Plotter vs Pantster: The Writing Process by Author Dianna Benson

Everyone is different, and every writer is no exception. When I started writing my first book in 1993, I heard about writing voice and writing process, not really understanding what either meant. By the time I completed my fifth book and signed with my first agent in 2007, I not only knew exactly what writing voice is, but I’d found mine and it was well developed; plus, I’d learned various types of writing processes from countless authors through the years. While those authors explained details on their writing process, I knew it wasn’t the only way to write fiction, even though it often sounded that’s what those authors were saying. Many things about the publishing industry and writing fiction can confuse new and inexperienced writers.   

Even the plotter vs. panster techniques can be misleading, suggesting a writer is either one or the other. I’m definitely a panster (write by the seat of my pants), but that doesn’t mean I’m never a plotter, and that’s okay – I allow my muse to work the way it wants when it wants. No restricting rules; my muse is in control.

POV is one of the biggest topics I’ve found writers debate with strong conviction, suggesting there’s only one way to correctly write POV. I’ve read excellent books by successful authors who are: 1) POV purists 2) POV non-purists 3) POV head hoppers, and 4) Everything in between. Some authors’ method of writing POV can differ from book to book, making each new book of theirs unpredictable and fresh. Obviously, there’s multiple ways to write POV. What works for one writer, doesn’t work for all writers. Similarly, what doesn’t work for one writer doesn’t make it the incorrect way to write it. As a reader, I want an enthralling story with fascinating characters within a well written book that I don’t want to put down, even at two o’clock in the morning. The details on how it’s written, including POV, are up to the author’s unique imagination and individual style. I’m a POV non-purist; meaning, regardless if it’s at the end of a chapter/ scene or smack in the middle of one, if it’s best for the characterization/scene/story, etc. to change the POV, then I change the POV exactly where it’s best to do so. However, I focus on writing that change with clarity and an easy flow transition.            

So, in 2007 after years of learning varied types of writing processes, reading countless novels, and writing my first five books, I developed my own writing process – the one that works for me based on trial and error.    

My writing process: 

On a daily basis, and without any effort or cognizant thought on my part, opening scene ideas simply pop into my brain. These “situations” (always suspense in nature) play out in my head as naturally as my respiratory system inhales and exhales. However, I jot down the ideas for future use since I’m always writing my next book, working on copy edits and galleys on my upcoming release or marketing my current release. Sure, story ideas are plentiful for me, but not all of them are strong enough for a 400-page suspense novel, and some of them I forget before I even have the change to write them down (at times I’m out doing something adventurous and not able to jot it down).

When it’s time to turn one of those jotted down “situation ideas” into a book, I allow my writer brain free-rein to write that first scene then the rest of the book. I write and write, focusing mostly on action and dialogue (think: screenplay), until I have a full rough draft. After I’ve completed that full first draft, I decide the GMCs (Goal, Motivation and Conflicts of all main characters) and the plot points, then I integrate those into the manuscript via deep revisions. Also via deep revisions, I flesh out characterization, add description and research. Then I read the entire manuscript and improve on everything that needs revising. I let it sit for several weeks, allowing the story and characters to ferment in my mind for further revisions. After I revise again, I send it to all my critique partners and beta readers. Once I receive it, I read through the insightful input all my critique partners and beta readers supplied me. I heavily revise. Finally, I polish: I print out the entire manuscript, read every word on every page and revise anything necessary.  

My writing process isn’t that rigid, and I revise more than I stated above, but you get the general idea. Every writer is so different. If you’re a writer, what process works for you? If for whatever reason your process isn’t working and you’re struggling, try other methods until you find what does work for you. If you never give up trying, you eventually will find your unique and individual writing process. 

For details on what led me to write that first book in 1993, visit my WRITING page on my website: www.diannatbenson.com   

             

After majoring in communications and a ten-year career as a travel agent, Dianna left the travel industry to earn her EMS degree. An EMT and a Haz-Mat and FEMA Operative since 2005, she loves the adrenaline rush of responding toA medical emergencies and helping people in need. 

Dianna lives in North Carolina with her husband and their three children. Final Trimester is her second release. 

Website: www.diannatbenson.com

Her releases are available wherever books are sold. Below are the links to Final Trimester at the three largest booksellers: 

Amazon.com

Barnes and Noble

Books-A-Million

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40 Tips for Polishing Your Manuscript by Author Anita Higman

Robert Louis Stevenson said, “There is but one art, to omit.” He obviously appreciated the power of polish. I call polishing powerful, because it has the ability to transform a rough draft into

something remarkable—something salable. After I complete a rough draft I go over it quite a few times, checking for problems, large and small. Here are 40 power-polishers from my personal list. 

