More on Plotters versus Pantsers

I thoroughly enjoyed Warren Easley’s guest blog about outliners versus pantsers.

Full disclosure, my wife and I had dinner with Warren and his wife, Marge, in Arizona while we were at the Poisoned Pen Press/SoHo Press Mystery conference last September.  They’re delightful people and Warren is an outstanding writer.

His blog made me evaluate what kind of writer I am…a planner or someone who flies by the seat of his pants.  I think I’m a little of both.

When I start a book, I try to write a slam-bang, grab em’ by the throat first chapter.  I don’t have a clue what the book will be about or who the bad guy is.  I will work on that first chapter over and over and over.  In my newest book, Graveyard Bay, I wrote the first chapter easily fifty times until I found what I was looking for.

Graveyard Bay was my biggest challenge so far.  My second Geneva Chase mystery, Darkness Lane, ended on a bit of a cliffhanger.  Geneva’s been entrusted with a notebook that incriminates nefarious Russian mobsters.  The third book had to be a complicated chess game on how that notebook both helps her and puts her in terrifying danger.

Another disclosure, the ARCs for Graveyard Bay are out.  This is the part that makes me really nervous.  That means the book is out for review. Fingers crossed. Oh, and the book launches September 10.

Once the first chapter is done, I move on to the second chapter, and then the one after that.

At some point, however, I have to write down the characters and what I think they’re up to.  There are blind alleys, twists, turns, plot threads that will have to be accounted for.

But even at that, the book is a journey for me.  As such, some of the plot twists and character dialogue is unexpected. I like that writing a novel is as much an adventure for me as I hope it will be when someone reads it.

In his book On Writing, Stephen King argues that he can tell whether or not a book was written using an outline. He thinks such books feel somehow "staler" than books that are written the "true way," which is by the seat of your pants, never knowing what will happen next.

William Blundell in his book The Art and Craft of Feature Writing, he said, “I’m a strong opponent of outlining.  It’s deciding in advance what the story will be, and then just bolting the whole thing together like something out of a hardware store.”

Ray Bradbury said, “First, find out what your hero wants, then just follow him.”

So, as I await the September launch of Graveyard Bay and I prepare for Thrillerfest in just a couple of weeks, I’ve gotten the green light by my editor to continue working on Shadow Hill after she’s looked over the first hundred pages.

I’m twelve chapters along and, yes, I’m already taking notes of the untied threads I’ve left and blind alleys that Geneva is going to have to explore before I figure out who the heck the bad guy or gal might be.  www.thomaskiesauthor.com

Now or Later

Barbara's post on Wednesday reminded me again that I shall never a pantser be. Every time another writer describes the process of plunging in and powering through a first draft, I am stunned. Well, not as much as I used to be. But I am still struck by how different our processes are when it comes to writing a book. 

I think of myself as a hybrid, falling between pantsers and plotters in my approach. But the truth is, even though I don't put every scene down on paper before beginning, I do have a mental outline. That outline in my head evolves and changes as I get to know my characters. I need to know my characters pretty well before I can begin to write. I need to know what motivates them. I may be wrong, but I need to believe I know why they are about to do what I expect them to do. Of course, sometimes as I learn more, they do something I didn't expect. In fact, that often happens. But I set out with the sense that I know what is going to happen and why.

Instead of plunging in, I try out scenes in my head. I have gotten better at this over the years. But it is still a lengthy process. I have been trying to get past the first couple of scenes in my 1939 thriller for months. I thought the opening scene would be at Lincoln Memorial on Easter Sunday. While I was at a writers retreat in Vermont last summer, I dashed off that first scene to share during our evening reading. I thought I would be able to move on from there. I had introduced my protagonist. I had introduced his foe. We were ready to be off and running. But here I am, months later, writing and rewriting that scene.

I've mentioned before that I need to warm up before I can begin to write. That first fifty pages that I write over and over. But this has been something different. Even though I thought I was beginning the book in the right place, it felt wrong. I tried going back to the train station and showing my protagonist, a sleeping car porter, rushing to get to Marian Anderson's concert. Stopping to help a woman find her grandchild in the crowded station, trying to get a taxi, arriving late and finding himself in the back of the crowd. Seeing his antagonist. . .

I thought I had it when I wrote that scene. It took me two tries and two failures to launch to realize that opening was wrong, too.

Then a few days ago it came to me. A scene involving my villain that was directly related to the title of the book and that neither he nor I saw coming. What happened scared us both silly. If my villain is on his own "hero's journey," he is now committed to his path. And that elevates the encounter with my protagonist at Lincoln Memorial -- an encounter that I can write from my protagonist's point of view with no words spoken between them. 

I think it's going to work. It feels right. But I still haven't put it down on paper because what happens in my new first chapter has given me information that I didn't have before about my villain.

A pantser would plunge forward. I'm deliberating. Hybrids and plotters are more prone to edit as we go along. To edit before we even start to write. To edit as we are writing. That doesn't suck the life out of the story for me. But it does mean that the first draft does take forever to finish.

On the other hand, when I write "the end,"there are revisions left to do but no major rewrites. My revision process begins with the chapter summaries I wrote as I was doing my preliminary work. I compare what I expected to happen in my book to what actually happened. I often do an outline of the first draft so I can look for gaps and gaffes. After a read-through I'm ready to send the first draft to my beta readers. I need to send it away so that I can take a break and let the manuscript set before I plunge into revisions. . . assuming I have the time to do that. The downside of taking so long to get started is that one has less time if a deadline is looming.

But I can't do it any other way. I need to ponder and back track and stare at the wall for days and weeks and months before I can start. I need to edit as I go. I think it has much to do with personality. Spontaneity is not my middle name. But I do enjoy planning.

It seems to come down to now or later. Crawl along, cleaning up as you go and tidy up later. Or, plunge in, get a first draft and then do a major clean-up. No getting around it. However we do it, writing a decent book requires writing and revising. Now or later.