Pantsing Doesn't Mean Lots of Revising

 This week at the SFF Seven, we're talking about our revision process. 

I'm running behind, as I seem to eternally be doing these days, and posting this a day late, but I feel it's important to talk about my revision process to dispel a huge myth about intuitive writers. I feel strongly enough about making this case that I'm using the term "Pantsing," which I almost never use.

(As an aside, the reason I don't like that term is that it comes from "to fly by the seat of your pants," which implies a lack of control that I think comes from the pre-plotting end of the spectrum. Writing without outlining beforehand does not mean having no control of the story. It also doesn't mean that intuitive writers don't plot. All writers plot; otherwise there wouldn't be a story. The difference lies in whether we determine the plot before writing or during it.)

A consistent message I hear from those espousing pre-plotting is that writing a book without creating an outline first leads to many blind alleys, cutting huge chunks of prose, and spending even longer on revision. While this can be true of some writers - which is fine! Figure out what your process is and own it, I always say - this is not true of me.

Intuitive writers like myself have often internalized story structure. We know how to write the novel without resorting to external guideposts like an outline. I also think that I draft faster by writing intuitively, by submersing myself in the creative flow of the subconscious. It takes me typically 55-60 working days to draft a novel of 90-100K words. Then I spend about 14 working days revising. I typically cut 1-2K words in revision and add ~10K. 

Explaining everything I do in revision would take longer than I have in this blog post, but in essence, my process is this:

1. Write the story beginning to end, skipping nothing, never jumping ahead.
2. Revise from the beginning. This involves:
   1. layering in foreshadowing and other clues for stuff I figured out along the way and about the ending.
   2. smoothing character arcs
   3. removing extraneous information, red herrings, doorways to routes I didn't follow, tweaking word choices.
3. When done, I read out loud one more time to catch any consistency errors or clunky wording.

 

And that's all she (I) wrote!

The Magic of Group Brainstorming

Hello all and happy spring!

At the SFF Seven this week we're asking: What’s your brainstorming process? Do you come up with ideas by yourself or do brainstorm with someone else?

Me? I don't preplot because I can't. My ideas all come to me pretty much in the course of writing. Some of them come from daydreaming about the story, but the real flow comes as I write. A lot of the time, that's the ONLY way the story flows. 

The salient exception to this is that I love brainstorming with author friends. There are few things more fun for me than brainstorming a world or exits from sticky plot solutions with other creative brains. And I have just as much fun working on their stories! It's a real truth that, for whatever reason, an outside mind can almost always see the story more clearly than we can our own. I can tell other writers how to "fix" their stories and have zero ability to find solutions to my own. And vice-versa. 

Especially when trad publishing wants me to tell them something about the plot before I actually write the book, I turn to my friends. I can usually say who the characters are and I can describe the situation they're in - and then my brilliant author comrades take it from there. It inevitably changes when I write the words, but they are true lifesavers in giving that much-needed perspective.

Brainstorming for the win!

Brainstorming, Plotting and Characters, Oh My.

Brainstorming: The process of idea generation, generally done as quickly as possible, often in a team so members can broaden their perspectives by feeding off of the ideas presented within the team.

Plotting: Figuring out how a story gets from beginning to end.

Where did these definitions come from? The crowded, noisy insides of my own head. Meaning that yes. I made them up. I did that because I wanted to drive home that these two activities are not the same thing. Nor are they interchangeable. I suspect for most writers (I know I'm one of them) brainstorming precedes plotting. That said, I believe the question was when should someone else help you brainstorm.

My answer: Any time. All the time. So long as it's someone else's work we're brainstorming. Leave my story out of it. Don't get me wrong. I love What-if-ing. I love asking questions about stories, finding the places that intrigue me about it and I love to start lobbing thoughts and ideas around. For anyone but me. Like James, I don't want to examine my ideas too closely when they are newly hatched and still fledging. They're too fragile for examination at that point. I want to sit with them in silence and see what develops. If I'm going to ask for brainstorming for me, it's going to be when I'm at least halfway through the book and 'stuck'. Then all I want is get out of whatever corner I've written myself into.

But plotting. Ah, plotting. If we're going to talk about that, it is important to impress upon you my theory that there are two types of plotters in the world. Possibly more. Regardless. The  two types break upon a single point of procedure: Do you decide what happens first? Or do you come up with characters first? (I'm that last one.)

Plot-driven writers seize upon an idea for a thing or a situation. Something like "what if Supreme Court Justices were being murdered to clear the way for new nominees?" (Not that this story idea occurred to me today or anything.) A plot driven writer could lay out the major story points without ever knowing who his or her protagonist was. Characters are slotted in somewhere, but they definitely show up after the plot has started taking shape. These folks usually benefit from brainstorming sessions more easily than their character-driven counterparts because the plot can be anything. It's freer form when you don't pin the plot to the foibles of your characters.

Character-driven writers might get an idea for a situation or for something that happens, but usually, there are characters already attached to the situation or event. Half the time, the characters show up and announce that you'll be writing their story thank you very much. For character-driven writers, brainstorming isn't very useful because these writers require that the plot come from the characters. These are the people who need to know what someone's inner wound is (a question Jeffe mentioned annoys her). These writers have to know what makes their characters tick because it's the places where the characters get stuck that the story starts. For that reason, these writers have to know their characters intimately. Everything that then happens in the story is designed specifically to hammer these characters at their weakest points so they either shatter or they strengthen. Character-driven writers end up elbow deep in the emotional lives of their characters - in fact, they require that - before they can begin plotting. That means that brainstorming with a group of people who don't have the same level of character knowledge just isn't going to work. It'll be an exercise in frustration for everyone involved. Most character-driven writers I know avoid brainstorming entirely, unless they are brainstorming for someone else.