1. Did I sprinkle in backstory like a fine spice or did I dump the whole jar in at the beginning? 
2. Do my characters have plenty of quirks and ticks like real people? 
3. If I repeated words are they beautifully rhythmic or just annoyingly repetitious? 
4. Is it clear which characters are talking, or will readers need to stop to figure it out? 
5. If I altered anything midway—a character’s hair color, the season of the year, etc.—did I make those changes all the way through the manuscript? 
6. Did I check each “was” and “were” as well as other potentially scrawny verbs? Do some of them need to be removed from the herd? 
7. Is the word “that” used so much that readers will become so weary of that that they’ll want to use my novel for kindling? 
8. Have I included literary devices such as sensory details, foreshadowing, irony, metaphors, and similes to give my story depth and delight? 
9. Did I dip so randomly and deeply into the barrel of limp and colorless adjectives and adverbs that my prose came out hopelessly anemic?
10. Are the elements of action, description, and dialogue balanced in my story? 
11. Is my point of view consistent, or will I confuse readers by head-hopping? 
12. Is the setting in each scene well-defined? 
13. Are my characters unforgettable and believable, or are they one-dimensional and uninspiring because I haven’t spent enough time getting to know them? 
14. Are my heroine and hero relatable and likable? Do they have enough noble and endearing qualities—along with their flaws—to make readers want to cheer them on? 
15. Will readers know the year, the season, and the time of day easily, or are these story elements too vague? 
16. Does my timeline have inconsistencies? 
17. Did I vary the length of sentences in my paragraphs so they’re eye-appealing and easy to read? Are my paragraphs so long they’re like a wall of words in need of mental climbing gear? 
18. How is my pacing? Is there a good rhythm to my storytelling? Are there passages I need to slow down or speed up for effect?
19. Do I have too many summary paragraphs? Do some segments need to be revised so I’m showing and not telling? 
20. Does my work have the fine brushstrokes of subtext dialogue?  
21. If I’ve written in first person does it look like there was an “I” explosion all over the manuscript?
22. If the professions and hobbies of the main characters are important to the story will the readers get a good look into this part of their lives? Was this material presented in a way that is organic to the story, and did I check the information for accuracy? 
23. Is my dialogue realistic and interesting or mind-numbingly boring? 
24. Do my characters have occasional and natural interruptions in their speech without being confusing?
25. Have I taken out unnecessary words, such as some, began to, just, rather, and all at once?
26. Does every scene have some element of suspense or conflict or intrigue? 
27. Is each and every scene important to the overall plot, or have I padded the novel to up my word count? 
28. Are some of my chapters too long?
29. Do all my chapters end with cliffhangers?
30. When my character presents a potent line of dialogue, do I use it later to make an arc that is memorable and effective? 
31. Do I have a sagging middle that’s in need of a few tummy tucks of story tension? 
32. Did I succumb to the temptations of authorial intrusion? 
33. Do my characters make gestures that reflect their personalities, and are those gestures fresh and unique? Or are my characters engaged in too much shrugging, sighing, lip chewing, nodding, brow furrowing, arm crossing, throat clearing and head shaking?
34. If I’ve added humor to my novel, does it fit the characters, and does it flow with the rest of the work? 
35. Do the elements of faith happen naturally in the story, or did I toss in some prayer and Scripture to make it sound Christian? 
36. Are the themes in my story memorable and effective? 
37. Are the character’s thoughts interesting and necessary, or are they merely repeats of what the character is saying? 
38. Do I have an overall story arc that is clear and memorable? 
39. Did I create a satisfying ending, or is it too predictable and rushed because I’m tired of the story? 
40. Have I read the work out loud to catch the errors that might be more obvious when heard rather than seen? 

I hope this mini version of my checklist is helpful in all your novel-polishing endeavors.

Anita Higman is a CBA best-selling and award-winning author. Among her many accolades, Higman has won the Inspirational Reader’s Choice award twice. She has written or co-authored more than 30 books, including fiction and non-fiction for adults and children, as well as plays. Higman has also been recognized for her contributions to literacy and has raised thousands of dollars with her book I Can Be Anything while serving on the board of directors of Literacy Advance of Houston.

Even though she’s written in many genres, Higman does have her favorite. “I love inspirational romance. There’s just nothing else like it for writing and reading. It naturally makes you want to curl up on an overstuffed couch and read the day away.” Her latest release is A Marriage in Middlebury. 

She loves good movies, exotic teas and brunch with her friends. Higman and her husband live in Houston, TX.

To keep up with Anita Higman, visit anitahigman.com, become a fan on Facebook (Author Anita Higman) or follow her on Twitter (@anitahigman).

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Researching in Amish Country by Author Mary Ellis

If there’s one thing this writer loves, it’s research. What fun to jump into my car with my laptop, GPS, camera, spiral notebook, handful of pens, of our course, my cell phone. But when you’re researching the Amish in remote rural areas it can get rather tricky. Those who cherish privacy and seclusion often live on rutted, unpaved roads often not on maps and far from gas stations and other conveniences.

For A Little Bit of Charm, I headed to Kentucky to interview the Old Order Mennonites and Amish of Casey and Barren Counties. Generally, these people moved here from over-populated areas of Ohio or Pennsylvania. They came looking for cheaper, more plentiful farmland and found it. What does that mean for a wannabe researcher? I spent my third summer vacation in an area without cell phone service, or a single fast food restaurant for

miles. If you go in search of horses-and-buggies and a slower pace of life, always remember to bring local maps. My GPS kept getting confused and shutting off. Luckily, I was able to stay at my friend’s house and commute back and forth, since there were no hotels or motels close by. Her grand-daughters came along to keep me company—very handy considering how often I was lost. The girls received a priceless education in the Plain culture that surpassed any textbook. And having them with me opened plenty of doors for this nosy writer. Who could resist answering the

questions of three adorable little girls? A Little Bit of Charm completes my New Beginnings series about three sisters who go off in different directions seeking fresh starts. Whether Amish of English, young people desire a place they can comfortably establish their identities. And for some, it’s often far from the conveniences we’ve all come to depend on.

Mary Ellis grew up near the Amish and fell in love with them. She has now written nine bestselling novels set in their communities. When not writing, she enjoys gardening, bicycling, and swimming. Before "retiring" to write full-time, Mary taught school and worked as a sales rep for Hershey Chocolate. Living in Harmony, book one of this series won the 2012 Lime Award for Excellence in Amish Fiction. Book two, Love Comes to Paradise has been nominated for a 2013 Lime Award. She can be found on the web at: www.maryellis.net or at: www.maryeellis.wordpress.com or

https://www.facebook.com/#!/pages/Mary-Ellis/126995058236

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