GUESTOPIA: Multi-published author Karen King

Karen King

It's Guestopia time for July and our first guest this month comes in the form a prolific and talented author. Please meet Karen King.

Karen King is the author of over 120 children's books and has had two YAs published, Perfect Summer and Sapphire Blue. Perfect Summer was runner up in the Red Telephone Books YA novel competition in 2011 and has just been republished by Accent Press.

Karen is also the author of two romance novels, and has been contracted for three chick lit novels by Accent Press. The first, I do?... or do I? was published in 2016 and the second, The Cornish Hotel by the Sea, has just been released. In addition, Karen has written several short stories for women’s magazine and worked for many years on children’s magazines such as Thomas the Tank Engine and Winnie the Pooh as well as the iconic Jackie magazine.

When she isn’t writing, Karen likes travelling, watching the ‘soaps’ and reading. Give her a good book and a box of chocolates and she thinks she’s in Heaven.

And here's the interview...

Is this your first published book?

No, I’ve had about 120 children’s books published, two YA, two romance novels, two chicklits and there’s another chicklit in the process of publication.

What’s it called?

Perfect Summer

Which genre?

Dystopian

Which age group?

12+ there’s some gritty scenes!

Is it a series or standalone?

It’s a standalone

Are you an agented author?

No – although I have had agents in the past and may again in the future.

What created/what were you doing or watching when the first idea for this book sneaked up on you?

I’ve been concerned for a long time about the pressure society puts on people to have perfect looks then I read a magazine article about girls as young as four or five worrying that they were too fat or too ugly. I thought that was really sad. I started wondering what would happen if people got so obsessed with physical perfection that it became a ‘crime’ to be different in any way. Another concern of mine is how disabled people are treated, so both these concerns sowed the seeds of this story.

How long did you plot/plan until you started writing it?

I always plan a bit first. I write character profiles to make sure I really know my characters well and don’t change their eye or hair colour halfway through the story. Then I work out a plot outline so I know roughly where the story is going, and then I start writing it up.

Once you started, did the story flow naturally or did you have to step in and wrestle it into submission?

I started writing the story in third person at first but I felt that it wasn’t flowing right so I changed to the first person and I was away.

Has the book changed dramatically since the first draft?

Not dramatically, the basis of the story is the same. It’s more refined I guess. I rarely change the plot when I’ve revising, but I do change some phrases that I think aren’t flowing right, or make scenes more dramatic/concise.

What part of writing do you find the easiest?

Getting the initial idea. I have notebooks full of ideas.

What part do you find hardest?

Finding the time to write up the ideas. Then getting the story out of your head and onto the screen/page!

Do you push through writing barriers or walk away?

It depends. If I’m on a deadline I’ll write through them. If I’m not I’ll turn to something else for a while then I go back with a fresh mind and can usually find that the story flows okay again.

How many projects do you have on the go at the same time?

Three or four. I like a variety, and it helps stave off writer’s block if you have another project to turn to.

Do you think you’re born with the talent to write or do you think it can be learned?

That’s a difficult one. I’m a writing tutor and basically believe that writing is a skill, so like all skills it can be learned or improved – especially article and feature writing. Story writing, however, is different. You need that spark of imagination, that kernel of tale-spinning inside you, the ability to make a story out of thin air. If someone has that they can be helped to improve how they write their story down but that basic storytelling kernel of imagination can’t be taught.

How many future novels do you have planned?

I’m working on three at the moment, and also a couple of short stories.

Do you write other things, such as short stories, articles, blogs, etc?

Yes, I write short stories and blog posts. I also run a blog called The Writer’s Surgery, where I post articles and tips to help new writers.

What’s the highlight of being published so far?

Signing a three book contract for chicklits with Accent Press, two of the books, I do?...or do I? and The Cornish Hotel by the Sea are now out. The third will be out next year.

Give me one writing tip that work for you.

Just write. Get your first draft down then go back and revise it afterwards.

And one that doesn't.

Write drunk, edit sober – a famous tip by Ernest Hemingway

What question have you always wanted to be asked but never have? What would the answer be?

Can we make your book into a film? The answer would be yes!

Excellent! I imagine most authors want to be asked this, and I expect their answers would be the same too! Thank you so much for joining YAtopia today, Karen. We wish you all the best with your chick lit and YA novels.

Here's a little about Karen's latest YA, with some links to help...

Set in a society obsessed with perfection, 15-year-old Morgan is best friends with the seemingly perfect Summer. But when Morgan’s brother, Josh, who has Down’s syndrome, is kidnapped, they uncover a sinister plot and find themselves in terrible danger.

