I’m going to unpack my approach to drafting books. I am not a plotter, nor am I entirely a pantser. Somewhere between the two, though I lean more toward pantsing, I write fast. And I don’t struggle with writer’s block. Here’s the strategy that I have used to write all of my books.
I approach writing much like a builder would approach a house, or a painter a canvas.
Draft One
Starting with the framework. I sit down and I just figure out the story. Often times this is a lot of dialogue and just basic direction and setting explanations. It isn’t until later that I go back and flesh out details and add the walls, and decor. I start with making sure the structure is sound and solid and looks good. I write in layers. This is the first “fast draft”.
When I start, only focusing on that framework, I’m not stressing out about writing the perfect book, or writing for market, or even whether or not it reads well. All the pressure is off. I give myself permission to write bad. To write total garbage. To just dump all the ideas out onto the page, because no one else is ever going to see it in this state. Getting rid of expectations and fear, allow me to not freeze under pressure, or bury myself in doubt until I’m blocked. It also allows room for growth and change, and when its done I don’t end up with a draft that I labored so hard over that I am afraid to change it.
Draft Two
On my second pass, I just read the story, and add things I notice need to be there. Crucial explanations, missing words, a better word choice etc. Some scenes come fully fleshed out, while others are skeletal. But on this pass, I’m just writing/added what immediately comes to mind on reading. I also make notes on the bigger themes, settings, or ideas etc that I need to go back and put in there. Was there a bit of dialogue that didn’t hit home the way I wanted? Let me stew on that in my next few showers. (showers and long drives are when I usually hear my characters talk the most. I probably look like a crazy person arguing with myself in the car sometimes 🤣.) This is the end of draft two. Simple- easy peasy, and fast.
Draft Three
Then I give it some space. This is the stage where the bare bones house is in place, and I’m hitting up my daydreams for decor and color. I meditate on the scenes that need work or are missing until I can watch them play out in my brain like a movie- then I’ll go back and write them in. Going through the rest of the manuscript at the same time to bring it all up to that movie watching level of reading experience. The space is crucial. When we are too close, we have in mind everything we meant. We need time to forget- so that we can read it from an outsiders perspective. “Like what the heck does that even mean?” “What was I trying to say there?” “HIs hand was where? How is that even physically possible?” 🤣. This third pass is the most daunting, but it’s also when the book really starts to look and read like a book, which is exciting. It might sound like this takes a while- bit since most of the book is already written and just needs touch ups- this doesn’t actually take very long either.
Final Draft
This is the point where I let other people in on the action. I have a few people that I let read and do some editing and give feedback. I make adjustments and make edits, and then that’s when it takes its final form. Some people might do beta readers first, and then send off to editors. Some do editing first then send off to betas. Whatever system is going to work for you- do it. As long as by the end you have a book that you enjoy reading, others will as well.
A note on writer’s block specifically
Don’t forget to write what you love- that also helps the ideas flow. If you’re just trying to write something that will sell, then that will add pressure that can block your creative flow (not to mention you end up with a product that lacks passion- and I think readers can tell). Write from the overflow of your passion, and you won’t struggle as much with writer’s block. If you’re not sure what happens next, move along to the next thing you know does happen. Sometimes when we know the end- it helps up flesh out the middle because there’s really something that needs to happen that didn’t and that can fit into that missing scene- etc. If you’re not feeling this story today, write the one that won’t leave you alone.
Don’t let pressure dictate your writing sessions. Toss the rulebook out the window and write what’s coming. And when you go back and are reading it, with your brain steeped into the story, that second pass is usually pretty easy to tell what needs to be added- thus eliminating pesky writer’s block by kicking it into the trunk and retaining the driver’s seat.
If you liked this post but missed the beginning of this series, you can check out my post on my starting point!
See you next week and a deep dive character study using the Enneagram! With a little bit on how and why I use the Enneagram when developing characters, and how it can keep you from writing characters “out of character”.
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