Getting Story Ideas

I'm starting a new short story but have only a vague idea about what I want to do. Something involving either an antihero or an extremely flawed character, but the story itself hasn't knit together.

Sure, this is going to be a short story so I don't need to love the seed idea in the way I do for a novel. Short stories only inhabit me for a few days then they are completed, birthed, and given over to the world, but 80,000 word novels can sit with me for years. That's an idea I really have to identify with.

But, even so, I haven't been able to conjure up a new short story idea, one I love enough to devote 20 or so hours of my life to. 

So when I saw Melinda Leigh's article, Stumped for Story Ideas? it was as though I heard trumpets. Yes! I thought, this couldn't have been more for me if the author had put my name on it.

Newspaper Headlines

Melinda suggests looking at newspaper headlines when we're stumped for ideas. She writes,

I’m going to share my little secret. Some of my plot ideas come from news headlines. Here’s my trick:  I don’t click through to the article. Instead, I let my imagination fill in all the details.

Of course! We've all done this at one time or another, but it's something I neglected to try this time. So, let's do it.

The first place I looked was CNN but many of the headlines are about world affairs but I know that my story takes place in Vermont, in a small isolated town. (Actually, I didn't know that until I wrote it just now. Huh! Well, it's working!)

Here's something:

A rare gathering of presidents: Hail to the chiefs. All five living presidents are together today to launch George W. Bush's presidential library.

Also, on the same page is an advertisment for Anthorny Bourdain's new show,

Parts Unknown. 

Wouldn't that be a great title: Parts Unknown? Especially if it was about a serial killer with what used to be called wendigo psychosis?

And, no, I'm not making that up, you can read about it here: Wendigo. (Remind you of anyone? Hannibal Lector perhaps?)

Here's another headline, this time from The Guardian:

UK crime at lowest level for 30 years

I wonder how the level of crime is being reduced? I can think of a few delectable possibilities.

Old Scandals

To be honest, I wasn't inspired by the news headlines, so I tried searching for "scandals." Still the pickings were slim. Then I happened upon this:

Mindy McCready: Fifth Victim of 'Celeb Rehab' Curse

I have NO idea what the article is about. A coven of rogue witches? A rehab clinic that is 'disappearing' their clientele? Or perhaps a previously unknown disease?

Why You Should Never Borrow Justin Bieber's Car

Assassins? Unconventional security measures? Being transformed to look like Justin (he's handsome and rich, but being in the public eye constantly must have its drawbacks)?

Michael Phelps Hooks Up With Most Notorious Hollywood Waitress

It's the first time I've seen "most notorious" paired with "waitress." 

Still, I think Melinda's headlines were better:

“Crude Joke Costs Two People their Jobs”

“Fighter Apparently Tried to Fake Own Death”

“Shootout in Texas may be Linked to Colo. Deaths”

“Manhunt Begins in Coney Island Shootings”

“Congolese Warlord Arrives at War Crimes Court Jail”

I still don't know what my next short story is going to be about, but I've got some possibilities. I'll take it. (grin)

I know this is the most common question a writer gets asked, but where do you get your story ideas? A few times I've been inspired by dreams.

Other articles you might like:

- 6 Tips On How To Read Critically
- How To Create A Press Kit
- Chuck Wendig On Fairy Dross And Pegasus Dreams

Photo credit: "bloodgate fire" by lovingyourwork.com under Creative Commons Attribution 2.0.

6 Tips On How To Read Critically

In his fabulous article, 6 Tips on Reading to Train the Writer's Eye, Rob D. Young talks about how to train yourself to read critically. (also see: 8 Tips From Chuck Wendig On How To Read Like A Writer)

1. Approach with a pen

Don't be afraid to highlight the books you read. Mark the passages that stand out to you, that romance your writers eye.

2. Be critical

Remember: No writing is flawless. In writing, as in life, there are tradeoffs. Rob mentions the following:

- clarity for lyricism
- realism for emotional power
- directness for detail

Which tradoffs work for you? Which don't?

