NOTE: This is a guest post by Stephanie Raffelock
The very first novel that I ever wrote was one big face-plant, replete with a black eye. Like so many writers before me, I believed that because I’d read a lot of books, I could write one. I mean, how hard can it be, right?
A story analysis with writing guru, Larry Brooks, revealed a crucial missing element to my efforts. My 65,000-word narrative was not even remotely close to an actual story. Enter Jennifer Blanchard, courtesy of an introduction via Mr. Brooks.
She remains one of the most important relationships in my writing life.
Deciding to work with Jennifer was a big investment, both in time and in money. Nonetheless my eyes had been opened to the fact that creating a novel was going to involve a little bit more than just reading one.
In fact, I was slightly embarrassed that I hadn’t realized learning the craft of something before claiming it as your art was arrogant as well as ignorant. So it was with a fair amount of humility that I gave myself to becoming a student of story. I gave myself to the pursuit of craft.
Enter the Process
Meeting on the phone one time per week, Jennifer started me out by brainstorming a dozen “what ifs.” This was the how she ushered me into “discovering my story.”
Writers have lots and lots of ideas, but the story must be discovered, courted, wooed into existence. Each week she took me to the next step. Concept and Premise. Synopsis. Character background. Plot Points. Pinch Points. Resolve. And then we started the beat sheet, which would grow into a detailed scene list. As the structure came together, I created a personal code by which I worked: Complete the assignment. Finish on time. Don’t push back. Stay open.
By the time I was given the green light to begin writing my prose, the process was easeful. I knew my story, knew exactly where I was going and I skated to the finish line. I completed two sets of revisions and then sent it off to a professional copy editor.
In the end, I birthed–with the help of a wise “mid-wife”–my first real novel, a novel that garnered me representation with a good New York City literary agency.
Novel Number Two
Yes, I worked with Jennifer again, certain that I would need her expertise to help birth another creation. On this go around however, she pushed. She held back answers, offering instead more questions. It was a more difficult task, but again I completed a novel. However on this novel, I decided that the execution, meaning the narrative, was off somehow, so I shelved it, promising that I would return and revisit once my ideas about the piece had cooked and simmered a bit more.
I have no issue whatsoever with shelving something that doesn’t feel like it’s my best. I am not in the business of saving or salvaging work. I crank out about 150,000 words per year between novel writing and essays and I know that not everything I write is going to be good.
Third Time’s A Charm
Jennifer guided novel number three into existence with just four phone calls. From there, I sprinted to the finish line. I like this manuscript a lot. I know that it’s a good story. It is on its first set of revisions and my goal is to have it on my agent’s desk by December 1. It is my Plan B novel.
Here’s the thing about traditional publishing; first of all it moves at glacial speed. Second, there are no guarantees that your first novel will sell, so you need to keep writing and keep writing well. Sometimes your first novel sells because your third one did and the publisher decided to go back and pick up the first one. I am in it for the long haul, so I will keep writing.
Integration (AKA: “Will This Ever Get Any Easier?”)
I will start a new novel in January 2017, unless I am lucky enough to be re-writing one of my first two novels because a publisher wants it. The next project will likely begin with a phone call to Jennifer. I’ll get to go through my synopsis and each plot point with her. Then I’ll be on my own. After writing three novels, I’m to a place where I understand craft and how to use it in my own story.
Most good authors have a team. Go-to people with whom they can discuss and hash out their works. Jennifer will always be a part of my team.
Here’s What Makes You Integrate the Craft and Novel Development Process
Here’s what will help you integrate craft: Repetition and study. Read all of Larry Brooks’ books and all of Jennifer’s blog posts on story. Participate in her Facebook group. And find a few blogs that emphasize craft and sign up for those too. I like Steven Pressfield, Larry Brooks and Kristen Lamb. Take workshops and keep reading the novelists that you admire.
In the beginning, working in the long-form format of the novel will seem daunting. As you keep studying and practicing it becomes easier. Then you’ll be able to see for yourself when your Midpoint is thin, and you will begin to notice when you need more conflict and tension. It will occur to you one day that dialogue is in fact, action.
But you have to be committed for the long haul. You never stop being a student of story. You never stop investing in yourself. If the first novel doesn’t sell, you don’t cry, you create a Plan B.
To some this may sound too hard. For me, it sounds like a perfect way to spend my days. I say of prayer of thanks each morning that I get to get up and write today!
About the Author: Stephanie Raffelock is a novelist and a blogger. Her debut novel is represented by Dystel Goderich Literary Management in New York. Subscribe to her quarterly newsletter and receive an appreciation gift: “The Writers Dinner,” a unique vision for an entertaining evening.
I’m humbled to hear my students and clients sharing experiences like the one you just read in Stephanie’s guest post. My mission is to EMPOWER you to UNDERSTAND and be able to effectively IMPLEMENT craft in your stories.
I want you to walk away from working with me–regardless of if you’re doing private coaching or a group workshop–and feel like you could do this again, all on your own. (Not that you have to be on your own, but I want you to be able to be.)
If you’re participating in NaNoWriMo this year and DON’T want to waste your 50,000 words, but want to write 50,000 words that you can actually do something with, be sure to check out my sixth-annual NaNo prep workshop, Novel University: NaNo Edition. It’s an idea-to-draft workshop that uses the power of story planning combined with the momentum of NaNoWriMo to help you say, “2016 is the year I FINALLY wrote a cohesive novel!”
Not only will this workshop help you plan and develop your story before you write it starting November 1, but it will give you a REPEATABLE PROCESS that you can use with every story you write from here on out. You’ll know what questions to ask, what information you need to know, and how it all works together.
Process and an integration of craft are PRICELESS when it comes to being a successful novelist.
One Reply to ““Will It Ever Get Any Easier?” One Writer’s Journey Into Craft”
when it comes to preparing a story, I find that many non-writers don’t think about creating an outline, let alone revising one. If the author doesn’t know where the story is going, then the reader is not likely going to either. Jennifer’s questioning, and “What-if?” scenarios are key to any writer being able to produce a decent manuscript. The writer doesn’t need to go to a publisher or other literary professional, but the writer does still need to ask the questions to develop a plan in order to succeed.