Can they find Josh before it’s too late? And is Summer’s life as perfect as it seems?

Amazon: http://amzn.to/2mMXTzI 

Trailer: https://youtu.be/yL0gA_q0dag

And if you would like to find out more about Karen and her work, these links might help as well!

Website: http://www.karenking.net/

Twitter: @karen_king

Facebook: Karen King Young Adult Books

Pinterest: https://uk.pinterest.com/karenkingauthor/

Instagram: https://www.instagram.com/karenkingauthor/?hl=en

Research is your friend

This month on YAtopia we're looking at new beginnings as the way to kick off the New Year. And I thought I'd discuss starting anew - starting a new writing project o. And my best advice to people is research.

Research in stories is becoming more and more important. The reality is that it always should have been, but there seemed to be a perception that 'hey, we're authors, we can make shit up.'

And don't get me wrong, we can. In fact, I've often said that phrase in jest when talking to friends. If we want to decide there are flying monsters that live in outer space that attack a space shuttle then we can make that shit up.

Research is important for making sure you make the real world elements of your story believable. And it's especially important for ensuring good representation of people, no matter what cultural group they belong to, or how they identify sexually or gender-wise, or any other identifiers such as mental health, etc. But today, I'm not going down that rabbit hole as it's a separate topic on it's own.

What I've found is how great research is for generating story ideas, whether it's for a brand new story, or if you've started a story and you're experiencing some writer's block. Jumping on google and exploring elements of your storyline can give you amazing ideas.

I'll give some examples from a couple of my stories. I've got one with a far-future setting, so I explored some technologies and advancements that could exist in the future, such as data storage on crystals. This became a really important element of my world building. In another series I needed to have elements of mind control, so I researched the topic and discovered some brain-washing techniques that were used on prisoners of war. That technique formed the basis of a major plot element in my story.

And nowadays you don't have to simply pop in a search on google and read webpages on the topic. You'll likely find videos as well where you can listen to tutorials on topics, and vlogs/interviews on people's experiences.

But, of course, you don't have to do all the research virtually. In a recent YAtopia post, Chris talked about the importance of imagery. One of my stories is set in Brisbane and features a sandstone building. I don't get to Brisbane very often, and when I do, I don't always get to go to areas that have those types of buildings. So I got my mum to go and get a bit handsy with the building and report back to me. Luckily I am getting to go to that area of Brisbane next week, and I'm going to try to subtly sniff a building and lay some hands on it.

Research can help expand your story ideas, flesh out your stories, and become a way better writer. It will help you add authenticity to your work. It can help you take the seed of an idea, and grow it into an oak. Never underestimate the power of research.

Why I Converted from Pantser to Plotter

Pantsers, let me hear your wild hollers! 

Plotters, wave your notebooks and charts from side to side!

I used to consider myself a die-hard Pantser. Character questionaires bored me to tears. Outlines made me gnaw my fingers into bloody stumps. What I wanted was the thrill of raw discovery--the kind you get from the twist in that scene even you didn’t see coming.

But I paid for this thrill in countless revisions. The lack of character prep left me with characters I didn’t know, who only became clear after waaaaay too many rewrites. There were a few surprising twists, sure, but there were also plot holes and disconnected…things. All the things were disconnected.

With my current WIP, I wanted to avoid all that. I wanted to learn from my past mistakes instead of rewriting them. My CP encouraged me to try plotting, and she ensured me that in her plotting, she’s still surprised by the unexpected turns.

Well, folks, I tried plotting. I’m still trying it. And I have to say, there’s no turning back. This is revision number one for my WIP, but the story’s so different from the first, un-plotted draft that I may as well be writing a whole different story. I understand my characters on such a deep level. I’m figuring out the twists and turns and still getting giddy over them. All the things are connecting. It’s bliss. There’s no doubt in my mind this will cut my future revision time, which means less work. Who doesn’t like less work? 

In case anyone’s curious as to how I’ve gone about this plotting thing I love so much, here’s the sauce: K.M. Weiland's website. Yes. I suggest going through her How to Write Character Arcs series and answering the questions at the bottom of each post. The questions provoked me to explore my MC’s character arc within the plot on a much deeper level than I ever would have on my own.

If you give it a try, I’d love to hear your experience! And what better time than in October, to prep you for NaNoWriMo in November!?

