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Write your book STEP BY STEP

hello hello, it's me again!

today i'm bringing you a step-by-step / checklist to finally get your book done. i know it can be a bit complicated to put everything together to make your idea come to life (you're definitely not alone!)

that's why i compiled some tips and made this post, in hopes to help some author out there :D

let's get started.

PREMISE

assuming you already have a good idea in mind, you should start by writing a premise. to help you with that, try to answer these questions:

who is the main character?

what are their goals?

which troubles will they face / what's stopping them from achieving their goals?

do they have an opponent? if so, who?

now that you know the answers to these questions, it's time to write the premise. the premise consists in a sentence that summarizes your whole idea.

PLOT OUTLINE

there are infinite ways to plot your story. you can do it by writing down ideas and linking them together, following a scheme, or any other method.

the most common plot outlines are these:

synopsis outline: one to two pages, where you hit all the major beats of the story

in-depth outline: outline each chapter/scene

snowflake method: develop the premise into a bigger paragraph, and that paragraph into a page (etc.) until you have the whole outline of your story

booken method: plot the start and end of the story, and the main characters

the novel factory created plot sheets for free, and you can choose from eight different templates. you might want to check it out!

KNOW YOUR CHARACTERS

having your outline defined, you should start developing your characters now. the main character's profile might be more detailed than the others, however, it's up to you. there are many character sheets out there on the internet that will help you create flawless characters.

i have a post with resources that might be helpful when creating a character, check it out!

and here you have some prompts and sheets to create a character:

Quick Character Creator - EA Deverell

Extremely detailed character sheet template - @hawkasss

The Best Character Template Ever - Dabble

Character Twenty Questions Worksheet - The Writers Circle

at this point, you should also define the narrator's voice, tone, etc, as well as the pace of your novel.

LOCATIONS

define the principal locations of your story, the settings, and where the story is taking place. it's important to know how the environment looks, and how your characters feel about it.

for this part, you might find it useful to do some research about some locations, if you're not familiar with them. find inspiration on Pinterest, Tumblr, or even on books, paintings, and art. everything is valid.

if your story takes place in a fantasy environment, you might need to fill out a template to create it or write down the way you imagine it to be. try to get as many details as possible, so there are no holes when developing the novel.

SUBPLOTS

you might want to give more depth to your novel by developing a subplot (or more than one). make sure it doesn't get too confusing or that doesn't take the focus away from the main action.

the subplot can be a romance, another character's relationship, a character's arc, a backstory, etc. this will make your story more real and 3D, more realistic.

develop it as a side story and mix it with the principal plot but don't make it as important as the main story, otherwise, none of the plots will make an impact.

SYNOPSIS

write a synopsis as long as you wish, covering every important part of the story. this will help you to really know your idea, and have a solid structure for it. it can range from 500 to 2,500 words, but you don't have to restrict yourself to a number.

things the synopsis should cover:

the status quo

the complication

initial challenges

midpoint

further challenges

the low point

the climax

the resolution

DRAFT

and we get to the best part which is writing! now that you know everything about your story, characters, locations, and scenes, all you have to do is to put all that together in words. don't feel pressured to make everything look perfect already, just write what comes to your mind. if you have a new idea for the plot, good, write it down! if this character doesn't make sense anymore, okay, get rid of them. just go with the flow, following the structure you've planned, and everything starts to come to life.

i know it's so tempting to go back, read what you wrote, and start editing and polishing, but trust me, don't do that! it's a waste of time, and you will take so much more time to finish your first draft. in fact, i've given up on so many stories because of that...

just when you finish the first draft, you will re-read everything and start editing, fixing plot holes, changing what doesn't fit well, etc. but for now, just write, get the first draft done. enjoy the process, don't rush.

thanks for reading!

i hope this post was helpful!

also, you might be interested in this free workbook with over 90 pages and many exercises! check it out here: THE WRITER'S WORKBOOK

resources for this post:

How to Choose a Plot Outline Method: 4 Techniques for Outlining Novels

How to Write a Novel: A Step-by-Step Guide

WEBSITES FOR WRITERS {masterpost}

E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;

NotionByRach - FREEBIES (workbook, notion template, games, challenges, etc.);

Hiveword - Helps to research any topic to write about (has other resources, too);

BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;

Charlotte Dillon - Research links;

Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;

One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;

One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!

Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;

National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;

Penguin Random House - Has some writing contests and great opportunities;

Crime Reads - Get inspired before writing a crime scene;

The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;

Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;

QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);

Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;

Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

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How to create “complex” characters

– Introduction

I wanted to make a post about creating complex and multifaceted characters, since character creation is something I'm very passionate about from both a craft and storytelling perspective. Specifically, I remember I had this tendency to apply flaws as an afterthought to my characters in hopes of making them balanced and seem more complex, and this could often make the characters feel a bit artificial to me. I'm obviously not any sort of authority figure on the subject, but I do have one tip that really simplified the process of making characters more intricate, and I wanted to share it! This is probably more helpful for people who might still be at the very beginning of their writing journey, but hopefully others can get something out of this as well! It's a bit lengthy, but I hope it's somewhat enjoyable to read ^^; Enjoy!

For a bit of background, back in the early internet days, there was this trend of judging various OCs on youtube, deviant art, etc. where people would essentially evaluate your character and determine whether or not a character was well written. During this time, the term "Mary Sue" would get thrown around a lot (which is a whole can of worms I won't be touching on here). For simplicity though, Mary Sue generally means a character who's "perfect" (again, heavy oversimplification here). To counter this, people began creating these lists of character traits where they'd list off a character's good and bad traits, and people who didn't have equal amounts in each category would often be scrutinised for it.

And I see this advice all the time. If you want complex characters, people will usually tell you to just throw on a bunch of flaws, but I think this can be a bit misleading, because most traits exist on a spectrum, and aren't a perfect dichotomy of good and bad.

Thinking of character traits as neutral

My biggest advice is honestly to just think of all character traits as neutral. Because what really is a character flaw? A flaw is a very ambiguous and subjective term after all. What might be considered a flaw in one character could be considered another character's greatest attribute, and vice versa. Functionally, a character flaw should be a trait that creates conflict within the context of the story. Any trait a person has could be good or bad, it just depends on how it shows up in practice and how it's applied in daily life. It might be tempting to think that certain traits are inherently good or bad, but again, flaws aren't really about good or bad. They're about conflict and tension, and just about any trait can work to a character's detriment or in their favour.

I'm going to list off two examples of hypothetical characters below; one who most would consider to have a lot of "good" character traits, and one that would be considered to have "bad" character traits. Then I'll show you how you can easily flip those traits to create nuance. (And again, I really don't think good or bad are relevant terms here, but it's just to exemplify what I mean more easily!)

The "Good" Character

This character is empathetic, creative and incredibly supportive of others. They always do the right thing, and are a very responsible individual. They're approachable and friendly, funny, and generally enjoyable to be around.

The "Bad" Character

This character is cunning, manipulative, and don't care if their words hurt other people's feelings. They're largely apathetic and unreceptive, don't care about rules, and don't go out of their way to get to know people.

Their flaws & how it can affect the story

For the "good" character, you can look at what the downsides of empathy can be; very reactive emotionally, perhaps even a bit emotionally impulsive. Maybe they have a difficult time recognising their own needs, especially since supportive is also a trait listed above. Maybe they even use this empathy to figure out other people's needs and use it to their own benefit. Someone who's creative can often have a difficult time committing to their passions and ideas because there's always something new. Maybe they feel out of place or easily stifled by rules, but because they always want to do the right thing, they're hesitant in outright breaking rules and social norms. If they use their empathy and approachability to manipulate, perhaps this is their way of subtly regaining a sense of control because they're too afraid to explicitly go after what they want in life. Maybe they care a lot about how they're perceived, etc. Or maybe they really are a compassionate and kind person, but they're often a doormat to others because they don't know how to set boundaries or even how to recognise what they want. Maybe they don't trust their own judgment because they're so used to doing the right thing "just because it's the right thing to do", and don't actually reflect on their actions beyond that. There's a lot you can do with these traits!

