| Remember that basic idea you had way back? By | | | | writer stops, scratches his head. Where did that |
| this time it should have grown from a seed to a | | | | idea come from? Do I want the plot to down |
| full-blown plant, with structure and substance. If | | | | that path? This new idea, which the character has |
| you look back you will find it difficult to remember | | | | brought forth, is, of course, something from the |
| the original seed. It has expanded and changed so | | | | writer's subconscious mind. At this juncture the |
| much, like the Big Bang at the instant the | | | | writer should think carefully, weighing up the |
| Universe began. That analogy is very much like | | | | merits of this new idea. Again it is a matter of |
| the development of a novel from basic idea to | | | | 'legs' and 'meatiness'. |
| completion. | | | | What should the plot outline look like? To |
| No, you won't have the entire novel already fixed | | | | understand this we must touch on the subjects |
| in your imagination. (It might exist complete in | | | | of structure and construction. How is a novel |
| your subconscious though, but that is another | | | | constructed? A new writer might answer - a |
| article). There is much work to do yet before | | | | novel is constructed out of chapters. |
| your work resembles anything like a novel. | | | | No. Forget chapters. A novel is constructed |
| However you may already be able to visualise the | | | | almost entirely of scenes. Apart from words, the |
| opening scene featuring your key character. This | | | | basic building blocks are dramatic scenes. |
| is important. The key character should be | | | | Therefore your plot outline must be built in |
| presented to the reader from the start. As has | | | | scenes, that is to say, skeletal scenes. The meat |
| been said before, the reader needs to attach | | | | is put on the bones when the writer is actually |
| himself to a character, to feel empathy, and be | | | | writing the scene. Think in scenes throughout. |
| willing to see the book through to the end | | | | Chapters will look after themselves, as it |
| because that character is so engaging. | | | | becomes obvious to the writer which group of |
| As well as being able to visualise the first scene, | | | | scenes belong together - in a chapter. A chapter |
| the last scene in the novel, the denouement, may | | | | can contain one scene or twenty. |
| also be firmly in your mind; an exciting opening | | | | Likewise, scenes can be of any length, but they |
| and an exciting finish. What about the middle of | | | | must not be static with nothing happening. Keep |
| the novel, though? There is nothing worse for the | | | | description to a minimum. The reader wants to |
| reader to have their expectations raised by a | | | | get in on the action, so do not disappoint him. |
| good opening scene only for the book to go as | | | | The structure of the novel depends on how |
| flat as a pancake in the middle. That book has | | | | many 'threads' you intend to have in the novel. |
| failed because the writer has not done his job | | | | The main thread is, of course, the story of the |
| properly. Your first reader will be your target | | | | key character. However, a one thread story will |
| publisher's commissioning editor. You must impress | | | | give a thin plot. To create meatiness and variety |
| him or her or your book will never see the light of | | | | in the plot it is advisable to have at least two |
| day. How to avoid a flat middle? Careful planning | | | | threads. This means there will be another main |
| and plotting is the answer. | | | | character whose story is running concurrently |
| There are basically two kinds of writers, the | | | | with that of the key character. At some point |
| inspirational kind who wing their way through the | | | | these threads must cross i.e. be relevant to each |
| novel without any careful plotting, just a vague | | | | other. The writer might be confident and brave |
| notion as to what will happen, and the careful | | | | enough to include a third thread featuring a third |
| planner, who has an outline to follow, rather like | | | | character. This however will require a very |
| the route map of a journey. The inspirational | | | | detailed plot outline so that the writer can keep |
| writer can be brilliant; the epitome of spontaneity | | | | track of everything that is happening. There can |
| but it takes practice and confidence. Winging it can | | | | be no loose ends at the end of the novel - every |
| end in disaster in the form of writers' block. The | | | | character and plotline must be accounted for. If at |
| careful planner can get bogged down in his outline, | | | | the end of the book the reader has to ask - |
| thus becoming inflexible and perhaps predictable. | | | | 'Whatever happened to Charlie...' the writer has |
| The ideal way to go is to be a little of both. A | | | | fallen down again. |
| basic outline of the plot from start to finish is | | | | Do not be confused between the number of |
| recommended, but the writer should remember | | | | threads and the number of characters in the plot. |
| that the outline is not carved in stone, and can be | | | | Many characters will come and go in your novel. |
| changed at a moment's notice. An instance of | | | | Don't forget to account for their going. Don't |
| how this might happen is during the writing of | | | | create characters for the sake of it. Each |
| dialogue when the characters are in full flight. | | | | character, no matter how minor whether named |
| Enthralled, the writer feverishly types down | | | | or unnamed, must have a purpose for being |
| everything they say. Then, all of a sudden, one of | | | | there; a part to play. Whether these characters |
| the characters says something the writer had not | | | | should have a point-of-view will be discussed in |
| bargained on, something that, if acted upon, will | | | | another article. |
| take the plot in a completely new direction. The | | | | |