Life, Interludes, Artefacts, and the State of the Project

 So, as some of you may know, I got a new job recently, and consequently needed to delay the release of Roots interlude 1.

As of today, it's up ([read it here]), and as you'll see, it's quite different from anything I've published before.

** Interludes

The frequency of these may decrease--we'll see--but for now, for every 3-5 chapters, I'd like to spend an update to publish some supplementary material. The one just published is diaries and correspondances from the story's characters. Others might be excerpts from in world texts, or even just explicit world-building lore dumps. The story will be fully understandable without them, and I imagine some readers may choose to skip them. For me, they serve a dual purpose of letting me share details of the characters and world that couldn't make it into the main text, and providing (ideally--though not last time) a bit of a rest from the frantic work of pumping out the real chapters.

** Artefacts

One thing I'd like to experiment with in interludes from time to time is showing photographs of in world objects that I've constructed and staged for viewing. In this first interlude, I've shown some letters and notebooks. In the future, I might show textile works; wood carvings; etc, or even do entire interludes in the form of in-world music.

This is because, when I say, "I am a multi-media artist," I mean (in case you haven't gathered it from my choice of project) that I am interested in an utterly ridiculous number of media, and that the more of them I can pull into a given project, the more engaged with it I can be.

So, every couple chapters, I get to carve, or sing, or embroider, or make weird science fantasy props, and it's my book, and you can't stop me.

** The State of the Project

New job. Too many migraines. Life is chaos. Roots is on.

The next few updates, we're going to be aiming for once a month, rather than twice. If I'm honest, I'm not even 100% percent confident that I'm going to be able to consistently meet that for the next few chapters. Based on the data that I've gathered from doing the last three-and-a-bit chapters, there's absolutely enough time (in fact, I specifically chose my work hours to be sure there would be time), but between life and health, I am not functioning at full capacity at the moment. I'll do my best, and it'll have to be enough.

What I am 100% confident of is that by the time these next three chapters are done, I'll be able to reduce the work-per-chapter notably by re-using assets. The first big time skip of the series is gonna be done, and all the characters and locations are gonna look the same for a while. I doubt it'll be enough to immediately hike the update rate, but in time, between accumulation of experience, accumulation of assets, and accumulation of engine improvements, it will be.

We're still early days, team. Still figuring things out. Hang in there, and thanks for tuning in.

Reflections on the Process: Chapter 3

Whew! This is going up late.
This was a difficult chapter. It was pulling teeth every stage of the way, from getting the illustrations done, to alignment, but somehow, I managed to get it all done on schedule.

** Why was chapter 3 hard?

I can't account for why /illustrating/ it was so difficult--except maybe that of the early drawings, some were so /nice/ that my standards for myself shot up, and I struggled to meet them. (I did meet them, ultimately.) I think by far the bigger reason the chapter felt like such an uphill battle was the crowd scenes, which took a couple hours to illustrate, nearly as much to clean, and were a massive alignment time sink.

** What worked

• Following the same basic process/order of operations as chapter 2 worked fine
• Making quick thumbnails with no repeating images rather than a real storyboard allowed me to a) do visual brainstorming & think visually first, while b) minimizing the amount of time spent on storyboards that won't be followed closely
• Improvising JavaScript animation effects when I needed them gave the story an added level of visual expression (I do need to come up with a place/process for abstracting and saving these for reuse--but in its own time).
• Having a firm deadline helped me pace and push myself
  

** What didn't work

• Trying to draw all the illustrations on back to back days, with no breaks, just made me burn out. I need to figure out how to pace myself so that I can have illustrations ready in a timely manner, /and/ feel OK while I draw them. I like drawing. If this is gonna work long term, I have to figure out how to stop turning /Roots/ illustrations into a stress factory.
• This chapter was waaayyy more visually ambitious than I accounted for in my planning. I got it done it two weeks, yeah, but it nearly killed me. I'm glad I had the deadline, and I'm even glad I stuck to it, but for future estimation purposes, I did not give myself nearly enough time. *There needs to be a step, early in chapter planning, where I go, "what's unusual about this chapter? Is there anything I haven't really done before? And then if there's any part that's likely to take a lot of learning, custom code, engine updates, etc, I multiply my time estimate by like 150%, and decide how I want to schedule the chapter release/my life based on that.*
  