By reading critically you can find out what kind of writer you are. Rob writes:

[B]e honest with yourself about what you like and don't like—and take it to the crucial next step: Examine why it is you don't like it. Identify the specific passages, paragraphs, choices, and plot arcs that grated on you. When you do so, even a piece you hate can be a valuable learning experience.

3. What works for you?

We've talked about tradoffs but there are many other things to notice in a text.

For example, if you found that the writer balanced a variety of sub-plots in a way that worked well for you, sketch out a diagram on how much time was devoted to each sub-plot, how those plots were rotated, and any other factors you noted.

In reference to The Hunger Games Rob writes:

Each action is paired with a sensory detail, and all five core senses (sight, sound, touch, taste, and smell) are brought in by the end of paragraph 19. The suspense is developed gradually, with roughly half of the first 20 paragraphs implying the danger of District 12, the woods, or the world.

4. Talk about writing with others

It has been my experience that it is rare for two people to have the same reaction to a piece. Discovering what others thought were a text's strengths and weaknesses can be as enlightening as discovering one's own reactions.

Rob writes,

I find this strategy to be especially useful if I'm talking to someone who hates a book I liked or liked a book I hated; it's valuable to borrow their eyes to see the story from a different perspective.

5. Research how the book was received by the marketplace

Just as it is helpful to know the reactions of other readers, so it helps to know what people from different places, different cultures, different ages, and so on, think of a book. Sites like Goodreads and Amazon.com can help with this.

That said, Rob cautions that ...

... not all books will be reviewed with equal fairness. Established authors may be getting the majority of their reviews from a specific type of reader, giving you only a narrow window of insight. Don't approach the critical reception of a piece as being an absolute reflection of "how audiences respond," and remember that you don't have to write for the same audience.

6. Read the book again

I love reading old favorites just as I love re-watching past episodes of TV shows or movies.

By rereading a book you will be able to ...

... see how plot moves were foreshadowed, how early passages helped prepare for latter ones, and what specific tools were used to create the emotions, movements, and structure of the piece. Further, since you will no longer be vulnerable to suspense-based ploys, you can get a clearer vision of the writing's quality at the micro level.

Rob D. Young's article is worth the read. Here's the link again: 6 Tips on Reading to Train the Writer's Eye.

Other articles you might like:

- How To Create A Press Kit
- Walter Benjamin's Advice To Writers
- How To Create A Villain Your Readers Will Love To Hate

Photo link: "Waiting For You" by ||-SAM Nasim-|| by Creative Commons Attribution 2.0.

How To Create A Press Kit

When I posted the other day about how Mike Reeves-McMillan got honest book reviews he mentioned having put together a press kit.

Having a press kit seems like a great idea since it means you'll have all the important information about both yourself and your books in one place for anyone interested to browse through.

Also, having a press kit makes it easy for the author when she/he needs to send information about the book to someone months--or years--after the launch. There's no wondering which directory the information is in, no panicked searches (or perhaps that's just me!). You know where all the information is and it's easy for anyone to access.

So, what, exactly, should go into a press kit?

Building A Press Kit: Author Information

In her article, Book Marketing: Creating Your Author Press Kit, Tolulope Popoola discusses how to put together your own press kit.

1. Author biography

I hate writing these! But it is one of the first things people want to know. What's your background, what kind of books do you write, how did you become a writer?

Tolulope writes:

Your author bio should be about 200 words, and it should have things that make you sound interesting and professional. You should include your name, your place of birth or where you currently live, what you do (or used to do) for a living, what you’ve written, perhaps your education (if it’s relevant), quirky hobbies, or interesting travel experiences. Basically, anything that will make you stand out.

This would also be a good place to list any relevant awards, were any of your previous books best-sellers, and so on.

2. Contact information

How can folks get a hold of you? A website? Blog? Twitter? Facebook? Also, list your agent if you have one.

3. Press release

Steven Lewis advises writers to pay less attention to what your book is about than to what it can do for your readers. Also, consider what market, what demographic, would be most interested in your book.

