Fiction writers fiercely debate whether or not you should plan your story before writing it. Seat-of-the-pants writers argue planning your book is more likely to create a mechanical, paint-by-numbers story driven by plot, not character. Mainstream, commercial fiction or plot-heavy genres like mysteries can and even should be planned out to the tiniest detail, but “real,” literary fiction should be created one sentence, one word at a time. Get a great character and just let them do what they want. It’s more pure, more magical, more creative. It’s also more chaotic, more frustrating, and more time-consuming.
For most of my life, I’ve been a seat-of-the-pants writer. I rebelled against the idea of planning my stories, of laying them them out like a blueprint or, even worse, an essay for school. I’d have an idea where I was going and I’d point my characters in that direction and start writing, with no idea how to get them to their destination. As a result, they often wandered off the path, finding diversions and deciding maybe they didn’t want to go where I told them and maybe this place over here was more interesting. As anyone who’s ever been in a writers’ group or workshop with me can tell you, this method led me to a lot of dead ends and a lot of rewriting. I have finished a couple of novels over the years, but many more have either fallen apart in the early stages because I didn’t know where I was going, or have so many versions that even I can’t keep them all straight. I can write up to a hundred pages before I hit a dead end or an amazing new idea that seems so much better than the original pops up. It wastes time, and it’s demoralizing.
I was so frustrated with the way things were going that when I stumbled across Karen Wiesner’s First Draft in Thirty Days, I decided to give it a shot. I used it to work through my fantasy novel Sable (I use the main character’s name as shorthand for my stories), which I originally began about fifteen years ago when I was in high school. After failing to find a plot worthy of the character, I put her aside, telling myself I would come back when I was a better, more mature writer. A couple of years ago I decided it was time to try again, but even though I had progressed with the plot and the characters I was still struggling.
Unfortunately, I can’t give Wiesner’s method a definitive thumbs up or down yet, because I didn’t fully utilize it for Sable. The novel’s structure is a frame, with the events of the past revealed during a trial that takes place in the present. I used Wiesner’s methods to lay out the characters and settings and plot points of the outer frame, the “current” events, but I left the bulk of the story, what happens in the past, uncharted. I had some idea of the major events in Sable’s life and had even written some of the scenes, so I figured that was good enough. It was a way for me to have my cake and eat it too. I had used the book to plot out some of my book, while leaving some to the magical “let’s write it and see what happens” method.
A couple of years later, I have only just come up with a workable plot to fill in the gaps, and I’ve ended up having to lay it out ahead of time to do it. I can’t help but wonder if I would be done by now if I had actually followed Wiesner’s method for the entire novel.
My new vampire story will be, for me, the real litmus test for Wiesner’s approach. Since it’s a brand new idea, I’ll be using her book all the way through the process. I’ll chart my progress here, so if nothing else, it should be a fairly thorough road test of Wiesner’s book.