Timothy's Thoughts

When I write a book, I work with an outline. I’ve tried to work without one, but I kept getting lost and forgetting what I needed to say and what I had already said. The outline for my current work in progress is shown in the picture above. I use the FreeMind mind mapping tool. On the left I keep little details about the characters. Lizi Mills, for example, has blond hair. Donna Jacobs has black eyes. That’s a fact that I must have mentioned early in the manuscript, but I don’t recall saying that. I’ll see it in the second draft, but keeping that fact handy will help keep me from saying something about her piercing blue eyes. On the right side I structure my outline around Blake Snyder’s beat sheet and it essentially replaces the storyboard that he recommends. My method is constantly changing and out of five manuscripts I haven’t done it exactly the same way twice. I put a word count total next to each section of the outline, rather than a page count. When working with novels, a word ...

When we write there are things hidden there, under the surface, that the reader never sees and yet these things have a great impact on what the reader sees. Among these undercurrents is the back-story. When we plunk a character down in a story he comes from somewhere. He went to school somewhere or he didn’t go to school. He was born in a hospital or somewhere else. He has ex-girlfriends or not. Many things shape the character’s life, but we don’t tell the reader about these things unless they become relevant to the story. Who cares about the character’s ex-girlfriend if he doesn’t know where she lives, but if she parks her car in front of his house every night then it just might be interesting. Another thing hidden below the surface is what I will call the author’s message. When we write a story, we don’t just sit down with our characters and ask them to describe their day. Nor do we describe the most interesting periods of their day. Instead, we create a day for the character that mo...