Write on,
Jessie     

YA's PG-13 Misconception

The other day I was listening to the audio book of Kendare Blake's ANNA DRESSED IN BLOOD. Within the first two chapters I heard the "F" bomb. Twice.

It was wonderful.

But I found myself double-checking that the book was indeed a YA. For the record, it is Young Adult. And shame on me for thinking just because a book has a certain four-letter word it suddenly becomes Adult.

YA is not the literary equivalent of a PG-13 movie. This is something I had a misconception of. Young Adult fiction is defined that way simply because the perspective of the narrative and main characters is that of an adolescent. That's it.

It would be ignorant to assume teenagers don't swear. It would also be naive to think some don't occasionally smoke, drink, have sex, take illicit drugs, make mistakes, have an opinion.

They are human aren't they?

The wonderful thing about literature over film is that there isn't too much of a box to be cramped by. Each of our experiences with a book, while shared in regards to the plot, is completely unique for every one of us.

Whether it's the fantastically grotesque aftermath of a monster attack in Rick Yancey's THE MONSTRUMOLOGIST or the aforementioned Kendare Blake novel, YA doesn't mean authors should back down from the way they intend to tell their stories. Even though it's all lies in the end, truth resonates still. Readers expect as much. Readers deserve as much.

Sean

Publishing is a House with Many Doors

You don't need an agent.

But, Sean! you say. Aren't you always spouting advice about how to query and interact with agents?! Now you're telling me not to even bother?!

Go back to my first sentence. I said you don't need one. You can certainly want one. I do. It's a personal preference. Agents do a great many things you probably already know about.

But let's face facts. Sometimes agents might not think your manuscript is sellable in the market at that time. Should you trunk the novel? If you want to. However, allow me to offer another option.

While many big publishers require an agent to be the contact point between author and editor, there are many amazing publishing houses that accept unagented submissions. Tor is one that comes to mind, which is great for peeps like me who write speculative fiction.

That's right, kids. You can basically be your own agent.

Many, many, many authors did the reverse of what is thought to be the standard way to get published.

Brandon Sanderson met his editor at a convention and was offered publication. Then he went looking for an agent. His Writing Excuses co-host, Dan Wells, did the same thing.

And let's not forget smaller publishers. Sure, there are a lot of crap ones out there that slap their books with a stock photo and some cheesy font, and whose website looks like it was designed by your seven-year-old niece. But there are tons of amazing independent publishers that do some stellar work and whose books sit on the same Barnes and Noble shelves with Random House, William Morrow and the rest.

If you want an agent first, that's great! Do it. If you exhaust that, but still think your book is sellable and ready to rock, don't shy away from submitting to willing editors.

Just because one door closes, doesn't mean you should mope away down the street. Publishing is a house with many doors, and one will open for you if you just keep knocking.

The No Spark Rejection

If you're a writer and any kind of good, you'll inevitably get past form rejections and make it to the big leagues of actual comments on your work.

Wow. An agent/editor was moved enough to give a personalized rejection!

But this can be bitter sweet.

Sometimes they might offer helpful feedback that, if you agree with it, can help you fix an area of your manuscript you and your CPs hadn't caught. Heck, they might even request a rewrite.

Other times it's not so helpful.

The "no spark" rejection, also known as the "didn't connect" or "just didn't love it the way I wanted to" rejection, is a big, acrid jug of "no thanks".

And there's nothing you can do about it. Often these rejections are attached with comments saying there's nothing wrong with your work. Not one dang thing! You have great characters, an interesting premise, the pacing is right, there are no cliches--but....

It's a case of "she's just not that into you".

These kinds of rejections can be hard to take. "But you said there's nothing wrong with it!" As productive human beings we struggle with the thought that there is nothing to fix. No flick of the wand that'll brush things up for the next agent/editor.

But on the flip side of things, you don't have to fix anything. Move on to the next agent. Send the work out to the next editor. Just like dating, you can't get bent out of shape over one person, even if you thought you guys would be great together and you really just "knew" it was going to happen.

I've thought about this over the last month in great detail. And I've thought of books I have on my shelf that I didn't really like.

Pet Semetary - Meh. Didn't think it was that scary, just really sad. It made me hug my one-year-old son tighter every day, but I didn't feel that "spark".

The Name of the Wind - I picked it up thinking the hordes of people praising it couldn't be wrong. But they were, at least, in comparison to what I like. It wasn't a bad book. It just wasn't that great. I had higher hopes for it.

Divergent, The Hunger Games, and a good many other YA books - They were written in present tense. I disdain present tense, and that's putting it gently. Not that it means the books are bad. They just don't fit into my wheel of cool.