** What I learned

• At least at this point in my learning/engine development, substantially animating /anything/, even if the illustration burden is low, is going to massively inflate the time spent on a chapter. That doesn't mean I want to avoid it--I want to look for chances to increase it, actually, but it does mean that any time I decide to include animations, I have to plan for extra time.
• The engine I've written is pretty easy to hack extra JS animations onto! I don't know if that's because it's /well/ designed, or because it's a really shallow stack on top of Vanilla JS, or because I have an insane idea of what "easy" and "nice" look like--but whatever the case, it's great news for me!
• You /have/ to get all the white edges off the outlines of background characters. Even crowds. Especially crowds. Getting it right may be tedious as hell, but it is needed.
  

** Developments in the Engine

• Frame based animations can now auto-generate however many cross-fade tweens you want

I think that's the only big one.

I also have the first interlude up, as of yesterday, so I'll be posting another update today. Stay tuned.

Reflections on the Process: Roots Chapter 2

Chapter Reflection: Ch 2: Heir of a Fallen Clan

Impressions

The process of making Emil's first chapter went much smoother than Jwa Fyair's did.

One reason for this, which should not be underestimated, is that this chapter is technically a remake of the second demo chapter. I'd already thought it through, and executed it, and I was even able to re-use a few illustrations.

However, I think that my process improvements between the previous chapter and the latest made an even bigger difference than that.

With this chapter, I all but abandoned the "completion first" experiment, in favour of making the first draft something I could be proud of.

I was still left, when that draft was done, with the nagging feeling that the work wasn't good enough, but a few small edits were enough to settle the fear completely.
 

What Worked

Having a storyboard & detailed plan for illustrations let me choose exactly the illustrations I wanted upfront and not waste work.

 
I'll admit, I cheated on this part. I spent spare hours throughout the weeks before starting the illustration proper working on a storyboard for the chapter, rather than starting this at the beginning of the allotted two weeks. Having this resource helped me tremendously, but interestingly, I found I consulted the catalogue of verbal descriptions of each image that I made after the storyboard was finished more frequently than I did the storyboard, itself.

I think what I needed, more than a visual plan of the chapter, was any plan to work from, at all.

I could probably work as easily from verbal descriptions, from no storyboard at all--but I think there's value in capturing visual ideas visually, first. At very least because iteration helps a drawing. The first thumbnail can tell you a lot about what will and won't work, that words wouldn't have even explored.

Doing a thorough edit of the chapter prose immediately before hooking it up let me work on the edits when I was already focused.
 

I've come to really appreciate an iterative approach to writing.

To make each chapter the best that it can be, it's crucial to seize that final opportunity to edit--especially in a serial.

I've tried making that edit at two other places in the chapter finalization process--as the first item, and as the last. Neither, I've found, is something that really works for me. If I start with the edit, then I'm not /in/ the chapter yet. It feels like a /barrier/ to the work getting done, rather than something useful and fulfilling. At the end, the edit is just more work, with the prose now being in two places (the sequenced story and the prose draft) instead of just one. Moreover, I tend to get impatient at that point, and then the edit just doesn't happen.

But I find there's naturally a lull in the process after the illustrations are scanned in. Cleaning them takes maybe half a day, and I like to start hooking them in on a new day, so I tend to have an afternoon with nothing much to do. For Emil's first chapter, this turned out to be a great place to start the edits. I was already deep into thinking about the chapter from three days of illustration, but I wasn't so deep in the prose that I couldn't see it for what it was.