4. Sample author Q&A

Writers, bloggers especially, are always hungry for more information, so give them some! Tolulope writes:

Make a list of interview questions (and responses) about you and your book. This can include questions about your background, your inspiration for writing this book, why you chose to self-publish, your own favorite writers, future projects, etc. This section is particularly helpful for the interviewer and bloggers who want to help you promote your work, as it’s useful and ready content for them.

Building A Press Kit: Book Information

Book sample

Provide up to three chapters. As for what format you should offer them in, Tolulope made a PDF available for download, but I would suggest making your sample chapters available in as many formats as possible.

If you're having trouble converting your book from one format to another, you could try Calibre. The program is free and it's awesome.

Cover image

Often if a person is writing about your book they'll want a picture, so it's a good idea to provide the cover image. I don't think you need to provide this in many different formats, a jpg should be enough.

Where the book can be found on the web

List wherever your book can be bought as well as other sites it is featured on, sites such as Goodreads.

Sample reviews

Provide excerpts from reviews along with a link to the full text on the web.

The books "one line"

This is one line that sums up the primary conflict in your novel. For instance, they used to write a one line description of a movie on the can a reel of film was stored in that described the movie.

Nathan Bransford has written excellent how-to articles about how to summarize your book in a sentence. (see: How to Write a One Sentence Pitch) 

Brief Book Summary

This is generally quite short, something under 200 words or so. For example, this is Nathan Bransford's brief book summary for Jacob Wonderbar.

Jacob Wonderbar has been the bane of every substitute teacher at Magellan Middle School ever since his dad moved away from home. He never would have survived without his best friend Dexter, even if he is a little timid, and his cute-but-tough friend Sarah Daisy, who is chronically overscheduled. But when the trio meets a mysterious man in silver one night they trade a corn dog for his sassy spaceship and blast off into the great unknown. That is, until they break the universe in a giant space kapow and a nefarious space buccaneer named Mick Cracken maroons Jacob and Dexter on a tiny planet that smells like burp breath. The friends have to work together to make it back to their little street where the houses look the same, even as Earth seems farther and farther away.

Longer Book summary

This can be as much as 5,000 words or so that summarizes what happens in each chapter of your book (in other words, a synopsis) or it can be a book summary like you did above, just a bit longer. If you're like me you started off with a longer description and had to whittle it down to the essentials so you already have it.

Some sites (Smashwords for example) allow you to post both long and short descriptions so it's handy to have both, just in case.

By the way, this article of Nathan Bransford's is, hands down, the most helpful article I've read on summarizing a novel: The One Sentence, One Paragraph, and Two Paragraph Pitch. Also, see his article on how to write a one sentence pitch.

Example of a press kit

Tolulope included a link in her article to Michael Hyatt's press kit.

That's it!

What advice would you give a new author interested in assembling a press kit?

Other articles you might like:

- Chuck Wendig On Fairy Dross And Pegasus Dreams
- How To Write A Critique: The Sandwich Method
- How Robert J. Sawyer Writes A Novel

Photo credit: "The Reporter" by CEBImagery (dot) com under Creative Commons Attribution 2.0.

Chuck Wendig On Fairy Dross And Pegasus Dreams

Chuck Wendig has written another post about writing, the kind that makes me want to spring up from my computer chair, punch the air a few times and, in a voice crackly with disuse, declare, "I love being a writer."

Of course, results may differ.

Chuck's post came as a response to J. Robert Lennon who had objected to the oft given piece of advice to put ones butt in a chair and write.

Though Chuck Wendig admits that this "isn't a particularly stunning piece of writing advice in the sense that it fails to teach you how to write" he thinks it's true. He writes:

What I’m saying is, the creative process is alarmingly internal. A great deal of it goes on up in our — *taps forehead* — brain-gourds, stirring around in a great bubbly froth. It’s imaginary. It’s intellectual. It’s ephemeral, if we let it be. It’s fairy dross and pegasus dreams, man. The only way to take what is imaginary and make it a reality is to put your ass in the chair and write.

