Peek Behind the Novel – Page 2 – Read First Chapter.com

10 Best Tips on Writing a Good First Draft

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'.

I kept looking back and trying to fix things as I wrote. Big mistake! I learned the long and hard way that first drafts are their own animal. They are really more about getting the story down on paper.

Now that I'm writing my 12th novel, I offer some tips for other beginners:

Don't be afraid to make mistakes. Your first draft is not supposed to be perfect. It's only a rough draft. You're only 'blurting out the story' on paper. Spelling, grammar, punctuation or sentence structure don't count yet.
Just keep writing. Don't stop to edit or revise in the first draft. It's a complete waste of time. You will make changes all throughout the draft, so polishing up writing that may be tossed is fruitless. You can fix the draft after you know you have the story down on paper.
Don't worry about deepening the plot or the depth of your characters. Just focus on getting your story down on paper. You can massage the plot in second drafts and add to your characters on your second go-round.
Write in a way that feels comfortable for you. Some people like to outline their stories before they start writing. Others like to just sit down and start writing without any planning. Find what works best for you and go with it.
Set aside some time each day to write. Even if it's just for 30 minutes, make sure you set aside some time each day to write. This will help you to stay on track and to make progress on your story.
Leave Notes to Yourself. Make notes to yourself wherever you stop writing in a session that will help you 'find your place' the next time you sit down. Write down what you're thinking and where your mind is at during this last writing session.
Find a quiet place to write. Unless you are one of these lucky people who can shut out all noise and action around you, you will need to find a place where you won't be interrupted so that you can focus on your writing.
Take breaks. Don't try to write for hours on end. Take breaks every 20-30 minutes to get up and move around, or to do something else that will help you to clear your head. It's even good to do some stretching exercises as sitting for long stretches can make us stiff!
Don't get discouraged. If your story is a good one, there is no such thing as a bad draft. You're not the writer during the first draft. You are still the story crafter. So don't get discouraged if nothing seems like a novel. Like I said earlier, you are just blurting out the story, recording it in broad strokes onto paper. As you begin to work with the first draft, that's when it will come to life and shape up.
Have fun! Writing should be enjoyable. If you're not having fun, it will show in your writing. So relax, have fun, and let your creativity flow.

I hope these tips help you to write a great first draft!

CHECK OUT MY PEEK BEHIND THE NOVEL VIDEO SERIES

5 Best Tips on Writing Subplots

FIRST THINGS FIRST:

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?

Then it's time to turn to the subplots. Below are the five best tips to come up with subplots that fit the story.

Make sure your subplots support the main plot.

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.

Give your subplots a narrative arc.

Each main character should have their own arc, even if it's a short arc for this one book in a series. There should be an arc of growth for the main characters. But just like the main plot, your subplots should have a beginning, middle, and end. They should have a clear goal or objective, and they should build to a satisfying resolution.

Write character-driven subplots.

The best subplots are those that are driven by the characters and the drama from their personal lives. The characters should have their own goals and motivations, and they should be actively working to achieve those goals throughout all four segments of the story. Even in a series, there should be a distinct growth on some level from the beginning of the novel to the end.

Try a new POV.

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.

Figure out how to connect the subplot and the main plot.

The subplots should be connected to the main plot in some way. This could be through a character, or a job, a family connection or a neighborhood. The connection should be clear to the reader, and it should help to make the story more cohesive, more realistic.

Ramp up the tension with a subplot.

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.

Use subplots to explore themes.

Subplots can be used to explore themes in your story. For example, if your main character has a goal of having her own family, you could have a subplot about how the character is struggling to find their place in their family or with their in-laws.

Keep your subplots short and sweet.

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.

Don't be afraid to kill off characters in subplots.

And the last tip, and this is mostly to beginners, don't be afraid to kill off characters in subplots. This can add a sense of realism to your story, and it can also help to raise the stakes for the main characters. It can also be a shocking event that heightens the tension or adds a twist in the plot.

CHECK OUT MY PEEK BEHIND THE NOVEL VIDEO SERIES

WRITERS DIARY – Writing a Novel – First Draft Doubts

THERE ARE ALWAYS FIRST DRAFT DOUBTS:

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.

After analyzing it for a while, I believe what happens is that I cannot 'envision' the whole story coming together as I am just blurting out the first half of the first draft.

When writing a first draft, I'm in the nitty gritty now. It's no longer 'thinking about the plotline'. I'm now committing it to paper. A feeling of insecurity arises as I realize that I'm halfway through my scenes and I don't get a feeling of any suspense or mystery. It has absolutely no personality yet. It's dry. The characters are a bit like sticks yet.

THIS IS WHY I START WITH FOUR DIFFERENT PLOTLINES:

Battling against these doubts is one reason I started working on four separate plotlines before choosing the best one. This way, I know I picked the best of four before I even started.

Then I remind myself that a first draft has no details. I'm really more or less linking the scenes where the biggest clues are dropped to one another. In the book I'm writing now, I'm even skipping over most of the subplots until I can get a read on how much "space" I'll have to write them.

What does that mean? It means that as a newer author, I can't go over 80,000 to 100,000 words. So I try to create a first draft with about 45,000 to 60,000. This way, I have room to beef up my subplots, add the descriptions and any theme commentary, etc.

