PLANNING A NOVEL – STEP 2 – OUTLINE

PURPLE OR ELEPHANT?

I’m writing my  next DCI Matt Proctor crime novel,(a series) and I’d like to share my approach to “PLANNING A NOVEL”.

How do you put your novel together? Please let me know.

I’ll set out my approach in separate blogs – this is the SECOND. There are SEVEN in all.  (If you missed the first see previous posts).

From the outset let me say I’m more a ‘planner’ than a ‘pantser’- but please, you ‘pantsers’ out there, don’t tune out – we can all learn from each other. (I wonder if there really are out-and-out ‘pantsers’ or ‘planners’ – or are most of us somewhere in between on a spectrum?).

PLANNERS                  IN-BETWEENERS                  PANTSERS


I may be a planner but one who leaves space for the story to breathe, to bend and flex, change direction at times. Yet the CORE story line remains.

I PLAN because I think it makes me write my book faster and better. I’ll tell you why later.

SO…PLANNING A NOVEL

(A recap – if you read my first post on CORE skip down to OUTLINE – if you missed the first post see previous posts).

I need to know my story plot(s) in detail, understand the motivations, secrets and fears of my main characters before I can progress to writing my first draft. From my outline, I develop scenes and flesh out characters. The process is very much iterative, synergistic. I hop from one to another; adding to my character profiles, summarising a scene in a brief heading, modifying and reordering the outline chronology using a ‘scene order’ grid, to get a visual overview of the book.

LUMIA - kINVER, JANE, MY DESK 2014 077

‘SCENE’ TAB OPEN – SCENE ‘HEADS’ ON RIGHT – MAIN PLOT/SUB-PLOTS COLOUR CODED

(By the way this is a pic of an Acer notebook 10.1″ screen – not an Imax image!)

A great tool for doing this is Microsoft OneNote. Some swear by Scrivener, Ywriter; another good tool is Hiveword. There are others. I think writers need to experiment to find out what suits them best. Two factors influencing my choice are a) the ability to write the book content within the planning tool, and b) to work offline sometimes – I may be on holiday and want an hour or so of ‘writing therapy’ but might not want to go on-line, or have available on-line access.

By giving me an overview and instant access to the components of my story on a single screen, I get control of the project and so I find the process of drilling down into the ‘core’ of my story easier, more efficient and fulfilling. Certainly much less frustrating than switching from one screen to another, hunting down folders and files, hopping back and forth from page to page on websites and between different websites.   ARRRGH…

LUMIA - kINVER, JANE, MY DESK 2014 076

CHARACTER TAB OPEN – SELECT CHARACTER ON RIGHT – DETAILS LEFT

  • In planning my novel I use seven COMPONENTS.  They are not written in a strict chronology – that’s important. They have synergy, they feed off each other. Maybe it’s like bringing up a family – you don’t focus all your energy on one child and when that job’s done, move on to the next. Oh, no, – you don’t bring kids up like that. You juggle, you compromise, negotiate, discipline, encourage, motivate, and so on. You spread your attention, your focus, your love. (OK, OK, we didn’t have seven children but you get the picture!). Now – please let me show you in specific terms how all this works (and for me it definitely does) in practice

TOM BRYSON’S SEVEN COMPONENTS OF ‘PLANNING A NOVEL’

  1. CORE – Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure? In 50 words; yes, I keep this to 50 words. Concentrates the mind!
  2. OUTLINE – Two pages max. Written in present tense, with a start, middle and end. Split into key scenes with short headings. Leave room for the story to evolve.
  3. MAIN PLOT – Spine of the story, the heart of the MC’s journey. Sub-plots add complexity and richness. The main plot (and sub-plots) summaries need only be a sentence or two.
  4. SCENES – Scenes are the building blocks of the novel. These are where the action is. As you write scenes you are writing your book.
  5. CHARACTERS – Absolutely critical. The reader must care about these people.
  6. SETTINGS – Give ‘colour’, atmosphere, they complement characterisation, add credibility and context whether real or fictional places.
  7. SYNOPSIS – Comes at the end because a synopsis is a ‘selling’ tool; your book summary. You write a synopsis when you’ve finished your book. (I include it as part of planning because you’ll need it for submissions).

