ONE: Turn Off Smart Quotes and Sentence Case Correction.
Turn these Scrivener features off, especially if you plan to move your finished novel draft into Microsoft Word for final formatting. Because I self-publish and I need to upload in ePub and PDF manuscript, I use Word for a final proofread and formatting. I find Word is the best choice for me. The smart quotes do not translate well between Scrivener and Word. If you turn off the smart quotes, Scrivener will replace them with straight quotes and these translate better.
There is really no upside to using smart quotes in a novel. This is not a feature that will prevent you from leaving out a quote. It's really useless for an author, so its best to shut this feature off.
The sentence case correction will not allow you to add a lower case letter after a period. This doesn't seem like it would be a problem, but at least once during a first or follow-up draft there's a time when this auto correct starts wrestling with me when I'm trying to do something. So I shut it off now at the beginning.
If you search "auto correct" in the Scrivener help bar, you will be able to open up this feature and uncheck these two items. You'll thank me for it later.
Also, there is a whole layer of proofreading that I'll be making a blog post about in my Peek Behind the Novel series where I will show you how I use the find feature to check on every single quote mark. I've always had at least one or two that almost got away! So the smart quotes are nothing but a nuisance.
TWO: JUST KEEP WRITING - DON'T LOOK BACK:
I'm writing my fourth novel in the Jack Nolan Detective Series. The book is still unnamed. This is Level 4 in my Eight Levels of Writing a Novel series. This first draft is down and dirty. It is the hardest lift of the entire project. At least for me, the first draft is the hardest. The characters all seem like stick figures. I find them unlikeable -- even if I liked them in the last book! Any humor doesn't seem to work. Everything just seems awkward. I have to literally force myself to keep typing. So this tip is to just keep writing. Don't check on any spellings or grammar. Don't even look back. Just keep going until you have the crime down, the main plotline down and the subplots at least in place. That will complete the first down-and-dirty draft. Every other layer will be easy compared to this one.
THREE: YOU CAN DO RESEARCH NOW ON THE FLY
With bard.google.com, now it's possible to do research on the fly when writing fiction. Simply open a browser window, type in bard.google.com and start asking it questions.
Unlike ChatGPT, Bard is a Google AI product supposedly still in beta form, but it works like a charm. Unlike ChatGPT, it can research using the internet. ChatGPT is limited by time; the cutoff for ChatGPT the last time I checked was sometime in September of 2021 I believe. The cut off of what it can access is now way over a year ago. So I find that Bard is a better option for book research so you can get the latest.
FOUR: USE THE SCRIVENER HIGHLIGHTER AS A REMINDER:
Scrivener allows you to highlight text in any color you want. I use this highlighter in the Level 4 Draft to make a mental note to myself to check on things. For example: If I say that someone is coming home from a hospital in four days, I highlight this. This makes sure that this lines up with the plotline, or the crime line, or the subplot lines.
As an author, I will often tweak the script, especially as I'm writing. It's too easy to forget this early reference to five days. By highlighting it, it's a reminder that this timing needs to line up with something later on in the story. I find this highlighter a great author tool.
FIVE: LEAVE THE POV | TIME | LOCATION HEADERS IN THE DRAFT:
Like I mentioned earlier, I'm in the first draft of my novel and each scene begins with the same Scene Template as seen to the left.
I leave the POV, which stands for Point of View at the top of each scene during the first draft. I don't choose the POV before I write the scene. I write the scene and see which character claims the scene. Then I assign that one character to the scene.
POINT OF VIEW: By keeping the POV at the top of the scene, it's a reminder to me to make sure the entire scene is in this one point of view. I admit that I allow myself one small head jump at the end of a scene. I'm a self-published author, so I can indulge myself and get away with this. I believe a reader can handle one head jump at the end of a scene for the purpose of informing them of what the other character thinks at one time. I don't believe one head jump creates that big of a problem.
TIME AND LOCATION: By leaving the Time and Location information at the top of each scene, it is a reminder to make sure I describe the scene and whoever else may need a description in that scene. In Layer 5 of my writing system, I go through all the scenes and add descriptions of the locations and people. So this information makes that level of writing easier.
SIX: KEEPING TRACK OF MULTIPLE TIMELINES:
I write Christian mystery romance, private investigator mysteries and police procedurals. By leaving the timings in the header to each scene, it allows me to keep track of the story timeline. I am always keeping track of multiple timelines in each novel. I have the crime timeline. Then there is the timeline of the investigation and the dropping of the clues. And the subplots also have a timeline as each book has at least a small character arc. This is because I write in series and the characters have one small character arc in each novel.