The first pass over, I worked with a goal, in this case, of bringing more memories of his parents into the initial chapter. That worked really well. It's probably a good policy to always pick a goal or two for the chapter before launching in. Aimlessness breeds idleness, after all. After I'd done those larger edits, I printed the chapter out and read it with a red pen, picking out parts that didn't feel right; didn't flow right; didn't sit right.

And it worked great!

Illustrating first let me do the aligning/sequencing without interruption.

 
It might be more accurate to say, "illustration immediately after planning" was the approach I took.

Last chapter, I repeatedly had to stop sequencing, illustrate something, then go back and realign a bunch of things. Not ideal. So, illustration /definitely/ needs to be done before sequencing/alignment starts (should have been a no-brainer, but somehow I guess it wasn't).

This time, I prioritized getting all the illustrations done in the first couple of days, and it helped /so much./

Illustrating isn't the most tedious work of the job (that would be alignment), but it is the most cumbersome. For everything else--aside from the live instruments in the music--all I need is my laptop, and I'm set. But illustration wants paper, watercolours, ink, thus, a drop-sheet ... Just the setup of it is enough to make me want to avoid it, no matter how fun the work itself may be. 

Always warming up/loosening up before an illustration session let me draw faster and with more character.

 
The difference with this is honestly unreal.

Please, for any readers who don't do this already, start.

Before any illustration session, but especially something finicky, detail-extensive, or time-pressured, draw something fast, loose, and wild before you start work on the project.

I would say that my adoption of this practice is singlehandedly responsible for the jump in illustration quality between this chapter and the last, but the next point contributed, too.

Using fineliners made illustration effortless

 
For Jwa Fyair's first chapter, I illustrated in a fifty-fifty mix of ... dip pen, and ... black ballpoint.

Which makes no sense at all.

I started in dip pen, naturally.

Now, I love my dip pens, but they're cumbersome. Between the extra setup/teardown of having ink and water out, and getting nibs clean and dry in the end so they last, and the extra care they take to keep from smudging while wet, they're just a lot of extra work.

When I needed supplemental illustrations, and I had to just /get it done/ I switched to drawing with what I had on hand--which happened to be ballpoints. /Bad/ ballpoints.

I didn't realize it at the time, but the ballpoint fought with me far worse than dip pens ever did. The struggle to get a nice line out of a tool that was not made for illustration took a major toll on the art. Illustrations became stiff; lines, laboured; stilted.

This time, I happened to have my old friend, black fineliners on hand, the day I started illustrating, and I was amazed at how easily and fluidly the illustrations came out.

The lesson here: be smart about the tools you use.

Draw with crap materials when you have to--but when you don't have to, don't. And especially, use good materials for the good draft, if you can.

On the other hand, the tools you use for your standalone illustrations, when the calling of the art is in the image itself, may not be the right tools to use when you need to churn out image after image on a deadline--for comics or animations, for instance. There's things you can't beat dip pens for. For me, for now, The Roots We Grew and Severed is not one of them. When fast and consistent is what you need, choose tools that make the illustration of an individual image effortless.

Composing music in  midi first, then playing along, let me make sure everything lined up correctly from the start.

 
This was a proposition from last time that worked exactly as I hoped it would. Music went way faster this time.

What Didn't Work

Drawing every storyboard panel with the same level of finish/detail made storyboarding take too long.

 
I think storyboarding was good, but I need it to go a lot faster and easier than it did.

I don't want to cut the detail too much, because there were a few places where having it to reference was incredibly useful.

A few, I'll repeat.

Most of the storyboard frames, I barely looked at after consulting them to build the sprite catalogue.

This is a part of the process that probably needs a few more iterations of experimentation. For the next one, I'll try cutting the size of each panel in half, down to maybe 1.5"x1.0"ish.
 

Being done nearly a week before it was time to publish, with only writing to do made me waste entire days.

 
Lack of time pressure was the bane of this chapter, honestly.

