and offering feedback.

15. Final draft

The end is in sight! Based on feedback from the Beta readers, it’s time for the final fix.

15.1. The final tidy-up of the manuscript based on critical feedback from Beta readers.

Does it flow?

Do I love my characters?

Is the writing on point?

Can I immerse myself in the story?

Would I buy this book?

16. Final edit

The final draft is the last chance to make the writing shine before releasing it to the professional world.

16.1. One last edit through!

Is the writing lean and tight?

Excessive descriptions? Cut the adverbs and adjectives!

Flowery prose? Cut it!

Spelling and grammar? Precise?

17. Send to Agent/Publisher

Once the manuscript is the best it can be, I’ll send it to agents and publishers.

17.1. It’s worth researching in the Artists & Writers Yearbook and other publications to shortlist agents and publishers who specialize in the writing produced.

17.2. If an agent or publishing house accepts the manuscript, they will still want to have it copy-edited and proofread, so the work on the novel will continue!

17.3. If planning to self-publish, it’s worth sending it to a professional copy editor and a professional proofreader to get it to a professional standard before releasing it on Kindle, Amazon, or other commercial platforms. The worst thing to happen is to publish prematurely and discover mistakes after it’s too late to fix them.

I hope you found this writing structure of use. I have a PDF printout of the system on the business page of my website, www.mc-mindful-content.com, which you can access here. Why you're on the website, why not subscribe and get the latest writing blogs, recipes, and templates?

"Also, I have a PDF template outlining what to include in a submission to an agent or publishing house on the business page of the website. Check it out!"

Good luck getting the work done!