So that's a minimum of three timelines that I need to track. So keeping these timelines at the top of the scenes as I go from layer to layer of writing, it makes it easier to make sure things are lining up on each timeline.
I keep these headers inside the manuscript draft until I'm ready to put the book into chapters.
SEVEN: ADDING ADDITIONAL SCENES WHEN WRITING THE FIRST DRAFT:
There comes a time or two when I will decide to add a short scene or two. It may just be to have a change in the point of view or to get the characters to a different location. Whatever, it is, I use three asterisks between these two separate scenes. I also start the second scene with my normal Scene Template.
This allows me to know this is a separate scene and it will have a point of view. It also alerts me that I will need to insert a scene ending which I won't do until I bring the manuscript into Microsoft Word.
EIGHT: USE SCRIVENER SYNOPSIS SECTION TO KEEP TRACK OF CLUES DROPPED:
When writing the first draft, I use the Scrivener Synopsis section in the Inspector Pane to list the clues I have dropped in that scene. Once I've finished the first draft, I can open the project in Outline View and this will give me a bird's eye view and chronology of the clues that have been dropped.
Personally, I often also add background information that I dropped in the scene. I do this only because I have a tendency to forget whether I dropped that background information in the present novel or if my memory of dropping it is from the last novel I wrote!
This alone is a major reason why I love writing drafts in Scrivener.
CONCLUSION:
So these are the tips I would pass on about writing this first draft of a novel. Knowing that it's the hardest allows me to know that once I make it through this first draft, all subsequent layers of writing will be easy peasy compared to this one.
All I need to do is to blurt out the entire story in the first draft. All corrections, additions, deletes and polish will come in later layers.
I am knee-deep in Level 4 of writing the next book in the Jack Nolan Detective Series. I thought this would be a good time for me to take a break and reflect on what happens when I'm 'in the weeds' writing a novel.
When you first sit down to write a novel, everyone is filled with enthusiasm and creative energy. It's exciting. It's new. But as the manuscript begins to grow, before it feels finished -- or even ready to be polished, it feels cumbersome, heavy, and overwhelming. At least for me it does.
It's possible to get paralyzed by a fear of failure at any point during the writing of a novel. It's not a one-and-done operation. No one sits down, starts writing, finishes writing and ta-da, there's a book. Writing a novel doesn't work that way. It's a long process. It's a multi-layer process.
Writers block is another common problem among authors. This often sets in after that initial period of excitement about the novel wears off. At some point the writing of the novel shifts into a project requiring some heavy lifting. There's always a phase or two where the author has to tough it out. We have to keep at it.
Will my readers like the book? Will the book be good enough to get a literary agent? What happens if my book gets bad reviews? There are any number of fears of rejection that can cause us to stop writing. Decide ahead of time you won't allow these fears to stop you. Like I said earlier, think of your writing as a mission God has given you. This is your life's work, along with your other worldly responsibilities. Your writing could be an opportunity to pass on things you have come to learn in your life. That's a purpose. Or maybe writing is a way for you to share the gift of storytelling that you know you were born with. That's a God-given purpose. Whatever the reason, it's important to not allow fear of rejection to get in the way.
Distractions are one of the biggest obstacles to completing a novel. One reason is because life does serve up constant small and big emergencies that have to take first priorities in our lives. So an emergency distraction can throw a whole well-planned writing schedule up into the air in a heartbeat.
Most novels require at least some research. The internet can be a blessing with research but it can also be a curse. It's a blessing because the days of having to travel to a public library are over. It can be a curse because the research can suck you in and you can use up all your valuable writing time doing too much research.
Another trap to finishing a novel is to get caught up in a never-ending edit of the book. This usually hooks in with perfectionism problem in some way.
Once you complete a novel, there is a little sadness that sets in. This book is no longer your baby. It's no longer your little pet project. Once you hand it off to an editor, it becomes a shared work, so to speak.
In my last blog post, I went over how to find the right genre for your ebook. I also suggested you choose one or two book cover 'templates' from the ebooks you see during this journey. That's our starting point for this blog post. Now that you know where you want to go, it's time to learn about the technicalities: the sizes, resolutions, etc. It's all here on one page.
Often the ultimate colors of your cover will come from the pictures you choose. But there are techniques to wash a scene in a very subtle color in order to cast a certain mood into an image. You may want to take a look at a website or two where you can find some great colors. Here are two:
When you create the eBook front cover, you can design the back cover at the same time. I suggest this because when your manuscript goes out to the editor, there will be about a month of 'free time' and if you want to get a jump on getting your back cover done, this is a good time but it is before you will know the exact page count.