In this second blog in the series, I’ll focus on my second COMPONENT in PLANNING A NOVEL, namely the OUTLINE of my story. 

 2 (of 7). OUTLINE – your roadmap.

OUTLINE

I keep my outline to two pages, single spaced. Write your outline as if you were telling someone about your story.

Using present tense gives a sense of immediacy – places your story in the ‘here-and-now’. Keep referring back to your CORE to make sure you stay on track with the main storyline.

In crime novels/thrillers your story will feature a main character, antagonist(s), an ally(ies), possibly a love interest.

Remember what I said earlier about the iterative nature of my approach to novel planning –  as you write your outline, dip in and out of your character profiles, throw  in snatches of dialogue if that helps, focus on the key scenes. Hang on, you say – I didn’t mention character profiles before. Well, yes I did if you look at my seven components. I said the components aren’t written in a chronological sequence – no, it’s done in a messy, flitting back and forth manner. That is the way the creative mind works, relax those synapses.

I set up my seven components in separate sections, files, folders – whatever – at the outset and as I work on each, I’m switching between them continually. However, it is important to be clear what component is your primary goal at any one session. Don’t be a butterfly, more a bee gathering pollen but always aware where the hive is.

Next, break your outline into discrete scenes. No need to rewrite your outline here, just find the natural scenes in your outline, put in a paragraph break, then tag the paragraphs with a ‘to-do’ symbol. Now you are building up a scenes outline that you use as the basis for writing the fundamental building blocks of your novel – scenes.

Here’s the OUTLINE of my novel SARCOPHAGUS. (I’m only showing a short piece to give you the general idea – also I don’t want a spoiler – after all you may like to buy the book and read it!)

WEE TIP – CHARACTERS IN CAPS – WHY? FUTURE BLOG.

“SARCOPHAGUS is a political thriller set in Ukraine.

Ex-British army bomb disposal sapper GREG STEVENS (40 – born in Ukraine) gets a call from the past. His former army unit commander HAROLD BREWSTER, now UK defence minister wants to call in a favour; in Northern Ireland he saved Greg’s life. Now he wants to use Greg as a credible front to investigate a Ukrainian oligarch, BOGDAN KATCHENKO.  Katchenko is suspected of laundering EU/UK grants to fund fake diamonds production.

Brewster approaches Greg because he has a hold over him; also Greg’s industrial expertise gives him credibility. Weird thing is – Brewster wants Greg to give Katchenko the ‘all-clear’ – ‘UK security interests’. Greg, now CEO of Newton International is put under even more pressure from his chairman SIR OLIVER NEWTON who wants Greg to do Brewster’s bidding.  ‘Big defence contracts at stake’.

Greg resolves to do the spying job – not to repay his debt to Brewster; but to find the truth.

Greg’s father ANATOLY is dying and wants to see his Ukraine homeland a last time and be reconciled with his estranged brother PYOTR. Greg takes Anatoly and his daughter ELLEN to Kiev. He feels guilty about refusing Ellen anything; having been responsible for the death of her mother – his wife KAREN, in a car accident.

In Kiev, Greg meets NATASHA, a doctor related to Pyotr and they become lovers.

Greg crosses swords with Katchenko, a Mafiosi figure who runs the EU money scam (with Brewster as co-criminal).  He befriends TARAS PRAKHOV who is Katchenko’s chief scientist but who wants out of Ukraine. Greg offers to help and gets information on a memory stick about the fake diamond operation run by Katchenko.

He is mugged and his room searched by Ukrainian police, Katchenko makes his enmity of Greg clear.

Greg meets up with US journalist SEAN O’NEILL whom he knew from his Belfast army days. They team up – O’Neill is undercover US Homeland Security also trailing Katchenko, but investigating dirty nuke bomb making…”

Coming up NEXT. What’s the future gig?