For the "bad" character, which might seem a bit more tricky at first, the easiest way to figure out what the nuance of "bad" traits can be is to break down the why. Maybe this character became cunning because they've had to think long term a lot. They're good at waging the odds, they're good at reading the room, they're good at putting things together and seeing how the dominos will fall. Maybe they're even the person responsible for setting up the dominos, because they don't trust anyone else to make sure that there's a desirable outcome. If they're manipulative then it likely means that they're good at reading people, and they must know how to appeal to other people to some degree, otherwise they wouldn't really be able to manipulate anyone. They're likely used to having to look out for themselves, and they might even be good at spotting their own kind and knowing just when to avoid them. They don't care much for rules so they might not be as harsh in judging others, maybe they even have an easier time getting along with people who dare to defy social norms. Maybe they're even supportive of other people breaking the rules, because why the hell not?

Creating nuance

If you look at the two characters above, you'll quickly realise that they could hypothetical be the same character, because... They are. The "good" character is the "bad" character when they were younger. The "bad" character is the "good" character's future. An empathetic character can easily turn that empathy and their social skills into cunning manipulation. A character who previously felt stifled by the rules might choose to defy them. A character who got sick of caring how others perceive and judge them might choose to stop caring about what others think, and might even go out of their way to seem off-putting and un-approachable, because they refuse to ever allow themselves to care about others and be treated like a doormat again.

Or you can treat them as two separate characters that function as foils to one another. They both overlap in a lot of traits despite it not seeming so at first glance. My point is, I find that if you treat all traits as neutral, you don't really have to manually "add" flaws. Most traits have both upsides and downsides, and which side of those traits create conflict in the story is often what determines whether something is a flaw or not.

– Outro

Sorry for the lengthy and possibly rambly post, I just thought it might be advice worth sharing as it's something that really helped me flesh out my own characters more when I was still very new! Plus, as mentioned before, character creation and analysis is one of my favourite aspects of storytelling, and I'm also very passionate about psychology and philosophy and such. And again, this is all in good fun and 100% not a rule on how to write characters! There's exceptions to everything and everyone's process is different, and while this advice might be helpful to some, it might not be helpful whatsoever to others, and that's completely fine!

I'd love to make more posts on topics like this in the future if people enjoy it, or if anyone has any specific requests on anything! :,)

Platicas de Cafe

Querida Amiga: Cuanto gusto me causo su presencia del dia de ayer. Encuentro siempre que las bondades del ser humano son mayores cuando hacen acto de presencia, y en ellos muestran su aprecio y bienaventuranza a quien los recibe. Cuantas cosas no compartimos bajo las terrulias de cafe y pan, que no fueron de licor y vino, para no exaltar nuestras emociones en impetus juveniles que comprometen mas alla de la amistad, y agradezco la prudencia y sapiencia suya, al escoger cafe y pan sobre el licor y el vino. El cafe tiene ese sabor rico, que despierta en una manana venteada, y oye el susurrar del viento mientras una buena lectura de Ana Karenina se sostiene en las manos. Y dentro de esos momentos agradables, aun recuerdo cuando tuvo a bien aproximarse, y en una parte de sus discursos dijo estar cansada de decir una y otra vez lo que no entienden otras personas. Parecia estar angustiada por lo que otros no comprendian de usted, y en mi afan de querer ayudar, si es que me lo permite, me quede pensando y realice que usted no necesita entender a las personas; solo aceptarlas como son. No hay mucho que deba agregar a este comentario por cuanto aceptar es querer a la persona como es, por cuanto no se trata de nulificar a uno para justificar al otro, y menospreciar al uno en exaltacion al otro, por cuanto hay un respeto envuelto en ambas personalidades. Espero fervientemente que estas escasas lineas le puedan servir para clarificar ideas, y admito, que es mi deseo poder ayudarle con las interrogantes que de repente encontramos en este mundo, atribulado por las interrogantes que no encontramos. Sin mas por el momento, quedo de usted.