And this is just my opinion, my taste. I am but one individual and there are plenty others with differing views. It's the same with the people you submit to. They're people--fallible, unique.

But that's what makes this journey we've endeavored to begin so magical. It might take you a few tries at the arcane table. You might have to send more than one raven with your potion of awesome.

It's hard. But that doesn't mean it's not worth it.

-- Sean

Rejection: A Hard Look at a Tough Reality

The other day I biked to work. It was a grueling seven mile ride made even more difficult because all I have is a mountain bike and the surrounding area wouldn't be what you'd call cyclist-friendly.

On my way home I came to a mental crossroads. I was berated by the voice of some lazy, tired part of me to stop. "Enough with the biking already. These hills are killing me!"

At that point I was about four miles away from my house--less than half of the trek completed. What were my choices? Was stopping and looking like a schlub on the side of the road an option? Would I walk my bike the rest of the way and have the little free-time I get wasted because I decided to go for a slower option?

No. What I did was ignore that stupid voice and pressed on.

I knew that it would be difficult, yes, but the reward at the end was greater than the temporary relief of stopping. I knew that if I kept going, my muscles would be made stronger. My next trip would be easier because my anatomy and my spirit would have been primed for it. I knew the only way to get better was to keep going.

Now, let's talk writing.

Every author whose books fill bookstore shelves has faced, received, and been pummeled by rejection. Rejection is one of those things that is talked about in the writing community as a necessary evil and a "thems the breaks, kid" brushing off of the shoulder.

But that doesn't mean it doesn't sting. It doesn't mean that it's easy to take.

But if this gig was easy, everyone would be doing it.

Some authors are more vocal about their early struggles than others and I'm sure it's easy to forget the battle of first starting out, or we might not fully realize or appreciate that all these big wig writers have been said no to.

I can't speak for self-publishing, but let's look at the traditional route.

Some people may say, "Huzzah! I've got an agent. Life has now been made easy."

Oh, boy.

Well, congrats on getting representation, but don't forget that now that agent has to submit to editors and rejection is still a very real possibility. If this was a video game: You've finally found someone who has agreed to let you into the dungeon, but you've got a long road until the boss battle. And then you have to win.

So, you've gotten an editor who loves your manuscript. Again, hooray for you! But that editor, more than likely, has to take it to a meeting of people who make the decision of what their publishing house will be printing that year. Your work now has to impress at least a majority of those at this gathering.

You're going to be published!. Hip hop hooray. Now, I'm sure this is a wonderful feeling that no one can take away from you. But, again, rejection is a very real thing. If your book doesn't sell well enough in the eyes of the publisher, they might not take another chance on you. And then you basically have to go back to Level 1. I know that no one plans on this happening and, if you and the agent and the editor have busted tail to make the book the best it can be, it's out of your hands.

But rejection is still real.

Your book and your writing career are in the readers' hands. This is a fact that applies to both traditional and self-published endeavors.

So, Sean, what's the point? I mean, with all this rejection why should I even try?

I remember when I told a family member I wanted to become a fireman. They said pretty much the same thing. "A lot of people go out for that job. It's hard to get in."

Two months ago marked four years of me being a professional firefighter.

Just because something is hard, does it mean it's not worth the pursuit?

I believe it makes it that much more cherished and wonderful when you finally do succeed.

Rejection gives you tough skin, a badge of honor in your attempt. It weeds out those who didn't want it bad enough. It strengthens those that press on. Being told no should build up the appreciation of the inevitable yes.

And it is inevitable.

I firmly believe that those who never give up learn a vast amount more than those who never start. With that hard-earned knowledge, you become better. You find new ways of telling stories and try things that no one else can.

You become a professional.

I am not here to tell you that rejection becomes easier. It absolutely doesn't go away. What I'm saying is that, like burs on a cotton plant, like a hangover from too much fun, it goes with the territory. And those that want to live on these crazy, hard-toil plains have to learn to accept it.


- Sean


P.S.

Sean's Hydra Querying Technique

Remember the tale of Hercules and the Hydra and how every time he whacked off one head, two would grow in its place? Here's a trick that can help you during the rough days logged in the query trenches.

1. Query an initial set of agents. Most people say 10.

2. If you get a rejection, query two more agents in place of that one who passed.

This promotes momentum and helps you cast a big net. Please, still do your research and make sure the intended agents rep your kind of manuscript.