I found that inspiring.

I've been writing every day--well, at least 6 days a week--and putting my work out there and it can be brutal. Often when I'm writing it's like I have a voice (sometimes it feels more like a chorus) that tells me the best thing I could do for the world would be to put down the pen. Now!

But I ignore that voice and each time it gets easier to ignore.

Except when it doesn't.

But I still write.

So that's my long winded way of saying that Chuck's post was like a warm smelly hug from the strange uncle after a particularly terrible day at school. Very welcome and comforting yet slightly disturbing.

(BTW, I mean that in the best possible way. In case you haven't guessed, although I've never had the pleasure of meeting him, I admire Chuck Wendig as a writer.)

Anyhow, the following quotation is longer than I usually feel comfortable posting but it's so great I have to share it with you, or you can just go to Chuck's post and read the whole thing. (And you should!)

Ready? (Oh, and the following has swearing in it, so be warned.) This is the bit I'm going to print off and put on my wall, above my writing desk:

It’s work. It’s not always pleasant work. Sometimes it invokes a deep, almost psychic pain — an anxiety that blooms into an acid-spitting flower corrosive to confidence and craft. And yet, the words are the words. They only matter when they manifest. And you’re the magician that summons them into existence — their manifestation is on you and you alone. Nobody said it would be easy. Nobody’s saying you have to write thousands of words per day. You write what you can write. But that verb is still in place: write. Whether you write ten words or ten-thousand, they still involve you taking off your pants, setting your coffee onto its coaster, petting your spirit animal, then sitting your ass into the chair and squeezing words from your fingertips until you collapse, unable to do any more. It doesn’t matter if it’s good. Not now.

It only matters that it’s done.

Put your ass in the chair.

No, that doesn’t tell you how to write.

But it does tell you where it begins and where it ends: with you. You are a character with agency. You are a god in this world. Creativity is a worthless state of being without the verb that triggers it: to create. Creativity is the match. You still need to strike it and light the fire.

You can’t just always bully your way through a story, true. A great deal of writing remains in the head. And it comes with patience. And craft. And with your burgeoning intuition. Just the same, the end result of writing is the written word.

And the words only get written when you fucking write them. 

Want to read some of Chuck Wendig's work? Here's a link to some of his short fiction and here's a link to the first chapter of his upcoming book Unclean Spirits (May 7, 2013). By the way, the book can be pre-ordered over at Amazon for $6.66. Nothing ominous about that. Nope. ;)

Other articles you might like:

- How To Write A Critique: The Sandwich Method
- What Slush Pile Readers Look For In A Story
- How To Create A Villain Your Readers Will Love To Hate

Photo link: "Good Morning Bengaluru [Explored]" by NJ.. under Creative Commons Attribution 2.0.

How To Write A Critique: The Sandwich Method

Today I read Jody Hedlund's excellent article, 5 Tips For Finding a Competent & Compatible Critique Partner. If you are looking for a someone to give you feedback on your stories, it is well worth the read.

As I read Jody's article I remembered a post by Nathan Brandsford from a few years ago on how he (NB was an agent at the time) evaluated a manuscript and whether it was necessary for him to like it. (It wasn't.)

I didn't find it--I'll pass along the link if I ever do, it was a great article--but I happened across this one by Rick Daley on how to write a critique.

Rick Daley: How To Write A Critique

Rick writes:

I recommend the sandwich approach, where you start with a positive point, give an honest opinion of what doesn’t work for you (may be multiple points), and then end with another positive point or words of encouragement. I’ve found that the sandwich approach helps put recipients at ease (especially if they are hungry). It makes people more receptive to constructive criticism and keeps them from getting overly defensive. If you are taking the time to provide the feedback, you should want the person to actually do something with it.

Excellent advice! I encourage you to read the rest of his article: Critiquing Critiques.

Other articles you might like:

- How Robert J. Sawyer Writes A Novel
- Walter Benjamin's Advice To Writers
- How To Create A Villain Your Readers Will Love To Hate

Photo credit: "Army Photography Contest - 2007 - FMWRC - Arts and Crafts - A Plumpish Proportion" by familymwr under Creative Commons Attribution 2.0.

