Last time we met to discuss chapters 6-8 of Story Genius: How to Use Brain Science to Go Beyond Outlining and Write A Riveting Novel by Lisa Cron, we were asked to deep dive into our main protagonist’s past, their desires and misbeliefs, and to write pivotal scenes that inform how our protagonist now views the world. How did it go for you? Do you feel more connected to your characters and better equipped to begin building your story blueprint?
I think the things I’ve been learning in Story Genius are starting to filter into my everyday writing practice. This is as surprising to me as it may be to you.
I started brainstorming a new short story last week, but instead of just diving in once I had the spark of an idea and the urge to write, I pressed on the brakes. I slowed down for a bit to ask some questions about what my characters wanted, what misbelief they were carrying around, and how it might affect the external plot.
I didn’t do as big of a deep dive as Cron suggests, but then again this is a short story, not a novel. Still, even with short stories it’s a good idea to know a thing or two about your characters, who they are and where they come from, before you get started.
I’ve gotten out of the habit of sitting with my characters before I start. I have leaned into just writing a messy first draft and cleaning it up later, finding my characters inside the story. That works. But sometimes I write myself into corners or find myself frustrated and wanting to throw in the proverbial towel.
Having some new pre-writing activities to practice on future stories feels exciting to me, feels like a way I could level up my story-telling. For the reader, yes, but also for me. Writing is one of my truest joys and anything that helps me love it better and stick with it longer is well worth my time and energy.
This week we’re finally starting the hard work of developing the scene-by-scene blueprint for our novels! We’re contemplating our endings and all the stuff that comes in the middle. We’re working hard to uncover what’s going to happen before we write a scene, but also as we write it. We’re learning what is important, not just to the plot but to our protagonist’s internal desires and misbeliefs.
This week is blood, sweat, and tears. This week it’s time to get down to the real work.
My favorite quote from this section:
“The future is where our goals lie, shimmering in the distance, daring us to take chances, the better to achieve them.”
Scene by Scene Until the Book Is Done
As Lisa Cron lays out her scene-by-scene blueprint for developing a novel, I can’t help but feel that this is a very formulaic way to write. That it all feels so stifled. Where is the surprise, the whimsy, the creative license? When I first started reading through this section, I was dragging my heels. No way, nope, no thank, nuh-uh, I don’t want to write like this. But then as I explored the rest of the chapters and began to understand the entirety of the process Cron lays out, I started to sing a different tune.
Hmm. Interesting. Maybe. I think I could try that. Yes, very interesting indeed.
I even jotted a few notes for myself to come back to on my own novel that I plan on working on in the fall!
With that said, there is a Joyce Carol Oates quote that Lisa Cron references that had my hackles up like you wouldn’t believe. Something about how you shouldn’t start writing unless you know the ending because, as the analogy goes, you wouldn’t just get in your car and start driving would you?
And I laughed out loud because yes! YES people get in their car and start driving with no plan in mind all the time! It’s called a road trip! Okay, some road trips have plans. But I’ve definitely gotten in the car just to drive. For the thrill of it.
So poo on you Joyce Carol Oates for claiming that “No serious writer would write like that.”
Fine then. Being a serious writer is overrated anyway.
I digress.
I actually do like to have a general idea of where my story is going before I start writing, and after I moved past that poorly chosen, snobby quote and into the meat of Cron’s premise, I started to connect more with the idea of what she’s suggesting for how to create a novel blueprint. One scene impacts another and should be of great importance to your main character’s emotional arc.
I agree with that. I take no issue there. I think that’s what readers want. They want a character who is battling whatever demons they have, and they want the story to stay on track with that emotional journey. Some readers will tolerate a little wandering, some won’t. That’s part of the fun of creating and developing your voice, your style, your audience. And you can still do that, even if you’re trying a more front-loaded, scene-card, developmental process. You can still have fun creating using Cron’s blueprint model.
I wasn’t expecting to come to this conclusion. We still have a few more chapters, but after seeing Cron work through the process and the organizational system she sets up to keep the story on track, seeing the flexibility she allows with writing and creativity inside the system she says is the best system, I can say with confidence that I am now intrigued. There are definitely things I’m going to be coming back to in this book, things I want to try on my own, systems that I want to use and tweak for myself.
But you better believe that there will still be days where I get in the car and drive without any idea of where I’m headed. Because I still believe in whimsy and the creative subconscious and trusting your hardwired story intuition to take you some place amazing with breathtaking views and a deeper understanding of the the world and humanity’s place inside it.
“This might be a good time to remember that writing a novel is hard. You are creating an entire world where nothing existed before.”
Discussion Questions
What thoughts and feelings come up for you when Cron talks about needing to know the ending of your story FIRST, before you can write the middle?
As Cron lays out the blueprint system for scene-building, she states that a writer, after determining the first and last scenes, must write the rest of the scenes in chronological order, regardless of what shape the finished novel will eventually take. Do you agree with this—why or why not?
What kind of systems, tools or software do you use to help yourself stay organized when you’re working on a novel? Is there anything you’ve tried before that DIDN’T work?
Put It Into Practice
Complete as many of the exercises from Chapters 9-12 as you would like. Use the story you were working on earlier or start something new. Come back and let us know how it went for you!
Pick a scene from your favorite movie or novel and re-create a Scene Card based on Cron’s storytelling blueprint. Come back here after you’re done and share how the experience went for you!
Reading Discussion Schedule
July 2, 2024: Kick off Party!July 9, 2024: Introduction, Chapters 1-2July 23, 2024: Chapters 3-5August 6, 2024: Chapters 6-8August 20, 2024: Chapters 9-12September 3, 2024: Chapters 13-15
Cancelled
Virtual Discussion and Write-in
1. I laugh out loud. Okay, no. I just sigh a little. Totally not needed. Sure, it's good to have an idea, but what happens when your character surprises you? What if it was them holding the knife all along? Are you supposed to hit delete on the magic you created so you can fit your outlines story ending?
2. I see why this would work for some. Personally, I think this is super dependent on how the story comes to the writer. For me, it works best to write things as I think they should be—in whatever order I imagine them being in to begin with. Maybe that's linear, maybe that's flashback chapters. But it comes out in that order. I think I work like that because if it feels like a flashback chapter, that's when I'm compelled to dig into that moment. Right then is when I know the most about the characters, can get the most from that chapter.
3. A blank page in Scrivener. I make paragraph outlines (at most) and keep a detailed timeline, should that be needed. Beyond that, it's all bullet points and notes and comments in the margins. I've tried all sorts of things—from apps to spreadsheets. But I think it's best to not get bogged down. I don't want the magic, the sparkle, the life to be drained from the story or me. If I plan too much, I'll feel as though it's done. I'm over it. Then I need to move on. And what a sad thing that is, to stop a project because I feel it's done, but no one gets to see the thing I created for myself, but also for them. I have some things just for me. But writing is for everypony. It sucks when I've taken the sharing part of it away from myself by organizing and planning and outlining. I'm glad it works for some, though. A lot of companies wouldn't exist if it didn't.