The Vacation Route to Completing a Novel

The Vacation Route to Completing a Novel

by Terry W. Ervin II

Just about every writer, and a good number of readers, know one way to categorize writers is Pantsters vs. Plotters. A ‘pantster’ just sits down and writes their novel, not knowing what happens next, until they reach the end of the story. A ‘plotter’ outlines or plans their book and uses that as a guide while writing the novel, from beginning to the end of the story. Of course, the division isn’t as black and white as that. For example, the degree to which an author plans or outlines their novels varies greatly.

After Relic Tech comes this!

In any case, this article isn’t intended to discuss which method is superior, or should be used, because, in truth, there isn’t any single ‘right way’ to write a novel. What works for one author may or may not be efficient or effective for another. Anyone who believes there is only one ‘right way’ is, well, wrong. Otherwise, every successful author would use the exact same writing process—which they don’t.

What I am going to share is what works for me, and has worked for a number of writers that have struggled in the past…either ‘pantstering’ and writing themselves into a corner, or leaving a jumbled, rambling storyline with plot holes and tangents galore—something unmanageable to work with. Or the writers that can’t get beyond the outlining stage. And, if the outlining authors do, they can’t transition that outline into a compelling story.

Places to visit

I think of the way I outline and plan a novel before writing it as similar to planning a road trip for a vacation. For a vacation, you plan out a route to your ultimate destination. You plan where you intend to stop and visit along the way. How long the stop will be and what sights will be seen. As with any vacation, there will be detours and unexpected sights to see. Some anticipated stops will be shortened or bypassed all together. Some stretches of road will take longer than anticipated, with construction or crowded bottlenecks. Other sections will breeze by faster than anticipated. Still, along the way, even on the road, there are things to see and experience.

Just as with the vacation road trip, I plan out my novel, from the starting point to the final destination—how it will end. I identify major plot points or events along the way (major places to stop and visit). While I have an idea how long it will take to write certain scenes containing the various plot events, sometimes it takes more words (stay there longer). Sometimes I write something unanticipated (stop at an unanticipated destination along the way) and sometimes I eliminate something from the plot (bypassing a planned stop along the way).

The thing is, an outline isn’t written in stone, just as vacation plans shouldn’t be. The flexibility allows the story to grow and become more interesting along the way. Me? I plan in a spiral notebook, taking up about fifteen pages. I jot down relevant events, bits of interesting dialogue or places or characters to be introduced, things like that. With two novels, I transferred the handwritten version to a Word document. This makes it easier to add or delete information, as opposed to adding new ideas in a different color pen or crossing things out. See, that outline is dynamic, and as ideas strike me over the course of writing, I have an organized place to jot (or type) them as they come to me.

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Another hidden benefit is that I don’t get writer’s block. Why not? I know exactly which mile marker (event within the plot outline) I am at, and what mile marker (plot destination) I am traveling (writing) towards. At least that is how writing has worked out for me.

So, if you’re a writer that struggles to start, or efficiently finish, a novel, whether you’re a pantster or a plotter, consider giving my method a try. Modify it to your needs and writing style (some authors use index cards or spread sheets). If you’re an avid reader who thinks you might have a good novel inside of you…consider starting out with this method to organize that novel (or novella or short story) so that it can be written.



About Terry:
Terry W. Ervin II is an English and science teacher who enjoys writing fantasy and science fiction. His First Civilization’s Legacy Series (fantasy) includes Flank Hawk, Blood Sword, and Soul Forge.

The Crax War Chronicles, his science fiction series, includes Relic Tech and Relic Hunted (his most recent release from Gryphonwood Press).

In addition to writing novels, Terry’s short stories have appeared in over a dozen anthologies, magazines and ezines. Genre Shotgun is a collection containing all of his previously published short stories.

To contact Terry or learn more about his writing endeavors, visit his website at www.ervin-author.com and his blog, Up Around the Corner at uparoundthecorner.blogspot.com

Check here for all of Terry's books!

August is Awesome Because of Terry W Ervin II

The last three weeks of August has been awesome, but the awesomeness continues with Terry.  One thing is for certain: Terry has an awesome supply of patience.  (You'll have to visit his website to find out why.)

Terry started his Up Around the Corner blog back in June of 2009 and has been going strong ever since.

There's depth to Terry's reservoir of insight when it comes to the craft of writing.  The post he so kindly provided today is a perfect example.  

Please give Terry an awesomely enthusiastic welcome!

Trust the Reader

One concern I have with writers who are working on their first novel is their lack of willingness to trust the reader. In my experience this mistrust manifests in three ways: Introductory prologues, controlling descriptions, and too many point of view characters.