How Robert J. Sawyer Writes A Novel

I just came across this interview with Hugo and Nebula Award winner, Robert J. Sawyer.

How Robert Sawyer creates his characters

The characters almost always come out of the research I do. For instance, in Frameshift, Pierre Tardivel started out simply as a man at risk for a genetic disorder, but as I learned more about such things, his background, motivations, and thoughts grew more complex and subtle. I really do believe what Nobel laureate Ralph Bunche said: "If you want to get across an idea, wrap it up in a person."

Robert Sawyer's advice for aspiring science fiction authors:

As a business, science fiction is very similar to mystery. Both have healthy short-fiction marketplaces, dominated by Dell Magazines — the same people who publish Ellery Queen's and Hitchcock's also publish the top two science-fiction magazines, Analog and Asimov's. Both genres are series oriented: if you want to develop a character and write book after book about him, her — or it — you can. Both are convention-driven businesses: just as there are lots of mystery conventions, so, too, there are lots of science-fiction conventions. And both are research-driven genres. You can't write a really good mystery without doing lots of research; the same is true of science fiction. My advice for those wanting to break into science fiction is the same advice I'd give for those wanting to break into mystery: start with short fiction, then try to sell a novel. And, just as in mystery, I'd say the greenest pastures are in New York; don't be afraid to tackle the American market, and don't worry about your Canadian content — I've never had the slightest problem selling flagrantly Canadian work in the States.

Read the rest of Robert J. Sawyer's interview here: Fingerprints Interview of Robert Sawyer.

Credits: "From the December 1997 issue of Fingerprints, the newsletter of the Crime Writers of Canada. Interview conducted in November 1997 by Jim McBride."

Other articles you might like:

- Walter Benjamin's Advice To Writers
- 5 Rules For Writing A Murder Mystery: Keeping the Murderer Secret Until The End
- How To See Through Your Character's Eyes

Photo credit: "I am Chicago" by kevin dooley under Creative Commons Attribution 2.0.

Walter Benjamin's Advice To Writers

Brain Pickings is one of my favorite blogs.

Not all the articles are about writing--though many are--but all the posts are valuable, often surprising, and always interesting.

Take, for instance, Maria Popova's lovely piece, Advice on Writing.

First, one's eye falls on a miscellany of advice. The quotation that caught my eye was from Stephen King, "Write with the door closed, rewrite with the door open."

In other words, write the first draft for yourself, write the second with the knowledge it will be read by strangers, some of your friends and, possibly, your mother.

Maria also tells us that in 1928 essayist Walter Benjamin gave writers the following advice:

(The following are loose paraphrases. Very loose.)

2. Don't read what you've just written.

If you reread what you've written it is inevitable you'll hate it and want to rewrite it, to fiddle with it, pushing words around on paper, changing them. The only result will be that all impulsiveness, all life, will bleed out, leaving it with the uniqueness and interest of a cardboard box. 

Be bold. Be different.

Have a reason for every change, not just a vague feeling.

3. Seek out the right writing environment for you.

Sound matters. Some of us need complete silence, others prefer a babble of noise like what we get writing in our favorite coffee shop.

Others must have music. The rhythm of it can help us inhabit a scene--driving music for tense action, calmer, moodier songs for sequels, scenes where our characters pause and reflect on what they are doing and why they are doing it.

And many of us aren't any one way but prefer to flit between musical identities, between writing environments, preferring complete quiet one day while the next we curl up in a coffee shop and let the soft babbling murmur of our fellow patrons wash over us like an ocean swell.

4. The magic of habit.

If you write

a) in the same place using
b) the same materials (laptop or pen and paper, whatever you're used to)
c) at the same time

it will be that much easier to do it again and that much harder not to do it.

By doing the same things over and over you'll form a habit. Writing habits are wonderful things!

5. Write your ideas down.

If you have an idea for a story, a scene, a character, write it down.

