Having trouble deciding whether to outline your whole novel in advance or to let the story (and characters) take you where they will? In this article, one of our novelists tells you how he arrived at a hybrid approach that gave him the perfect combination of freedom and structure.

NO “ONE-SIZE-FITS-ALL” APPROACH TO PLANNING

When it comes to writing your novel, how you choose to map out the plot is a lot like how you say “potato” (i.e., po-tae-to or po-tah-to)—there really is no one-size-fits-all right answer (though I am partial to po-tae-to, myself). At one end of the spectrum, there are the writers who outline all of the major plot points of their stories before ever writing a single word of text. And at the other end of the spectrum, there are the writers who forego an outline altogether, opting to let the ideas and plot points flow naturally as they go from prologue to epilogue. If one of these options works for you, who am I to argue? Good job! But in my own writing, I have found that a hybrid approach—combining the two techniques—works best for me.

DISCOVERING A HYBRID APPROACH

With Sunshine’s Darkness (my first novel), the idea for the story came to me as part of an assignment in a writing course that I was taking. To be honest, at the time of the assignment, I really didn’t think the seeds of this story would ever mature to a finished product. Realizing that, I sat down at my keyboard and just started typing out content to fulfill the course requirement. Ideas weren’t fully considered, and even the characters weren’t fleshed out (nor do they necessarily have to be when you first start writing your novel). As I typed out the first ten chapters, I realized how much FUN it was to see ‘where the day took me.’ Since I hadn’t outlined anything, I was free to let the ideas that flowed forth take me in any direction. This was great!

That meant I never had to worry how new twists and turns would affect my end game (because at that time, let’s face it, there was no end game; just a grade). I was free to be creative—and what could be more fun than that?

Two months later, the class ended. But by then, I was so engrossed in writing my novel that I realized it was a project I just had to finish. I was nearing the halfway point. I was also starting to get knots in my stomach, and at first I didn’t know why. It seemed every time I sat down to write, I had the dreaded ‘block.’ Up until then it had been fun to just sit down and let plot twists flow forth as they came to me. Now suddenly I was tensing up every time I sat down to write. Worse, my characters were starting to stress me out because I didn’t know which direction to take them in, nor did I know the answers to two important questions that kept nagging me: “Who lives in my story?” and “Who’s going to die?”

For several days, I focused on mapping out the second half of the book, writing down explicit scenes that each of my main characters would experience, all the way to the final chapter. In many ways, my novel was finished—insofar as the plot was concerned. Now all I had to do was fill in those scenes with prose and I would be done.

What started out as free-flow writing for the first half of my novel blended into a near-rigid outline for the latter half. If someone had told me to outline this novel from the beginning, I don’t think I could have done it. After all, it was the process of discovering who my characters were and what my story was really about that solidified where I would ultimately go with the second half of Sunshine’s Darkness. That freedom to let the plot—and the characters—develop was vital to my story. Likewise, if I had continued a free-flow style of writing, it would have been impossible for me to calculate the exact moments when major plot twists needed to occur in order for certain characters to end up where they needed to be. Put another way:

By adopting the use of the outline for the second half, I was able to weave together the story that had developed freely in the first half, bringing the story to a satisfying and logical conclusion.

FINDING YOUR OWN APPROACH

If you decide to follow my method, you need not follow it to a tee. For example, you might choose to outline in the beginning a few key scenes that you want to take place, while still allowing your characters and plot to develop freely around those scenes. I didn’t do this for Sunshine’s Darkness, but with my second novel I did: I began the novel by outlining three key scenes—and the order I needed to tell about them in order to move the plot along. Likewise, you don’t need to slavishly follow your structured outline in the second half of your book if you come up with some amazing plot twist or new ending that will blow your readers away. For Sunshine’s Darkness, I thought I knew exactly what the last couple of chapters were going to be; but when I got there and it came time to write them, I found several of my characters were still left hanging. So I created a whole new ending that would weave together the characters who still had these loose threads. When something like this develops, you toss your outline aside and wrap up your book with what works best.

But whichever you choose, the one thing to keep in mind is this: It’s the end result that matters. Whichever style you ultimately choose for writing your novel, as long as it gets you to a satisfying, publishable, and FINISHED end-result, then you’ve done your job. Bravo!