I don't do well with that "what if there's not enough to do?" feeling.

Seriously. Shuts me down. I sit in a heap of anxiety and give myself a worry headache and get nothing done.

It's a little ironic, but to keep my stress down, there can't be lulls in work. There can't be flex time.

And it appears, from last week's evidence, that this means I can't schedule the last few days of a chapter allotment for chapter writing. Doesn't work. Not totally sure why, but this time at least, it resulted in abject misery.

If the chapter writing is going to get done, it needs to be scheduled in a more routine way. Spending an hour a day, every day, would probably work a lot better.
 

Allotting the entire first week to illustration let me waste entire days
 

I gave myself five days to do all the illustrations for the chapter.

And that was way too much time. So, cue panic, of course. I spent two days in bed totally out of it. (Actually not sure how causal that was, in retrospect. Hmm.) But then I worked until 21h00 on Friday night and got it done.

So, let's schedule only 3 days for illustration this time. That was about how long it actually took.

Conclusion

I think I'm definitely learning more about how to do this kind of work.

This chapter, over all, has been a massive success story.

I think it's entirely possible that in time, I could learn to do these chapters /much/ faster than one for every two weeks--which is a big relief, because I'm going to have to get a real job, too, at some point.

I'll try to pace myself for now.

Reflections on the Process: Roots Chapter 1

 As of 24 August, I have a basically complete version of The Roots We Grew and Severed, chapter 1, illustrated, scored, and hooked up, ready to publish.

The process was clunky; rocky; and took me at least forty percent longer than I'd planned, but I'm happy with the result--and I learned a lot.

Let's back up for a second. We're missing some context here.

In July 2022, I quit my day job to launch Roots.

Temporarily quit my day job. I budgeted for about six months off for full time art.

For these six months, the goals I set were:

• Perfect the chapter production process to a point of life-proof efficiency & speed
• Start cultivating a reader-base.

That's it. Not "finish book one"--not "monetize" and certainly not "become financially sustainable."

 

Well, I've been drawing up a storm, working sixty hour weeks, and I am making progress with Roots. But I've been losing the plot a little here, because the goal, above powering through the chapters, is to perfect the process--and it's been weeks since I've done any process reflection at all.

 

I want to share a reflection for every chapter I animate--

--for the rest of the "launching" period, at least.

 I'll talk about how the work went, what I learned from it, and what I'm going to try next.

This will be the first, pertaining to The Roots We Grew and Severed chapter 1.

 

Process Reflections

Chapter 1, "The Boy Luthier" follows our first main character, Jwa Fyair, through a formative time in his childhood, in his home town of Fyair Gree, Il Fenmahr.

Differences from previous process

Compared to the proof of concept chapters, the biggest shift here was in medium, both for the music, and for the illustrations.

I love the wax-crayon illustrations of the demo chapters dearly, but to most people (read, everyone who isn't Ral), crayons are strongly associated with child-art. The first few chapters of Roots are about small children, yes, but this is not a children's book in the slightest, and I eventually found the "child-like" associations of the illustration style to be a detriment.

For the real chapters, I've switched to pen and ink with watercolour as the primary visual medium. I've also made the decision to lean deliberately into multimedia eclecticism--coloured paper; crayons; permanent marker; cotton string--in order to establish immediately my intention to visually experiment throughout the work.

For the music, I decided to leave the "pure MIDI" sound behind, and include real instruments in every track. This has wreaked havoc on my process (we'll come back to that) but the results are promising.

Ethos Engine improvements

I added a more explicit (and much more usable) animation API. I needed it for auras.

What I wish I'd done:

 

1. Don't use low-res placeholder images to hook up a rough draft

Redoing alignment for images and text boxes is a waste of time.

 

Alignment is the single biggest time sink in this project. Don't repeat it unnecessarily.