My first point isn't that prologues are bad and should be avoided. Like every other literary technique or device, prologues have a proper use and place. However, when a writer justifies his historical prologue saying, "The readers need the cultural background and history to contextually understand what will happen later in the novel, and why," I am concerned. Or when a writer says, "If I don't introduce the readers to this event that's outside the main storyline, they won't understand what drives the characters, especially when they do ________," I think the writer is misjudging the cognitive ability of his readers.

If a writer isn't going to trust readers to pick up on clues provided through setting, plot events, character dialogue and actions all the way until something pivotal that happens on page 237, why would that same writer trust those same readers to remember a historical reference made on page 2 and apply it to an event on page 237?

The trick is to provide what readers need to know as the story progresses, and trust those readers to piece things together. Will every reader get it? Maybe not. But isn't it worth that, "Ahha" moment (or moments) when a reader pieces it together on his own? I believe the readers will think so.

My second concern is a writer that's too controlling of the reader in their descriptions. What I mean is a writer who describes a character all the way down to the number of gray whiskers in his stubbly beard. The writer wants the readers to see the characters exactly as the writer imagines them. Another example is a writer trying to describe a gruesome murder scene down to the exact angle or degree the rickety-handled, eight-inch, chipped, stainless steel, made in China meat cleaver hacks into the victim's shoulder as she (...) to how far, to the nearest quarter of an inch, the nineteen globular droplets of blood fly and land, and in what splatter pattern, after the cleaver is yanked out.

Maybe I'm exaggerating a bit--but not by much.

Trust the readers' imaginations. The writer should give his readers just enough description to stimulate their imagination. For example: As a female protagonist enters the classroom, she might note her assigned lab partner's piercing green eyes, a strong jaw, shoulders of a linebacker and his ratty, garage sale-rejected tweed jacket. Let the mind's eye of each reader fill in the rest. When they do, they'll better remember and relate to the characters. With the murder scene, the readers' imagination--what frightens them and how they envision it--will go farther than any series of words a writer might provide. Each reader will see, in their mind's eye, the cleaver and the blood splattering, if given enough to go on. Will each reader imagine the exact same thing? No. But it allows each reader to have some ownership of the story.

It's a delicate balance. How to get it right? A writer should read and study passages from his or her favorite authors. See how they did it, and why it worked. Then, modify what's learned to the individual writer's writing style and apply it to the current writing project.

My final concern is inserting too many POV characters into a novel. Sometimes multiple POV characters are necessary. But, if the reasons are so that readers can understand what's happening from a host of perspectives to get a well-rounded view, and readers needs to know the thoughts and motivations of every character important to the plot to understand actions taken, then the writer might consider rethinking his reasoning.

Trust the readers to pick up on character motivations and how that character views events compared to another character in the novel, without having to be explicitly shown. Consider that every reader--every human being--exists in a first person POV world. Most become adept at interpreting the thoughts and motivations of others, and looking at something from another's perspective without benefit of knowing their exact thoughts. So authors can count on readers to bring that ability to the table when reading a novel.

Yes, there are plenty of valid reasons to use omniscient POV or multiple third person limited POVs. I've read novels where there are a dozen or more POV characters. Harry Turtledove's World War Series would be an example. The reason to add POVs should not be a failure to reasonably trust that readers can figure out things like character motivation.

In the end, readers:

• Actively engaged in a story, forming the characters, world and action in their mind's eye
• Following characters and events, guessing and forming theories about why someone did something and what the other fellow might do next in response (and put it all together)...

will be satisfied readers.

Or, as a writer, that's how I see it.

About Terry W Ervin II:

Terry W. Ervin II is awesome!

Terry W. Ervin II is an English and science teacher who enjoys writing science fiction and fantasy. He is an editor for the speculative fiction magazine MindFlights and a guest contributor to Fiction Factor, an ezine for writers.

While Fiction Factor has published the majority of Terry's articles on writing, his short stories have appeared in over a dozen anthologies, magazines and ezines. The genres of his stories have ranged from science fiction and fantasy to horror and inspirational.

In late 2009 Gryphonwood Press published Terry's debut fantasy novel FLANK HAWK and recently released the second in the First Civilization's Legacy series, BLOOD SWORD.

To learn more about his writing endeavors or contact Terry, visit his:
Website: http://www.ervin-author.com/
Blog: Up Around the Corner
Unofficial Facebook Fan Page for the First Civilization's Legacy Series, Flankers

Flank Hawk Main Page, Book Trailer and Audiobook

Flank Hawk Sales Outlets:
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Blood Sword Sales Outlets:
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