Writing a novel, like tackling any creative project—gardening, cooking, painting, etc.—involves a big chunk of your time.

We know this, and we go down that path anyway, eyes wide open, taking in the scenery, laying down the stepping stones, climbing over the fences and crashing through the gates, stumbling to the end.

 

We’re done!

Have you ever watched those Instagram videos of someone painting a picture?

When I watch, I always think, “Oh, that’s really a nice picture.”

And then they keep painting, adding things here and there, and I think, “Oh, yeah, that’s a lot better.”

And then they keep painting until the final picture, and I think, “Wow. I would have stopped about three or four images ago and been happy. But this artist knows what they’re doing.”

That’s the difference between a novice and someone who knows what they’re doing.

The professional artist knows where to add a little more shading, a dab more white paint, a little more
detail, a bit more mystery.

That’s what’s fascinating about professionals: They know what to do.

Experience is valuable, and the only way to get there is to be a novice first.

I’ve written four novels, three chapter books, a dozen short stories and a half dozen picture books.

Have any been published?

No.

Do I consider myself a novice?

Hmmm.

Always learning!

Here’s what I’ve learned most recently from agents, editors, and fellow writers.

1) Beautiful writing is different than a beautiful story.

2) Characters really, really need profound motivations for their actions.

3) Plot is more than just a series of events.

I’ve written about my epiphany with number 1 in a previous post

But what about motivation and plot?

What passes for motivation?

In real life, motivation is anything that gets you up off the couch and out into the world.

That could be the doorbell ringing, a dog who needs a walk, hunger.

Those aren’t enough though for a novel.

In the one I’m about to start revising (again), my character has to secretly return something he believes was stolen and is motivated to do so by the fact that his family is made up of a bunch of “losers,” and he doesn’t want to end up like them.

He’s also motivated by the fact that his grandfather is the one person in his family who is not a “loser” and he wants to emulate him…until he realizes his grandfather may be a thief, too.

I thought that was a pretty good motivator.

But…no one else did.

My task now is to be a mind reader—or just a better writer—and figure out a superior reason for my character to risk losing everything he loves.

It’ll come to me.

I’m sure of it.

I’m just drawing a big blank right now.

What about plot?

I read in an Instagram post by agent Jessica Berg that instead of approaching plot as “this happened and then this happened and then this happened,” change “and then” to “which causes…” or “which leads to….”

I loved that.

It changes a series of potentially random events to a buildup of interconnected events.

Someone else (and I wish I could remember who!) said, to uncover plot, don’t ask “what should happen next?”

Ask, “what should go wrong?”

So, as I undertake this round of revisions, first I’ll create an outline of each chapter/scene and then I’ll make sure that each plot point or hurdle leads to the next and is continually getting more and more hurdley (not a word, but I like it).

If you’re about to start a revision, give this a try, too, and we can compare notes at the end.

I wish you creative success.

Enjoy your week!

~ Gail

Onward!

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