Don't start hooking a scene up until you have all the assets you need. That will mean that the first "end to end playable chapter draft" for future chapters will come a lot later in the process than it did for chapter one. However, that first draft will be a lot closer to done.

2. Compose the pieces in the MIDI sequencer first, then choose parts to sub out with real instrument recordings

Trying to compose MIDI tracks on top of real recorded instruments is a nightmare. Don't do it.

The minor rhythmic eccentricities of the recorded track will work fine with one MIDI track, but not the next, until soon, you'll find you're not sure if the composition would work if everything were perfectly quantized.

Compose in the MIDI sequencer, where you can iterate as fast as you can type, and hear the result instantly. Then, once you've chosen the tracks you want to do live, you can record them against the playback of the entire, finished score.

3. Always warm up before a drawing session

So many of my drawing sessions for chapter one felt like pulling teeth. The ones that didn't were the ones when I was able to get immediately into drawing something loose and quick. Often, these were sessions that I started by drawing a page for Massina. 

 

So when you sit down to draw, start with a wild scribble, or a blind contour, or a four-panel comic drawn in four minutes.

 

Loosen up first. Then get down to business. 

 

4. Use coloured paper in scenery

All the scenes for chapter one are plain ink and watercolour. I miss the construction paper. Let's bring it back.

5. Draw fast & loose, and use scribbles in the final draft

The drawings in chapter one look stiff compared to my faster-paced projects, and they all took a stupid amount of time. I like what comes out when I sit down and scribble.

So scribble in high res--and use it.

6. Don't be afraid to spend a whole week on the initial draft

The biggest experiment of chapter one was my trial of the "completion first" approach.

The idea was to get something done end to end as fast as possible, and spend the rest of the time iterating.

It's not a bad idea in theory, but if you make the early draft too rough, all you've done is make work for yourself later in redoing what should have been done.

So strive to make something you feel decently good about first, and don't make anything rougher. It's gonna take longer. Sometimes, it might take all the time you have. Learn to be OK with that.

In conclusion

Let's do it. Let's officially publish chapter one on Monday.

As for chapter two: it's time to apply my learnings, and jump in. With any luck, I'll be ready to put it up two Mondays after that. We'll see.

If there's one thing I need to remember, it's that my first goal needs to be learning. It's early days still, and I have time.

How I'm planning my current novel: a step-by-step guide for my work-in-progress model

 Preamble

I sometimes like to say that I've written "a couple of novels". More accurate would be to say that I've written three and a half unconnected, very rough first drafts, and that I'm stuck on all of them. Every single one of them needs at least one major rewrite before I'm willing to let it see the light of day, and until recently, I have had next to no idea of how to do that.

I've identified two problems with my process that are repeatedly causing me to get stuck after writing the hacked-together first draft:

First, I don't know how to edit. I know how to copy-edit--fix grammar and wording; maybe rewrite a scene or chapter here and there--but I do not know how to step back, look at the project as a whole, and fix the pervasive problems.

Second, my first drafts are much rougher than I'd like them to be, and often fail to capture some of the ideas, feelings, and themes that I was most excited about in early planning.

I think these problems share a solution: Learn how to plan. So that's what I'm doing.

I'm about to start the rewrite for The Roots We Grew and Severed, and since I am also going to be introducing the third POV in this run through, the rewrite should be a fairly even mix of editing, and adding brand new material.

I'm in the last stages of planning for this next iteration, and I think I've finally got a system that's going to work for me.

Let me show you what I'm doing.

Who is this guide for?

This guide might help you if you'd like to write from a more detailed plan, and ...

- You're hoping to reduce the editing/rewriting burden for a novel you're currently writing

- You have a rough plot summary or general idea that you want to turn into a novel plan

- You need to do a major rewrite and you don't know where to start

 

A note to keep in mind here is that this kind of planning is likely to lead to a long draft, which may need to be cut down later. If you're someone like me, who tends to rush through first drafts and end up with break-neck pacing and much room for expansion, this might be great for you. If, on the other hand, you're the type to churn out more prose than you know what to do with on a first run through, then you may not need this method.