Writing Hacks During the Revision Process

You've heard of life hacks--simple tricks that make your life easier, more fun, and interesting.

While every book is different and you have no doubt found your own bag of editing swag, some tools are just indispensable.

I'm in the middle of revision right now. And starting another novel. This may or may not be ill-advised, but I'll see how it went after I'm done.

Here are some writing hacks that you may or may not have heard of.

1. Paragraph Hacking

You don't have to read the following. Just look at each section and tell me which looks more inviting to the eyes.

Example 1

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security. — Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

Example 2

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.

That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed.

But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.

Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government.

The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

Both examples are an excerpt from the Declaration of Independence, penned by Thomas Jefferson. But only one is structured in a welcoming way.

The second example is the winner. The reader doesn't go, "Oh, great let me slog through this."

Don't be afraid to break up your paragraphs.

Even if they are only a sentence long, a single sentence paragraph is a great technique to get a particularly important message to the reader.

(See what I did there?)

2. Reading Aloud

Yeah, yeah. You've heard this before.

But it works.

While going through your manuscript during edits, read aloud. If you stumble on a word or sentence or it just seems weird to you, investigate the conundrum and see if it needs to be added to, cut, or changed to make it all flow better.


3. Get Feedback but Wait on Using it.

Run through your manuscript by yourself the first time and then consult your beta readers' notes. You may fix something they point out any way.

You want constructive critique but you don't want any notes that could adversely shift the structure of your story.

Remember, YOU are the architect. The CPs are the guys who make sure your building is up to code and not a fire hazard.

You want to have the deepest sense of your story FIRST, then look at the notes and see how it fits in the large scheme.


Revision is different for everybody and no one has all the answers. At the end of the day, it's your book and your call. Do what works for you.

But at least DO revise. First drafts are toothpick houses built by the tide. They have to be moved, fortified, and made to last.

And you're the one with the plan.

Going Hermit: Getting Away from All the Noise

Not too long ago I decided to take a break from Twitter. It wasn't a long hiatus and, granted, the big dent punched into my mobile data was a significant motivation toward that decision, but all that aside--I needed to remove the distraction. And coming back, I wish I would have taken a longer walk away from it all.

Sometimes I forget that Twitter and other forms of social media are not solely mediums to mingle with other writers, to promote your work, or to stalk the agents who have your MS.

It can drive you nuts.

And soon you find you're doing more "Tweet gazing" than working on your work in progress or plotting or revising or editing. (What's the difference between those last two again?)

It's not just the interwebs either. You can be surrounded, if not completely pummeled, by family and work obligations. Sometimes it's like you can't breathe with all the noise noise NOISE!



That's why I advocate going hermit every so often.

You read correctly. We are all familiar with the image of the loner, bohemian writer, locked away in solitude, drinking absinthe and struggling over every last consonant and punctuation.



You don't have to go that far.

There are many writing retreats you can pay for or, even better, you can get with local writing buddies and sock away an entire weekend with no phones, no internet, just writing and companionship. And sleep for God's sake.

Rent a hotel room. Go to the library to write. At minimum, hit that disconnect from WiFi button on your laptop and dive into the world you are creating.

It's easy to get sucked up in the world of publishing and who's pitching what and what one idiot said online about the genre you love to read.

So easy, in fact, that you can neglect the one thing that makes a writer a writer.

Writing.


Sean

Hear the Beat

For the past six months, I’ve been discussing my approach to novel planning and sharing the techniques that work best for me. Last month, I did a recap to prepare us for this final post. So let’s dive right in to the final element in outlining your manuscript: the beat sheet.

Have you head the term but never been quite sure what it is? Join the club. That’s where I was. But a beat sheet is simply an outline of your novel, a sequential, bullet-point style listing of what happens.

Beat sheets can focus on the major plot points or go into detail, including specific scenes.

The beat sheet I use, the one I’ve been leading up to for the past six months, is—and you’ve probably guessed it—detailed. Very detailed. As in a scene-by-scene outline of your story.

Is this crazy? Maybe. If you haven’t done all the exercises I’ve discussed previously. But if you have, you should be in excellent shape to take the story structure and free-write synopsis I discussed and convert those into a scene-by-scene outline.

Sound daunting? It’s not. It builds on all you’ve already done. Still unsure how to get started? Let’s break it down into steps.

Step 1: Start by creating a new document. Paste your novel hook or pitch at the very start. This is your guiding principle. When you get stuck, you will refer back to this to ensure you know where you are going with your story.

