Structure
A different approach to the writing process
A different approach to the writing process
The Scenes
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Most writers tend to start with something like this - but rather better organized and clearer too: a complete plan listing all the chapters in the novel so that they know exactly where they are going.
They also usually have character bios in far more detail than mine, maybe even a synopsis of each chapter ready to flesh out fully, and maybe have even written the last chapter in full. This is great if you like to know exactly where you are going and precisely how you plan to get there. I don't. My approach is more spontaneous; this document was created on the hoof. For Remorseless, as I followed King's advice and started 'getting the story down', I mentally noted what the upcoming few scenes should contain and made a note on these sheets as I went along. I'd usually have an idea of what I needed to write for these following scenes/chapters bubbling in my mind as I was writing the current one. To keep on top of this I would make hasty side notes as a reminder too, as well as pop the scene description in here, before getting back to my main focus. I kept a careful note of whose Point of View (POV) I was writing under so that I could add tension to certain scenes by excluding some characters from really knowing what was happening or what was in the POV character's mind. In my novel The Hack, I have far more POV characters as it is an international action thriller, jumping continents as the plot unfolds, with little of the psychological stuff that is threaded through Remorseless. POV is a useful tool for helping the reader identify with the characters too. By allowing them to dip into the thoughts and motives behind the action you can create tension and suspense - for example, when the characters are lying or doing something dreadful, unbeknownst to the rest of the 'cast'. |
You'll notice quite a few deletions and reordering of sections too in this example too - the process is not as exact as the usual recommended 'properly structured' approach, and I know my way of doing things is not for everyone.
Why not chapters?
I generally write scenes rather than chapters - there is a difference, if only in my mind.
My scenes tend to be shorter than the usual chapter length in novels, and this reflects my visual style. The story unveils itself in a sort of movie format in my mind and that results in scenes of varying length, from a single page to maybe twenty or more.
Some writers try to keep their chapters consistent in length - I have no idea how to do that as the structure of mine totally depends on the actions of the characters. Remorseless is split into three main sections with a prologue and epilogue, broken into scenes. The three main parts represent the traditional acts in a play, sort of (see below), and the titles each represent protagonist's travails rather than, as people may think at first glance, our evil villain Leech's progress.
In my recent novels, I have taken to chapters in response to feedback from readers - many seem to prefer them. I have also given the chapters headings in The Hunter - I am such an adaptable chap!
My 'organic' method
I have heard the term 'pantser' used to describe the way I create my first draft - presumably originating from the term: 'by the seat of your pants.'
I dislike this description as the word 'pants' is used as a pejorative in the UK, slang for 'rubbish'. For example, 'that novel's pants!'
Hence I prefer 'organic' to describe my writing as the words grow naturally on the page, and are not forced into some rigid outline. For those who need more structure, I hereby decree that they should henceforth be known as 'story engineers'.
;-)
The rule of three
So how do I keep on track, rather than going 'off piste' all the time?
I have to admit, there is a vague sort of structure to my approach. I use a simple three part technique for each scene, each chapter, each act, or whatever. So strap yourself in for the big reveal.
This is my trade secret to an 'organic' approach to writing, and it's based on a scriptwriting concept regarding the 'three act structure' I learnt some years ago.
Each story element should consist of these three things, in this order:
These three simple elements keep me from meandering into irrelevant territory. They also enable me to write novels that avid thriller readers tell me are 'unputdownable.'
I generally write scenes rather than chapters - there is a difference, if only in my mind.
My scenes tend to be shorter than the usual chapter length in novels, and this reflects my visual style. The story unveils itself in a sort of movie format in my mind and that results in scenes of varying length, from a single page to maybe twenty or more.
Some writers try to keep their chapters consistent in length - I have no idea how to do that as the structure of mine totally depends on the actions of the characters. Remorseless is split into three main sections with a prologue and epilogue, broken into scenes. The three main parts represent the traditional acts in a play, sort of (see below), and the titles each represent protagonist's travails rather than, as people may think at first glance, our evil villain Leech's progress.
In my recent novels, I have taken to chapters in response to feedback from readers - many seem to prefer them. I have also given the chapters headings in The Hunter - I am such an adaptable chap!
My 'organic' method
I have heard the term 'pantser' used to describe the way I create my first draft - presumably originating from the term: 'by the seat of your pants.'
I dislike this description as the word 'pants' is used as a pejorative in the UK, slang for 'rubbish'. For example, 'that novel's pants!'
Hence I prefer 'organic' to describe my writing as the words grow naturally on the page, and are not forced into some rigid outline. For those who need more structure, I hereby decree that they should henceforth be known as 'story engineers'.
;-)
The rule of three
So how do I keep on track, rather than going 'off piste' all the time?
I have to admit, there is a vague sort of structure to my approach. I use a simple three part technique for each scene, each chapter, each act, or whatever. So strap yourself in for the big reveal.
This is my trade secret to an 'organic' approach to writing, and it's based on a scriptwriting concept regarding the 'three act structure' I learnt some years ago.
Each story element should consist of these three things, in this order:
- The 'inciting incident' - a character's apple cart is upended by some action or discovery or similar.
- The complication - the ramifications of the initial upset become clear to the character(s) and readers.
- The resolution or cliffhanger - the mess has to be cleared up by the main character in the relevant part of the story, or we should be left hanging, wondering how the hell she is going to survive/recover/resolve the issue/whatever.
These three simple elements keep me from meandering into irrelevant territory. They also enable me to write novels that avid thriller readers tell me are 'unputdownable.'
If you would like to read more about my approach to writing, with exclusive access to backstory, deleted scenes, character profiles, and the reason I hear voices(!), why not become a Member my Readers Group? It's easy. It's free. And I just need to know where to send your complimentary copy of Remorseless.
Register here, today!
Thank you for reading,
Will
Register here, today!
Thank you for reading,
Will