How to make a plan

 

Step 1: Get a ring binder

 

Supplies:

- ring binder (thicker is better)

- 3 hole paper or loose leaf (these likely to tear out - you may want to use either reinforced paper, or hole protectors)

- sticky page markers, binder tabs, or another way to mark chapters

- pencils, pens, high-lighters

I like pen and paper for planning. I have tried a wide variety of tools and systems for writing up digital plans, but for me, nothing has ever beat the simplicity and ease of use of having a physical document in a physical binding.

 

I'm a software developer by trade, and I have seen a lot of cool digital systems for organizing information. You can absolutely use a digital organization system for this tutorial, however, I would highly recommend that you give the physical ring binder a try, if you are able. Why? Because the ring binder is simultaneously one of the simplest systems of organization you can get, and one of the least restrictive.

It is simple because it's just a list of documents, in a linear, easily modifiable order.

It is non-restrictive because anything you can figure out how to mount on a page can go in a binder. Think, a scene you printed off from your first draft; a notebook page you scribbled on on the train; a doodle; a floor plan; a cool leaf in a page protector--and all this without ever having to worry about wrangling file-formats.

Regardless of what organization system you choose for your planning process, you want to have one central place for all of your planning documents and notes, and it needs to be structured in such a way that you can quickly find whatever piece of information you need. In the end, that's what's important.

Step 2: Gather all the information and ideas you already have

Put all of your notes into your binder.

I like to organize these by giving a section to the setting, one to each of the characters, and then by putting any plot information into roughly chronological (or reading) order.

As I go through this process, I make a note any time my mind crosses over an idea that I haven't written down yet--be this a character detail, or a plot event, or a theme, or any little thing that I just don't want to get lost.

Your most important job at this stage, is to gather every single piece of your idea, and file it away for later use.

If you are planning for a rewrite, take particular care to note down any key ideas that didn't make their way into your first draft, or that weren't expressed the way you would have liked. Mark these so that you can find them later. They will come in handy a couple steps down the line.

 

Step 3: Make a plot summary

Write out a summary of your plot from beginning to end, reflecting on the ideas that you have just collected.

If you already have a plot summary, revisit it. Is the story you've outlined really the story you wanted to tell? It might be, but perhaps it needs a little tweaking here and there.

If you have a first draft, now might be a good time to reconsider your plot summary from scratch. It might help to summarize the story you actually wrote, and compare it with any plans you had from before the writing, and with any ideas you noted in the previous step. Are the correct points hit? Are the right points emphasized? How does your emphasis match or conflict with your intended themes? With your desired characterization of your characters and setting?

Step 4: Divide your plot into chapters

I'm not going to go into how to size your chapters in depth here. If you have a first draft, or if you've written novels before, you probably have a sense of how big your chapters are, and how much plot should fit into each. If not, a rule of thumb I personally use is that a novel chapter should have a structure a bit like a short story--that is to say, a chapter is structured primarily around one point of highest tension (excitement, suspense, stress, risk, etc.) There are times when a chapter can accommodate two big events, but for the most part you should aim for one.

 

Starting at the beginning of the story, I read through, and break the story up into chapters. I like to use index cards for this, for ease of reshuffling, addition, and removal. I write a one sentence summary of the chapter at the top of each index card. (If you can't easily summarise a chapter in one brief sentence, take the chapter back to the drawing board. Either you're trying to fit too much in, or you don't have a central, unifying idea of what the chapter is about).

 

I may make notes of key secondary events on the index cards as I work through them, rearranging until it starts to feel right.

When it does start to feel right, I make my chapter sections in the ring binder. I usually put these in after my more general notes.