How should I go about describing a character who goes through a lot, becoming more disheveled and desperate as the plot goes on?

Desperation is the emotion that drives characters to their limits, leading to their most intense and extreme behaviours.

By showing how characters become more desperate as your plot progresses, you can create characters that are interesting, dynamic, and relatable.

Here are some ways you can show desperation in your characters. As the plot moves forward, these elements can get worse, showing their decline.

How do they behave?

Obsessive and/or compulsive

Repetitive actions like hand wringing, or overuse of stock phrases

Self-destructive and risk-seeking

Enhanced aggression

Avoidant and isolationist

Manipulative

Exploitative

Short-tempered

Impulsive decision-making

Unrelenting pursuit of something

What physical signs do they show?

Heart palpitations and short, rapid breathing

Sweating profusely

Shaking or trembling

Sudden onset of nausea

Feeling weak or dizzy

Muscle tension

Headaches

Insomnia caused by worry and stress

Feelings of fatigue

Stomach pain and cramping

How do they interact?

Begging or pleading with others

Manipulating others to get what they want

Increasing paranoia and questioning other's motives

Pushing away loved ones

Becoming overly clingy

Either an inability to trust or being too quick to trust others

Self-sabotage

Single-focus conversations

What do they look like?

Unkempt hair and poor hygiene

Rumpled, slept-in clothing

Nervous tics, like fidgeting, pacing, or picking at nails

Extreme and unexplained weight loss

A haunted, faraway, or panicked look

Dark-rimmed, bruised eyes from lack of sleep or exhaustion

A constant sheen of sweat and clammy skin

Unusual clothing choices

What body language do they display?

Hunching over, as if trying to protect themselves

Fidgeting or pacing

Avoiding eye contact

Clenching fists or grinding teeth

Sweating or shaking

Staring intently at something

Repeatedly touching hair or face

Darting eyes and biting lips

Meek and under-confident stance

Pleading look

What is their attitude?

Feeling hopelessness

Sad and dejected

Becoming increasingly irrational

A loss of faith in themselves and others

Obsession to the point of resorting to extreme measures

A sense of helplessness

Blaming others

Feeling powerless

A sense of urgency

What are some positive things that can come out of desperation?

Increased motivation to achieve their goals or solve their problems

Resilience and adaptability in the face of adversity

Heightened creativity and resourcefulness

The ability to form deep and meaningful connections with those who share their struggles

Catharsis or character growth through their struggles

What are some negative things that can come out of desperation?

A tendency to become self-destructive or engage in risky behaviour

Difficulty forming and maintaining healthy relationships

Increased isolation or loneliness

Chronic stress and physical health problems

A tendency to make impulsive or irrational decisions

Prone to depression and anxiety

Como diria, en una noche estrellada En un camino solitario... Las palabras A aquel amor Que le hace suspirar Con un sello propio Muy de suyo Para denotar esos sentimientos Que surgen Entre la noche bella y oscura

Can we talk? Language, society, and consciousness

The story of human evolution does not end with the appearance of Homo sapiens in Africa 200,000 years ago, or with the subsequent migrations to Europe, Asia and the rest of the world. Our curiosity about our origins demands that we try to explain why it is this particular species that goes on to dominate the planet.

The answer, of course, is our particularly human form of consciousness, the development and use of language and the growth of complex social structures. The evidence suggests that these developments were intimately linked, driven by feedback loops. The FOXP2 gene may be responsible for literally wiring the brain for the capability of language, among other things. It encourages the growth of interconnections between neurons which, when combined with a larger frontal lobe and the anatomical changes necessary for vocalizing speech, make the human instinct for language inevitable.

British evolutionary psychologist Robin Dunbar argues that language allowed us to socialize, to build relationships with each other through gossip, and one-to-many bonding through the telling of stories and jokes. As social interactions became more complex, neural capacities expanded in response.

The result is the Great Leap Forward, the transition to behavioural modernity and the emergence of modern humans, which is thought to have occurred about 50,000 years ago.

Image: Etologic horse study, Chauvet cave, by Thomas T. CC-BY-SA-2.0 via Flickr.

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