COMPONENT NUMBER 3

3 (OF 7) MAIN PLOT

© tombryson2015

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Ah well…only a Silver, not a Gold medal for Tom Bryson!

Steve Taylor picked up the award for the New Writers UK Book of 2013 for his novel Ripples and Shadows.

Tom Bryson was the runner-up with Sarcophagus. 

BBC Radio presented Steve with the trophy 

Tom says, “Congratulations to Steve. A big thank you to all those readers who voted for SARCOPHAGUS. Your support is very much appreciated. Thank you. Next time maybe…”

Thriller novel SARCOPHAGUS – FICTION BECOMES FACT

SCARY. Prescience – or what?

When I wrote my thriller SARCOPHAGUS set in Kiev and London, the ‘Orange Revolution’ was raging in Ukraine. In my fictional story, I speculated that groups in opposition to the government might well continue their fight at some point in the future. Imagine my shock as I now watch on television news, police and demonstrators clash – and people die – in the streets of Kiev and other Ukrainian cities. In retrospect, given the divide in that troubled country between those who ‘look East’ to Russia and those who aspire to ‘look West’ to Europe, I should not have been too surprised. An outbreak of protest, rioting and opposition would inevitably provoke a heavy-handed response from the authorities. We can but hope that calm and compromise prevent a calamitous descent into death and destruction.

 I imagine there are many occasions in writing where ‘fiction’ anticipates ‘fact’. Perhaps writers have the imaginative faculty to learn from history in a way that governments and politicians cannot – or will not.

SARCOPHAGUS ( http://www.amazon.co.uk/dp/B007IAAK64) is available in ebook and print from Amazon.

Why here, or there or that other place? Does setting affect readers’ preferences?

London
London (Photo credit: @Doug88888)

 

Does the setting for your story affect a book’s sales? Are readers influenced to read a book – or not to read it – by the location in which your crime story is set?

Victoria Square, in central Birmingham
Victoria Square, in central Birmingham (Photo credit: Wikipedia)

I’ve been tussling with the issue of where to set my protagonist’s world after getting feedback from some readers. For example it would be interesting to know from US writers/readers if people are more minded to read a crime novel set in NY or LA than say Chicago or Boston – or is there any city/town that is a turn-off.
UK crime writers often set their stories in London where the cop is from the Met although there are notable exceptions like Ian Rankin’s Edinburgh, Peter James’ Brighton, etc. My first crime novel is set in Birmingham, England – a great city that often gets a ‘bad press’. My next book – a thriller – I set the opening in London but then mainly Kiev. My next crime sequel is also set in ‘Brum’ (Birmingham).
Does this matter? And what about Australia – is Sydney ‘more readable’ than say ‘Melbourne’? And Scandinavia has become popular. Or is the quality of a story and the writing all that really matters? I once heard said that some US readers won’t open a book set outside their own country!
I suppose I could always move my cop to London or even New York – well, create a new cop. After all, a murder in England may be a homicide in the US – but cops, villains and victims are universal – well, aren’t they? Or is ‘place’ a significant ‘character’ in its own right; enough to make a reader ask: ‘Do I want to read a story set in this place?’ What do you think?

My thanks for so much support…Tom

LATEST NEWS – My new thriller SARCOPHAGUS  is now published. 
To read a sample or buy ebook click on  amazonkindle  or for  print book click on Lulu
Here’s the story:

‘British Army bomb disposal expert Greg Stevens is reunited with old friend Sean O’Neill, a US Homeland security operative  when they join forces to combat powerful Ukrainian Mafioso  oligarch Bogdan Katchenko – and corrupt politicians – to stop a 9/11 PLUS terrorist attack’. 

Conflicting forces put their friendship under extreme strain. What comes first – your country; or you and your family’s lives?’

A thriller about torn loyalties, political corruption, corporate greed and rediscovering love.