So what works for you? Do you map it all out? Do you let it flow freely? Do you have a hybrid approach of your own? Leave a COMMENT to share your own techniques for developing your characters and your stories.

GREG—Read more about this editor

Having trouble finding a publisher? Perhaps you should let your publisher find YOU! In this article, a former acquisitions editor for Crown–Random House and Perigee–Putnam gives an insider’s view of how self-motivated authors are attracting the attention of publishers—even in today’s economy.

Changes in the Publishing Industry

Back in the good old days of publishing, there were editors, publishers, agents and the infamous slush pile. Editors and agents met, usually over martinis and lunch, to discuss writers, writing projects, trends, and whatever other publishing “business” was the sizzling topic of the day. Back in the office, the editorial assistants laboriously read through the slush pile, passing on to the editors any hopeful manuscripts that had come through the mail—the regular pony-express mail, that is.

Flash forward to 2009. There are still editors—acquisitions editors, specifically, meaning those who have the challenge of actually buying enough manuscripts to fit a publisher’s spring, winter and fall lists. These acquisitions editors continue to meet with agents, who continue to represent writers with the hope of selling their manuscripts to the highest bidder, thereby generating a nice income for both agent and client.

There are, however, two notable changes between the editors and agents of the past and those of today:

1. Because of the current economy, many editors are no longer able to meet agents for lunch. They must conduct business over the phone or via e-mail. Some publishing houses have even temporarily put a hold on acquisitions altogether, preferring to have editors focus on the manuscripts they already have under contract.
2. Because of restrictions put on them by publishers, agents often feel they can only afford to represent clients whose projects they anticipate will ship many, many books—100,000 is a nice number to toss around.

As for the slush pile? Perhaps an occasional manuscript makes its way via regular mail into some publishing house, somewhere. But considering that many publishers are actually asking writers and agents to only submit query letters electronically, and since, by now, most serious writers have given up on the hope of being discovered without having agent representation, and since less than 1% of the books published actually ship 100,000 copies, well, suffice it to say there’s a whole new game afoot in publishing.

Writers Taking Matters into their Own Hands 

One fact remains: Editors, publishers and agents need writers and they must be increasingly clever in finding them. No longer are they served up over lunch by a savvy agent.

Writers, too, must find increasingly clever ways to convince editors, publishers and agents that they have the talent and mettle to make a career out of writing.

So, take the current economy, add the downsizing of many publishing houses, the need for manuscripts and writers, the hand-tied agents who can’t afford to take on new clients and the abundance of writers since the advent of the computer. Shake and toss on the table and one solution will surface: writers who are serious about being published will take matters into their own hands. They will

• self-publish
• write blogs or e-zines
• have a website dedicated to their topics and
• be active on Facebook and Twitter 

 Here’s why:

1.     Serious writers write. This may sound obvious but there are many writers who continue to hold the lofty idea that someone will come along and discover that mystery novel they wrote years ago because it’s so good—everyone says so. What they fail to realize is that writing a manuscript, whether it be fiction or nonfiction, is only one small part of the writing business. There must also be proposal writing, query letter writing, self-promotional writing, marketing plans and any other possible way to get your message in front of readers. That’s where the Internet comes into play. If your message and your qualifications are out there for all to read, you have another avenue to attract readers, agents, editors, or like-minded souls.

2.     Serious writers help editors to find them. Since a project represented by an agent will cost the publisher more, and since editors want to buy numerous projects and stay within budget, they must find writers who are not necessarily represented by agents. This means magazine writers, e-zine writers, bloggers, self-published and print-on-demand authors who have a track record of selling their own books, via seminars, the Internet, a lecture series or on a table at the county fair. In the numbers game that is publishing, how you sell isn’t as important as how many.

Getting Serious About the Tools of the Trade

If you are serious about writing, get serious about using the latest tools of the trade. Believe it or not, these methods actually put the power of publishing back in the hands of the writer and take it out of the hands of large conglomerates who, more often than not, pander to those 100,000-copy authors and ignore the vast majority of other writers who make up most of their lists.

 Have some experience with POD publishing? Encountered any particularly successful techniques for attracting publishers’ or agents’ attention? Dealt with literary agents, acquisitions editors, or publishers? Leave us a COMMENT to let us know about it.

IRENE—Read more about this editor