So yeah. That was a really long way of saying, "It depends" in answer to the when should someone help you brainstorm or plot question.

Building A Plot Fire

Interesting timing, this post topic. Last weekend I gathered with a few friends to talk about the plotting of upcoming stories. It was me, another author, and a voracious reader. There was food and adult beverages of course.

I have plotted alone too much. When there is no one to bounce the ideas off of, no one else to poke at the notion with their sticks, then my options are limited. I write on my white board, I pace, and I talk out loud. I can get it done, but the result will not shine as bright.

Interaction with other creative people is intensely satisfying to me. Its like I'm looking through a telescope, trying to see this world that is light years away. The details my eyes percieve are my version of basic. Then someone else takes a peek through that lens. Their eyes might be better or worse, and their life experience is uniquely their own, so their initial assessment is drenched with their version of basic which has little in common with my own.

Suddenly, that world comes into greater focus in my own eyes. The addition of their thoughts is, in part, a validation of my own which gives me confidence to move forward, and the other part is fuel on the idea spark I started with. Before much time has passed, there is a bright flame.


It is important (to me) at this point to keep feeding that fire. To hammer out some details, to consider the tropes, the stereotypes and the current trends, and then to take a hard look at this idea before me and identify what is 'normal' and certain to be anticipated. I follow that up by actively asking myself what emotional appeal can be found in altering the plot or characters to avoid that ground which has already been explored.

You wouldn't dig for gold in an old mine, right? You and I both know that endeavor would most likely be a complete waste of time and effort.

So it is vital to push onward, to stumble past the lines of my comfort zone and stand on new territory. Adding the influence of even a few thoughts, connected only by the words of someone whose life experience differs from mine, is an invaluable part of the process. Like a relay...I know how, when and where to run, but I'm all anticipation and no distance until I'm passed the baton.

Then...because that spark has become a blaze, my passion is burning bright for the project, and the momentum has built and is hurlting me onward...there's no stopping me.

Early Stages - Who Should Help You Plot?

In keeping with our story-writing theme - last week we talked about how much space to give to the denouement - our topic at the SFF Seven this week focuses on the Early Stages of Plot Development. Do we work alone, with critique partner, developmental editor, or in a round-table group.

My answer is that this has changed dramatically for me over the course of my writing career - and it can vary by book. Plus, just recently I've done something Totally New, which isn't even on that list.

First off, for anyone who *doesn't* know this about me - though I'm not sure how that's possible since I feel like it's a big neon sign over my author-hatted head - I don't pre-plot. I'm going to make that distinction, pre-plotting vs. plotting. In some genre communities, people are given to calling writers either plotters or pantsers. A "pantser" is someone who is perceived as writing "by the seat of their pants," a description that simply oozes with pre-plotter panic to my mind. The way I write feels nothing like what it seems many imply with it - that there's somehow no plan at all.

Interestingly, there are myriad definitions for that phrase. It turns out that it's early aviation parlance. Aircraft initially had few navigation aids and flying was accomplished by means of the pilot's judgment. It meant "going aloft without instruments, radio or other such luxuries." In our analogy, I suppose the instruments, etc., would be an outline of the story. As far as the idiom is concerned, I found this definition very interesting: "To use one's judgment, initiative, and perceptions as events unfold in order to improvise a course of action without a predetermined plan."

Now, that last *does* feel like how I write. I don't feel like I can plot a book before I write it because I don't know how events will unfold. And I do trust in my writer's instincts and the skills I've honed over time to make those judgments as the story goes. Several of the definitions used the word "intuition," which I think is spot on.

I don't really think my stories through, I intuit them.

I have a critique partner (and good friend) that I talk through stories with a great deal. She's very much a thinker. She plots out the stories ahead of time and is always asking me questions like what is my heroine's goal or her internal wound. I inevitably get irritated by these questions - not that I don't know the answers, but that I can't articulate them. They are feelings to me, not easily definable in a few words. That said, this friend is great at helping me figure out my stories. I can tell her "Oh, my heroine is like this, and her mother is this way, but the hero is this other thing to her - so what would happen if...?" And she has great answers. I don't always use her ideas, but they do help to guide me.

I seem to work best that way, brainstorming what my characters might do, talking it through with one or two other people. I love to do it with other people's stories, too.

Just recently, however, I got to do something new and very fun. Last week I announced that I have signed with a new agency, Nancy Yost Literary Agency, and that I'll be working with Sarah Younger there. I couldn't announce this change immediately, as the contract with my former agency asked for 30-days notice. But, until Sarah could officially act as my agent, we discussed several projects I had in mind as possibles. She picked one as her favorite - and as the most marketable at the moment - and gave me some ideas to think about. What she gave me helped crystallize the project and injected it with life. Which is so much what I was hoping working with her would be like!

This is an aspect of working with an agent that I think some writers, especially those exclusively in self-publishing, perceive as being "told what to write." It doesn't feel like that at all. Instead it's a "wouldn't it be cool IF" scenario. Agents are passionate about books, by definition, and widely read. The right agent can bring fantastic perspective to a proposed project.

But, and this is key, whoever a writer talks to in the early stages of a story has the power to profoundly affect the direction of it. Or even to kill it with careless criticism. Choose those people with utmost care, for a new story is precious and fragile. Don't hand that baby to just anyone.