When writing your book, especially if you are writing in a management system like Scrivener, it's easy enough to keep track of your manuscript.
When I wrote my first novel, I worried about grammar, spelling, sentence structure in the first draft. I didn't even know what a draft was. I sat down and started writing 'a manuscript'.
First there's the mystery outline of a novel. It's important to know where the mystery begins, the names of all suspects, everyone's motivation for murder or kidnapping, theft, etc. But once you have your crime and mystery outline, what then?
The subplots should not detract from the main plot, but should instead enhance it. They should add depth and complexity to the story, and they should help to drive the main plot forward. In a mystery, it's easy to mirror a main character's personality trait in a witness and create some inner dialogue. This ties it in nicely.
If you're writing a first-person novel, try using a different POV for your subplots. This can help to add variety to your story and to give readers a different perspective on the events. This is not a technique that I would suggest to beginner novelists, but for authors who are more seasoned, yes, this is a way to shake things up a bit.
Subplots can be used to ramp up the tension in your story. It's a great way to add a little more pressure onto your main character or characters! Not only do they have to catch the bad guy, but their landlord is threatening them, or their wife is threatening to leave them, etc. If the main mystery plot is getting a little slow as you drip in clues, you can spice up the subplot that will add some excitement and suspense.
Subplots need to be interesting, yes, but it's easy to go overboard with them too. So the arc needs to be short but concise. They should be short and sweet, so to speak. They should be short enough to keep the reader's interest, but not so short that they feel underdeveloped.
I'm assuming all writers have doubts as they are writing the first draft. I know I do. Something happens between the feeling of knowing I have a good plotline and writing out the first draft.
So the antidote to self-doubt is to keep writing. Trust your plotline. Know too that you can always add clues, rearrange some scenes, add a bit more intrigue into your subplots. Eight layers of writing leaves a lot of room for beefing up a story, deepening a story and polishing a story.
For anyone who is new here, I use a Four Act Structure as opposed to the more-popular three-act structure. I find that middle section in the three-act structure too confusing. Over the writing of 12 novels, I gravitated to a four-part structure as it is more symmetrical and makes more sense to me. I also believe, for whatever it's worth to anyone, that this three-act structure is responsible for the 'lagging' that often occurs in the middle of a story.
The inciting incident. In a murder, crime or police procedural story, this will be the crime itself and how the detectives show up in it. When the detectives are pushed into going on a quest to solve it, that's the inciting incident. This begins the journey of the story.
Part Two is where I introduce all the suspects and their possible motivations -- as the detectives are quite often guessing at this early stage of an investigation. The motivation of each of the suspects will be uncovered in some way later in Part two or even in Part 3.
The end of Part Two usually marks the midpoint of the book. I like to end this section with a .big reveal of some kind. Or maybe a clue that turns the investigation into another direction. There could even be a new murder, or the surfacing of an unusual suspect, or someone gets caught in a big lie that changes the direction of the investigation.
Now the investigation gets a little stressful. The detectives may not agree on who the guilty party is, or maybe they know who it is but can't find the legal evidence to prove it. Maybe they are operating only on gut feeling and speculation at this point. They are rushing against the clock or against other forces working against them to solve it, catch the guilty party or find compelling and irrefutable evidence.
Part four is broken down into two parts. In the first half of Section 4, the crime or mystery is solved. There will be whatever drama you want to add about the solving of this crime. Whether your detectives are battling physically with someone, bullets are being fired back and forth, or entrapping the guilty party, or just uncovering that last piece of evidence that will legally prove guilt, this is where this is revealed.
The second half of Part 4 is the 'wrap up'. This is where you will show the new normal, everyone's life 'in resolution'. This is where you will also explain the full growth of your characters. Many author's don't do this, but I don't like to read books where things end where the reader is left to decide what it all means. I may have my own opinions, but I like to know what the author meant by the story. So I make sure I explain, again very quickly, how things are ending in a narrator voice.
Most new writers want to get to the writing already. But in this layer of writing, all plot holes or inconsistencies will show up. Any clues that won't work when adding more suspects and motivations will show up in this layer.
n order to prevent head-hopping, which is very common among new writers, you need to be constantly reminded that each scene is in one perspective. Some writers write in first person and that's easy.
I don't know whether I am an author who is obsessed with time, or whether I use time as an element to put pressure to solve on my characters, but I have always tracked time. I find this helps me balance the story and make the story more realistic.
Location is important for two reasons. One reason is casts the scene in cement. You have chosen a stage for the scene to take place. I don't write any scene or location descriptions in this layer of writing. But I can write the action of the scene in context of a location.
Write forward only. Don't look back.