A starting place for chapter notes is to glue your index card down onto a piece of three hole paper, and put it in the binder. I like to add a sticky-note tab with the chapter number to this page, for ease of reference. I rearrange and renumber chapters as I go. When I add a chapter between, I stick on a ".5" tab, so between chapters 22 and 23 is chapter 23.5. These numbers will be a mess by the end, but don't worry about it. You can straighten out the numbers when you're finished your draft, and in the mean time, you will have a system for quickly looking your chapters up and referencing them in your notes.

Once you have a page or section for each chapter in your binder, look back on your general notes. Sift through them carefully, and move or copy any information relevant to a specific chapter into that chapter's section.

 

Take some time here to go through each chapter, and rough in the events, making note of any new ideas you have pertaining to each.

Congratulations! You've got the start of a chapter by chapter plan.

 

Step 5: Collect and place key points

Now that you have an outline of your book, it's time to take a step back and think about what you are trying to say.

Some broad categories to think about for this are,

- Characters. Who are each of my characters? What do I want my audience to understand about them?

- Themes. What am I trying to say? How will I communicate that?

- Setting. What do I want my audience to understand about the world my characters exist in?

- Motifs & symbols. Are there any motifs or symbols I want to use in this story? What does each one mean, and when should it be used?

 

For each category, create a point form list of ideas to communicate.

 

For instance, for my character Petra, some of my points were:

( ) she plays social chess all the time

( ) she never knew her oldest brother until she reconnected with him as a teenager

( ) she values mentorship, both as a mentee, and a mentor

You can add to and remove from this list as you plan and write. The goal here is simply to get down all the little idea fragments that you want to make sure to get across.

If you have a first draft, these lists are a great place to note down any ideas you had that you didn't manage to communicate the way you wanted (we highlighted these in step 3).

When you have started to slow down on making these lists, you can start roughing in how you'd like to develop the items.

Pick a list, and start at the top. Look at each item, and think of how you would like to communicate it, given the plot structure you have to work with. When you notice a place in your plot where you have a chance to develop your idea, go in, and mark it down.

 

If you can't see how an idea is going to fit, leave it for now.

 

When you've given each list a once through, you will hopefully be ready to start on granular planning.

 

Step 6: Granular planning

Now comes the slow part of the work.

Start at your first chapter. Add a new page behind any that already exist. Take your concept for what happens in the chapter, and divide it into scenes. Briefly summarise each.

I didn't think this was going to be much work when I first tried it, but it was. It took me, on average, a little under an hour to write the scene plan for each chapter.

The reason it takes a while is because the transition from rough outline to scene plan is where a lot of the logistical problem solving for the story events has to happen.

"I roughed in that character G gets from point A to point B, but now I have to figure out how he actually did it. How does he get around the whatever-it-is? What's the sequence of events?"

I found the key here, for myself, was to be patient. I couldn't plan more than three chapters in a sitting before I was burnt out, most days. I could tell I was fading when I started to rush, or to gloss over problems rather than addressing them. Whenever that happened, I stood up and walked away. No one is served by me torturing myself to make a plan that's full of holes.

But eventually I got through it.

As I did, I found lots of opportunities to develop more of the ideas from my key points. Sometimes, they will just jump out at you if you keep a lookout for them.

 

Step 7: Editing the plan

It might be a good idea to take a short break before you jump into this. Clear your mind. See a friend. Do a hobby. Give it a week.

When you feel up to it, go back to your general notes. Review your summary. Do your chapters match the plan? Do your chapters emphasize the right things? What does your emphasis say about your themes?

Now is also the time to revisit your key points lists. Now that you have your scenes, did you accomplish any of these without knowing? Are there scenes that could be improved by the addition of one of your key ideas?

Do any of your chapters have way more scenes than the rest? Or way more notes? Might any of these chapters benefit from being split in two?

Are there any chapters that start more abruptly than you wish? Are there any chapters that feel particularly rushed toward the start or end? Are there sections of antecedent action that might benefit from being rewritten as actual scenes? Might some of these places benefit from having chapters inserted between?