THE DOUBTS ARE MORE ABOUT LACK OF VISION:

The doubts seem to be a combination of an inability to see the final novel and being halfway through the first layer of a first draft. It's hard not to feel that this story is not "good enough". It's not good enough. It's not meant to be good enough. A good enough story needs 8 or 9 layers of writing.

JUST KEEP WRITING:

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.

REMIND MYSELF THAT THIS IS ONLY LAYER 3 OF A 7 TO 8 LAYER PROCESS:

I also remind myself that a first draft just has to be gotten through. It's the hardest layer to write because you are writing on faith alone really. You are trusting yourself as a storyteller.

Peek Behind the Novel – Writing the First Draft – Layer 4

LAYER 4 - WRITING THE FIRST DRAFT

Use the Scene outlines to write the individual scenes.
Split Scrivener Binder into Four Parts representing the Four Part Structure.
I copy each scene outline into one document under the Part it belongs in.
I set up all of my scene documents in the proper sections. I don't worry if certain parts are 'heavy'. The clues are recorded but the rest of the drama of the story is not.

THE MIND IS ALWAYS WORKING:

This process will give you a bird's eye view of the scenes.
I usually decide to move a scene or two closer to the mid-section of the story. Because it's only an outline, it's easy-peasy.
By seeing the scenes with the timings and a one to three word prompt, I start to see the story from above.

I DON'T FORGET MY LANDMARKS - PART 1

The Hook (Which we haven't talked about yet)
The crime scene or the acknowledgement of the mystery
The Inciting Incident - When the detectives start off to solve the crime.
By the end of Part 1, I want there to be at least 2 suspects or even 3.
By the end of Part 1, more than one person looks guilty.

LANDMARKS OF PART 2:

Interviews begin - they point to different people
Clues begin to trickle in - they may seem to clear one or another
One of two secrets are exposed in Part 2.
The end of Part 2 is the midway point. There could be a big surprise or shock

LANDMARKS OF PART 3:

More interviews
More clues
Even the rise of another suspect, an unusual suspect.
This rise of an unusual suspect can twist the story into another direction.
This midway point could also be a Dark Night of the Soul where it may seem that the culprit may get away with it or it won't be solved or solved in time.

LANDMARKS OF PART 4:

The first part of this section will be a big reveal.
The crime will be solved between the start of Part 4 up to 2/3 of the part.
There needs to be time to wrap up the crime and show how it affects everyone involved.
The last part of the story is for the 'wrap up' where you tie up all the loose ends.

ABOUT WRITING THE WRAP UP:

Reveal the guilty party and solve the mystery.
Reveal why the red herring couldn't be guilty.
Do a quick review of the whole crime to confirm for the readers
Show a 'new normal' for the main characters, showing their character arcs completing.
In a series, you need to drop a clue that this crime is finished but their story continues.

TIPS ON WRITING A FIRST DRAFT:

Write forward only. Don't look back.
Don't worry about spelling, grammar, verb tense, too many over-used words.
The goal of the first draft is to get it down on paper and make sure you put everything into the story from your scene outlines.
Think of it as 'blurting out the story'.

I'LL BE BUSY OVER THE NEXT FEW WEEKS WRITING:

I've reached Layer 4 in my present novel. This layer takes time to get it all down on paper.
By not worrying about prose or grammar, I'm free to just be creative about the story and whatever dialogue pops into my head.
The first draft will be just that -- a first draft.
Rest assured that the first draft is important, but by the time I get all the way to Layer 8, it will be polished and not look anything like it looks in the first draft.

I HOPE THIS SPURS SHARING

I hope my revelations of my writing techniques will prompt other authors to reveal their process.
I love to learn new techniques and when I was brand new, learning from experienced authors was so very helpful.
Be sure to sign up at ReadFirstChapter.com to get on my mailing list. I send book promotions once a week and notices of new books and notices of when my books go "free" on Amazon.

Here is the YouTube video that goes along with this blog post. I have the timestamps below in case you want to watch a certain part over or just skip to the relevant part.

00:01 - How I set up Scrivener into the Four Part Story Structure 01:15 - This process gives you a bird's eye view of the entire story
02:00 - Showing in Scrivener how I set up the Binder, the documents, the Title and Synopsis sections and how I can use the Outline view to see a bird's eye view of the entire manuscript as it comes together.
03:00 - Tracking case time and personal time in order to weave in the subplots
03:36 - How I use the screen outlines, moving the scene outline into the Notes section to keep it safe
04:25 - The Corkboard vs. Outline View 06:10 - Keeping the writing landmarks of Part 1 in mind: The hook, inciting incident, etc.
07:15 - Landmarks of Part 2, how the evidence trickles in - middle of the book
08:20 - Landmarks of Part 3 - Names the suspects and a dark night of the soul.
09:20 - First half of Part 4 - The big reveal and the wrap up of the mystery. 11:03 - Tying up all loose ends and the subplots. Showing the new normal. Ending the character arcs for this story.
12:00 - Writing series and letting the reader know the crime has been solved but their personal lives continue.
12:37 - Five tips to Beginner Writers 13:30 - The story crafter vs. the story author.