writing with an iron fist
Dec. 22nd, 2018 05:56 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
isozymeI got asked in discord how much I plan out my writing, and the answer is a lot. I'm a control freak about writing, so I want to know where things are going before I get started. Since navel gazing is fun, I figured I'd do a quick analysis of I Didn't Catch You Saying Grace to explain the process!
Step one: Basic Premise
The basic premise is just the idea for the fic. I don't think anyone starts anything without at least deciding this part. The premise in Grace is really simple:
Step two: Basic Plot and Structure
Next I want to know basically what happens in the story, approximately how it ends, and about how long it will be. Here's where I pick the POV character/characters, too. The longer the project, the fuzzier this will be, but I need to at least know the trajectory. Sometimes there'll be a bullet point that goes "plot stuff here I guess???" and that's fine. Usually this is where I go oh fuck that's gonna be sad. I was really happy when I figured out I could do Grace in basically two scenes, one Steve POV and one Tony POV:
Step three: Plan, Write 200-500 words, Plan, Write 200-500 words, Plan, Write 200-500 words
The last planning step I do as I write, one chunk at a time, so I always have a little running outline stretching a couple hundred words out ahead of where I'm writing prose. This is probably the hardest part -- it's where the meat of the story comes from. What are the emotional fulcrums, and which way do they turn moment to moment to get me the effect I want? What's getting described in detail and what's happening offscreen? For an example of what this very granular planning looks like I've picked my favorite 300 words of Grace.
I have two mental lists while I write scenes. The first is a set of actions, basically the plot stuff. So, for this bit, there's three essential turning points:
The second list is sort of a disorganized to-do list, a constantly updated tally of stuff that should happen soon, somewhere, probably. In this case:
Then I just have to turn it into prose! Here's what came out at the end:
And that's how I write basically everything! Mostly I keep all of it in my head, but I usually end up with lists at the bottom of my drafts: stuff that needs to get folded in later, character notes, reminders of what key points I need to hit, and so on.
This isn't for everyone! Almost all the writers I know are less rigid than me, and they turn out beautiful stuff on the regular. I find that my writing process means that my characters don't get away from me and wander off in unexpected directions. Some folks like their writing to be more spontaneous and character driven. Not me. Everybody does what I want, when I want it, in the service of the plot. I have readers to torment here, people! Chop chop!
Step one: Basic Premise
The basic premise is just the idea for the fic. I don't think anyone starts anything without at least deciding this part. The premise in Grace is really simple:
- I want an Ultimates fic where Tony is closeted to himself and Steve propositions him, instead of the other way around.
Step two: Basic Plot and Structure
Next I want to know basically what happens in the story, approximately how it ends, and about how long it will be. Here's where I pick the POV character/characters, too. The longer the project, the fuzzier this will be, but I need to at least know the trajectory. Sometimes there'll be a bullet point that goes "plot stuff here I guess???" and that's fine. Usually this is where I go oh fuck that's gonna be sad. I was really happy when I figured out I could do Grace in basically two scenes, one Steve POV and one Tony POV:
- First scene, Steve says "hey tony i'm lonely want a blowie?" and Tony says "EXCUSE YOU???"
- Second scene, Tony goes to find Steve in a bar, gets that blowie
- No resolution, mean ending
- Everyone has so much internalized homophobia!!!
Step three: Plan, Write 200-500 words, Plan, Write 200-500 words, Plan, Write 200-500 words
The last planning step I do as I write, one chunk at a time, so I always have a little running outline stretching a couple hundred words out ahead of where I'm writing prose. This is probably the hardest part -- it's where the meat of the story comes from. What are the emotional fulcrums, and which way do they turn moment to moment to get me the effect I want? What's getting described in detail and what's happening offscreen? For an example of what this very granular planning looks like I've picked my favorite 300 words of Grace.
I have two mental lists while I write scenes. The first is a set of actions, basically the plot stuff. So, for this bit, there's three essential turning points:
- Steve comes back to the bar after blowing some guys in the restroom
- Tony, at the bar, realizes that Steve has been blowing guys in the restroom, goes "lsjkfdsljgldjgs"
- Steve says "good grief Tony it's not a surprise"
The second list is sort of a disorganized to-do list, a constantly updated tally of stuff that should happen soon, somewhere, probably. In this case:
- Someone needs to say the bartender's name so I can stop calling him "the bartender"
- Steve doesn't drink much, how's he deal with people wanting to buy him drinks (swaps for smokes)
- Tony thinks Steve is hot
- Both of them hate themselves for being here (in different ways)
- Tony is very nervous
- This is Steve's turf
Then I just have to turn it into prose! Here's what came out at the end:
Tony’s halfway through his very strong vodka soda when he spots Steve’s shoulders through the crowd. Steve doesn’t notice him, instead calling to the bartender.
“Xander! Can I bum another one’a your smokes?”
Xander throws a dish towel over his shoulder and extracts a cigarette out from tight pants. “Kiss,” he demands.
“I’ll buy you a drink, how ‘bout,” Steve says.
“Your friend over there’s looking at you with puppy dog eyes. Go buy him a drink.”
Steve sees Tony and goes statue-still. Xander exchanges a quick silent conversation with at least three patrons at the bar. Then Steve ducks his head and lights his cigarette. “Sure,” he says.
The seats to either side of Tony are occupied, so Steve has to lean in close to Tony, resting one elbow on the bar. Xander throws an ashtray at him, and Steve catches it neatly. “He doesn’t like it if I drop ash on his floor.”
“You smoke?”
Steve regards his cigarette with a grimace. “It’s a dirty, filthy habit, but, well, I’m here.” He holds it out towards Tony, offering.
“No, I —“ Tony says, but he doesn’t know what he’s doing any longer.
Steve’s wearing light wash jeans and a white shirt that looks painted onto him. His hair is messed up, the way it is right after he takes off his cowl, bangs falling half into his face, a little wet with sweat. While Tony’s reaching for words, Steve stretches, cracks his jaw, and runs one thumb over the corner of his mouth. Something in Tony’s mind clicks over and, oh, Steve was — oh.
“Were you —“ Tony can’t make himself say it.
“Uh huh,” Steve says, shrugging and taking a drag. He looks at Tony’s face and frowns, not liking what he sees. “That’s not news to you. What do you want?”
And that's how I write basically everything! Mostly I keep all of it in my head, but I usually end up with lists at the bottom of my drafts: stuff that needs to get folded in later, character notes, reminders of what key points I need to hit, and so on.
This isn't for everyone! Almost all the writers I know are less rigid than me, and they turn out beautiful stuff on the regular. I find that my writing process means that my characters don't get away from me and wander off in unexpected directions. Some folks like their writing to be more spontaneous and character driven. Not me. Everybody does what I want, when I want it, in the service of the plot. I have readers to torment here, people! Chop chop!