If you hear a word you'd like to use, write it down.

If you see a dessert in the window one of your characters would love (or hate), take a picture. (Pinterest can be a great way of keeping track of research photos.) (see: Using Pinterest To Help Build Your Fictional Worlds)

If you hear a song one of your characters would love (or hate) record a snippet of it so you can find out, later, which song it is and put it with your other research. (see: How To Create And Maintain The Habit Of Writing)

7. Before you sit down to write decide how long you'll write for. 

Write to the end of the appointed time. If no idea comes to you, work on describing the items you have at hand: your keyboard, your mouse. Your cat.

Or do a writing exercise.

Don't stop writing before the appointed time.

Walter Benjamin's advice appeared in an essay entitled "Post No Bills" and was part of the book One-Way Street. The essays in this book have since been re-published in Reflections: Essays, Aphorisms, Autobiographical Writings. 

#  #  #

What advice would you give to new writers?

Other articles you might like:

- How To Create A Villain Your Readers Will Love To Hate
- Joe Konrath Is Having A 99 Cent Sale
- Dean Wesley Smith Writes A Novel In 10 Days

Photo link: "White landscape" by lrargerich under Creative Commons Attribution 2.0.

How To Create A Villain Your Readers Will Love To Hate

Have you ever had the experience of suddenly seeing something everywhere after you begin studying it? Of having something 'on your mind'?

That's what's happening to me with antagonists/villains.

A few days ago Larry Brooks wrote an excellent article, The Flipside of Hero Empathy, about the importance of crafting an antagonist your readers love to hate, and how that generates narrative drive. I thought it was brilliant so I'm sharing it with you. It's all about the basics of the craft, but those are strangely easy to forget.

Empathy

"Your reader needs to feel something for your hero."

We know this. We want our readers to care intensely about our protagonist and about whether he/she will achieve his/her goal.

Dramatic Tension

The antagonist is "the obstacle to the hero's question. Therefore a good antagonist will help build dramatic tension or what I call narrative drive.

The Antagonist

The antagonistic force tries to prevent the protagonist from acquiring his/her goal, often because the antagonist wants it, or something it would lead directly to.

Also, the antagonist is often very much like the protagonist but with one crucial difference. For instance, Luke and Darth Vader were both strong in The Force and both trained as Jedi Knights. One could say that they both wanted what was best but they had very different ideas about what that was.

Similarly, Dr. Belloq was Indiana Jones's antagonist in Raiders of the Lost Ark. They were both archaeologists, they were both passionate about finding and bringing back relics and they both liked Marion Ravenwood, Indiana's old flame. The big difference? People were more important to Indie than relics.

Empathy & Narrative Drive/Dramatic Tension

Larry Brooks holds that if readers have both a) empathy for your protagonist and b) a strong desire to see the antagonist get what's coming to him (/go down in flames) then your story will have oodles and oodles of narrative drive, that couldn't-put-it-down-if-they-tried quality which most of us would like our stories to have.

After all, if readers desperately not only want the hero to achieve his/her goal but want the antagonist to go down in flames then they will keep turning pages until that happens.

The Following

Larry Brooks writes:

I mention this killer (literally) television program [The Following] because it offers one of the most compelling, interesting and deliciously hateable villains, maybe ever.

I haven't watched this series yet, though it's on my to-do list.

Which antagonist(s) do you love to hate?

Other articles you might like:

- Joe Konrath Is Having A 99 Cent Sale
- Dean Wesley Smith Writes A Novel In 10 Days
- How To See Through Your Character's Eyes

Photo credit: "Snow" by Luis Hernandez - D2k6.es under Creative Commons Attribution 2.0.

Joe Konrath Is Having A 99 Cent Sale

Joe Konrath writes:

One of the biggest reasons I wanted to regain control over my legacy books was so I had say-so over the price. I felt that publishers price ebooks too high.

.  .  .  .

For the next three days, my Jack Daniels, Jack Kilborn, and sci-fi books will each be 99 cents (with the exception of AFRAID, which is free 4/19 - 4/23).