 

Do you have any chapters where nothing happens? Are there chapters with abnormally few scenes, or few notes? Could these chapters be cut?

 

Deciding how long to stay here and how much work to put into it can be difficult. All I can say is that I stayed here until it felt right--until I was confident that if I followed the plan I'd made, I would end up with the novel I'd dreamed of making.

 

Parting words

I am about to start rewriting The Roots We Grew and Severed based on the plan I made. I will let you know how it goes, and in time, I'm sure I'll have revisions to make to this process. As always, I'll do my best to share my learnings.

Thank you for reading!

Progress update (experiments in planning an 8 book series)

It's been a while since I've given an update here, but rest assured, I have been hard at work.

I have made 2 demo chapters, the more recent of which is available here.

The audio sequencer is working exactly as intended, and I have made several improvements to the engine since the time of last writing, including the additions of full screen mode, and the ability to undo a page turn.

The most important piece of news I have is my realization that the project I have been calling "The Beast in the Ethos", is not one novel, but several--probably 8. I am pulling the "prologue" stories into the project proper, as novels in their own right. The first of these novels, titled, The Roots We Grew and Severed, has a prose first draft 70% complete at about 60000 words. I am currently making some high level revisions, and getting ready to power through the rest of the first draft, so I can start the next phase of the project.

I've had several issues with Roots, mostly relating to planning, and all stemming from the fact that at the outset, I believed this novel was a short story.

Because of this wrong assumption, I did not follow the planning process I laid out for the project proper, and instead worked from only a very loose, high level plan. As a result, my first draft so far is much messier than I would prefer for a project I plan to work up to releasing as a serial.

I'm not concerned yet, however. A large part of my intent with Roots has been to test out and perfect my process, so that by the time I finish it, I can maintain a steady release schedule without major disruptions for the rest of the process.

On the process note, let's talk about planning.

I started my planning process by planning what I believed was the main body of the story (what has become the second half of the series), from a high level, end to end. My intent was to end up with a fairly complete, scene-by-scene plan for the entire work, which would, in theory, assure that I could put out a first prose draft with a solid, well-constructed structure. It was ... not the funnest thing I ever did, and I did it much more clumsily than I thought I would, but over all, I believe it was a very good time investment.

I wish I'd done the same the first half of the series, particularly the book I'm writing now, The Roots We Grew and Severed.

I made a number of interesting (read: poor) decisions about how to approach Roots. The first, of course, was the lack of scene planning. Also fairly terrible, in retrospect, was my decision to write the three points of view, which took place over the same time, and would be interspersed throughout the final product, one at a time.

This decision seemed to make sense, because it would allow me to become fully immersed in the writing of each character. It did that, but it's also resulted in some structural weirdness for the book as a whole. Which brings me to where I am now.

When I say Roots' first draft is 70% complete, what I mean is, the stories of 2/3 of the POV characters have been told, from beginning to end, and I'm starting on the third. I've taken the opportunity to take a step back, and look at the work from a high level. I am going to do now what I wish I'd done from the start, and look at each chapter in order as I write the third character in. As in, I am going to work on revising chapters from the two existing characters in between writing new chapters.

Before I do that, however, it's time for a second round of planning.

I generally like to re-plan & revisit the existing plan as I begin the editing process, and this step becomes more crucial when the first draft was poorly planned to begin with.

It's always best, I find, to start this process from the very top level, and just note down the general ideas I want to convey with the characters, the setting, and the story. From there, I like to make a checklist of ideas I want to get across, and then map each of these ideas to events and scenes in the story. That creates a nice segue into scene-by-scene planning. The mapping can reveal which scenes are missing, through the ideas which don't come through, and which scenes may not be needed, by the scenes that don't have themes or developments associated to them.

I'm only hoping it goes as smoothly as what I've described. For me, planning is like pulling teeth. I'd always rather dive in and write prose or make illustrations, thank you very much.