Step 2: Add the key pieces you’ve already decided on to bolster this guiding principle, such as your main character’s inside and outside story, their wound and their want, their core flaw and strength, the antagonistic force, and the main conflict.

Step 3: Place numbers from one to sixty (sixty is an average number of scenes; you may have more, or you may have less. That’s fine. But sixty gives you a place to start.).

Step 4: Fill in the bigger plot points you already know as follows:

Number 1 is your opening scene.

Number 2 is your inciting incident (if not already in number 1).

Number 12 is your first disaster/plot point.

Number 21 (or 20-22) is your first pinch point.

Number 30 is your second disaster/midpoint.

Number 36 (or 35-38) is your second pinch point.

Number 44 is your “lull.”

Number 45 is your third disaster/plot point.

Number 50 is your “epiphany.”

Number 51 is your climax.

Number 60 is your end scene.

Step 5: Pause and let it sink in that you already have eleven scenes planned out at the correct pacing. Eleven out of sixty. Less daunting right?

Step 6: Go back to that laundry line where we started filling in additional scenes, the ones that take us from plot point to plot point. From that and your free-write synopsis, you should have a fair amount of scenes just itching to be placed next to a number on your beat sheet. So add them. Start sequentially. You may be able to fill in one through ten easily. Or you may hit three and realize that the next scene you have doesn’t fit until after the midpoint. Is this a problem? Absolutely not. This is an opportunity. This is the purpose of the beat sheet. It visually shows you where you need more scenes. As you fill in what you know, you discover what you don’t.

Step 7: Now what? Brainstorm to fill in those missing scenes. It’s not easy. It doesn’t happen instantaneously. And I urge you to go slow. To go in order. To figure out each necessary scene before moving on. This may sound frustrating, and it can be. But that’s part of the process. What this does is force you to really think about your story. To ensure you know what needs to happen for every planned scene to make sense. To do this you need all the elements we’ve worked on: to know who your characters are, where they are going, what characters they interact with (subplots), what their goals are, and what’s standing in their way. As you fill in your scenes, you have the chance to find holes and problems before they become holes and problems. You can add scenes with an eye toward having accurate character motivations, completing subplots and not leaving threads hanging, ensuring you are mixing up fast-paced scenes with quieter moments, and making sure you aren’t all character and no plot or vice versa.

Step 8: Flesh out these scenes. For each scene, I like to add a few bullet points that I fill in. You can choose as few or as many as you like. But some of the elements I add include: the scene’s purpose, setting, main action, characters involved, and state of the character’s inside story at this point.

Step 9: Once you have your full outline with all scenes included and have renumbered accordingly (no bonus points for hitting that exact sixty; use as few or as many scenes as you need to tell your story), there’s one final step. Take your free-write synopsis and copy and paste the elements under the appropriate scene(s). This allows you to have one master document to write from.

Step 10: Start writing. Keep this beat sheet open beside or behind your manuscript. I am fond of checking off items on to-do lists, and I treat the beat sheet the same way. I use “strike through” to cross out the elements of my beat sheet that I use. If I find something doesn’t quite fit where I have it, and I know where it should go, I move it there. If I find something that doesn’t quite fit but don’t yet know where it goes, I highlight it. This way, as I write, I can easily scan through my beat sheet and discover what pieces I still need to use and what pieces I no longer need because the story has changed.

Hold on, that is key. No matter how great a novel planner you are, surprises happen. Things change while drafting, almost always for the better. As huge a proponent as I am for outlining, I know that the story morphs as you write. Characters aren’t who you thought they would be. Things come out differently and take unexpected turns. That’s okay. That’s great. Your outline is an outline. It should adjust with your writing. Don’t be wedded to it. Don’t be too rigid. Let it serve its purpose: to guide you and help you. If your story takes a huge turn that deviates from and negates your entire outline, let it. Adjust your outline to match, not the other way around.

Novel planning takes time. It can take anywhere from a week to a month or more. But please be assured that it isn’t “wasted” time. The draft you write from this outline will be more akin to a second draft than a first. You’ve gotten past that messy, frightening, what is this beast? draft. And that—whether you are a planner or not—is always a good thing.

Lori Goldstein is the author of Becoming Jinn (Feiwel and Friends/Macmillan, Spring 2015, sequel, Spring 2016). With a degree in journalism and more than 10 years of experience, Lori is a freelance copyeditor and manuscript consultant for all genres. She focuses on the nitty-gritty, letting writers focus on the writing.

Twitter

Author Web site

Goodreads

Facebook