This sale ends at the stroke of midnight Sunday night (April 21, 2013).

For more information, click here: Joe Konrath's 99 Cent Sale.

Other links you might like:

- Dean Wesley Smith Writes A Novel In 10 Days
- 3 Ways To Create An Antihero Your Readers Identify With
- How To Write Episodic/Serialized Fiction

Photo credit: "Edge Of Space" by JD Hancock under Creative Commons Attribution 2.0.

Dean Wesley Smith Writes A Novel In 10 Days

Writing A Novel In 10 Days

That's right. Dean Wesley Smith is writing a novel in 10 days!

If you're boggled by that--and I was the first time I read it--Dean discusses what he calls "fast writing" here: Writing Fast.

In Writing Fast, Dean says he believes that "the quality of the final product has no relationship to the speed, method, or feeling of the writer while writing." Therefore whether he took a year to finish the book or only 10 days, the quality would be the same.

But not only is he going to write the novel in 10 days he is also going to only do one draft. He writes:

I hope to write the book (70,000 words) in 7 to 10 days and then turn it in to the publisher. One draft. (The Ghost Novel Writing Is On For Next Week)

To find out about Dean's views on Rewriting see Rewriting Part Two.

How One Professional Writer Prepares To Write A Novel

In his first log I noticed Dean talked a bit about how he gets organized to write a novel and that's something I've always wanted to hear more about from established writers.

Dean's writing computer is different from his internet computer

Dean has different computers for writing and internet related activities. His writing computer (he has discussed this in other posts) isnt' conneted to the internet so answering email, surfing the web, and so on, won't be a temptation.

I think this is a brilliant idea.

Chapter templates

Dean writes,

1:45 PM… Moved to my writing computer, set up files, set up a chapter template since I keep a different file for every chapter and combine them at the end, then typed in a title, typed in the main character’s name and started writing. 

That's interesting, using a different file for each chapter. I do something similar, but with the help of Scrivener. I've found that having each scene on its own makes structuring and organizing a novel easier.

For instance, sometimes I will write a scene two different ways in an attempt to discover which feels truer to the story and being able to label them "Act 2 Scene 3 Version 1" and "Act 2 Scene 3 Version 2" helps enormously.

Background Information

Dean writes:

5:05 PM… Moved over to my writing computer from my internet computer and decided that before I went too far I needed to start a glossary of terms, character dress, place names and such, so I set that up and put in it the little bits I had done in the first 500 words.

- glossary of terms
- character dress (perhaps character names as well plus tags and traits)
- place names

That's straightforward. 

No Outline

Perhaps I'm burying the lead, but I found it interesting that Dean didn't create an outline previous to sitting down to write.

At least, that's what it seems. He writes:

1:45 PM… Moved to my writing computer, set up files, set up a chapter template since I keep a different file for every chapter and combine them at the end, then typed in a title, typed in the main character’s name and started writing.  I have no idea where this book is going, but to start I paid attention to making up some setting through the character’s eyes and opinions. [Emphasis mine]

And

At this point at 4:26 in the morning, I’m at 7,625 words for the day. I could go a little farther but this is a ton better than I had hoped for the first day so I’m going to stop and go downstairs with my cat and veg out on some stupid television.

I still have no idea at all where this book is going. Just making it up as I go. But at the same time I’m feeling no worry at the moment either. I have a hunch that will come. (grin) [Emphasis mine]

I guess I'm a plotter rather than a pantser because I'm getting a nervous tick just thinking about sitting down to write a novel in 10 days without an outline!

I'm eagerly looking forward to following Dean's progress. It's not often--in fact, hardly ever--that one gets to look over an authors shoulder as they write. This will be interesting. I just wish I could read the book at the end!

Other articles you might like:

- How To See Through Your Character's Eyes
- 50 Shades Of Grey: The Most Profitable Books Of All Time?
- When Is A Story Ready To Publish?

Photo credit: "Its Always a Journey" by Zach Dischner under Creative Commons Attribution 2.0.