Today, I am beyond excited to present a very special guest post by ASSASSIN’S HEART author, Sarah Ahiers. I’m a bit of an outline and planning wonk, so I love learning more about the systems used by other writers. Plus, if you’re a fan of the wonderful ASSASSIN’S HEART or its companion, THIEF’S CUNNING, you might be wondering how Sarah juggles the balls of world building, plotting and character development. This guest post offers fun insight into her 5-step process. Stay tuned for more info about THIEF’S CUNNING after the post. Now, here’s Sarah!
Pre-Work
for Your Best Work!
for Your Best Work!
By
Sarah Ahiers
Sarah Ahiers
Writing is hard. Really, really hard. We’ve all had
those struggles, the times where you’re working on that first draft and it is
just fighting you. And you start to question why it is you’re even a writer in
the first place?
those struggles, the times where you’re working on that first draft and it is
just fighting you. And you start to question why it is you’re even a writer in
the first place?
Not to mention being faced with the endless struggle
of the writing community. The arguments and discussion of the best paths. That
timeless question that haunts every newbie writer: should I outline or just
wing it? Plan or pants it?
of the writing community. The arguments and discussion of the best paths. That
timeless question that haunts every newbie writer: should I outline or just
wing it? Plan or pants it?
And, of course, the answer is the same as it is for a
ton of writing advice: you have to do what’s right for you.
ton of writing advice: you have to do what’s right for you.
Figuring out your own personal process is one of the
most difficult things every newbie writer has to go through. Some discover it
right away. For some it will take many unfinished drafts and years of trying
different things until they find something that sticks, that lets them
regularly complete first drafts. And, sometimes, your process changes, even
years later.
most difficult things every newbie writer has to go through. Some discover it
right away. For some it will take many unfinished drafts and years of trying
different things until they find something that sticks, that lets them
regularly complete first drafts. And, sometimes, your process changes, even
years later.
I, personally, am a planner. I do a ton of pre-work
before I ever start writing my first draft. Because I know if I flounder in the
middle of my draft and don’t know where to go, then chances are, I won’t finish
the draft. *Sad trombone*
before I ever start writing my first draft. Because I know if I flounder in the
middle of my draft and don’t know where to go, then chances are, I won’t finish
the draft. *Sad trombone*
But because of this, I have tried a ton (A TON) of
pre-work methods, and I’ve compiled a list of 5 tricks that I think can be
useful to many writers (whether a pantser or a plotter) to help make the
drafting process easier, faster, and cleaner.
pre-work methods, and I’ve compiled a list of 5 tricks that I think can be
useful to many writers (whether a pantser or a plotter) to help make the
drafting process easier, faster, and cleaner.
The best thing about this list, too, is that it’s mix
and match. If something sounds like it will work for you, give it a shot! If
something makes your little pantsing heart balk in terror, throw that one out
the window! Your process is your process. I’m only offering suggestions to
maybe make writing that first draft a little easier.
and match. If something sounds like it will work for you, give it a shot! If
something makes your little pantsing heart balk in terror, throw that one out
the window! Your process is your process. I’m only offering suggestions to
maybe make writing that first draft a little easier.
1. Inciting
Incident
Incident
Now, hardcore pantsers may balk a bit
at this, but since this is something that happens in the very beginning of the
book, hopefully it’s not too much planning.
at this, but since this is something that happens in the very beginning of the
book, hopefully it’s not too much planning.
Before you set paper to pen, ask
yourself, what is the inciting incident? What is the thing that happens that
sets my character on their path of change?
yourself, what is the inciting incident? What is the thing that happens that
sets my character on their path of change?
This can be something big and
external, like my character’s entire family getting murdered in my book
ASSASSIN’S HEART, or a man-giant breaking into your house to say “Yer a wizard,
Harry,” in HARRY POTTER AND THE SORCERER’S STONE.
external, like my character’s entire family getting murdered in my book
ASSASSIN’S HEART, or a man-giant breaking into your house to say “Yer a wizard,
Harry,” in HARRY POTTER AND THE SORCERER’S STONE.
But it can also be something quieter,
or not as obvious. Meeting a girl at a coffee shop, perhaps, who smiles at your
character in just the right way.
or not as obvious. Meeting a girl at a coffee shop, perhaps, who smiles at your
character in just the right way.
Or maybe your inciting incident is
something that has already happened in the past, and your story starts much later
(a buried inciting incident.) That’s fine, too! The key is just thinking about
it so you know where you stand. So when you do finally start the draft, you
know where you’re beginning and the story and characters can take it from
there.
something that has already happened in the past, and your story starts much later
(a buried inciting incident.) That’s fine, too! The key is just thinking about
it so you know where you stand. So when you do finally start the draft, you
know where you’re beginning and the story and characters can take it from
there.
2.
Character
Work
Character
Work
We all know that character drives
conflict and conflict drives plot, right? So if you have a firm understanding
of your character, who they are, how they react to their world, then you’ll
have a firm understanding of how your plot will unfold (even if you don’t know
what your plot is until you write the book.)
conflict and conflict drives plot, right? So if you have a firm understanding
of your character, who they are, how they react to their world, then you’ll
have a firm understanding of how your plot will unfold (even if you don’t know
what your plot is until you write the book.)
I am terrible at character. I default
to writing passive characters who just react to everything. So this pre-work is
super important to me, because I can save myself a lot of revising if I get
this pre-work done right.
to writing passive characters who just react to everything. So this pre-work is
super important to me, because I can save myself a lot of revising if I get
this pre-work done right.
Questions to ask yourself about your
character before you even write CHAPTER ONE on your blank document:
character before you even write CHAPTER ONE on your blank document:
· What
does your main character want most in the world before the story even starts?
does your main character want most in the world before the story even starts?
· What
does your main character want most in the world once the inciting incident
happens?
does your main character want most in the world once the inciting incident
happens?
· Are
they the same thing or different? Why or why not?
they the same thing or different? Why or why not?
· What
is the experience that has shaped your character’s worldview or self-image?
(Are they an orphan? Do their parents control them too much? Etc etc) How does
it affect them?
is the experience that has shaped your character’s worldview or self-image?
(Are they an orphan? Do their parents control them too much? Etc etc) How does
it affect them?
· What
is your character’s controlling emotion? (In times of stress, do they react
with anger? Fear? Defensiveness? Humor? Knowing this will tell you how your
character will react to sudden, unexpected plot shifts—this is especially helpful
for pantsers!)
is your character’s controlling emotion? (In times of stress, do they react
with anger? Fear? Defensiveness? Humor? Knowing this will tell you how your
character will react to sudden, unexpected plot shifts—this is especially helpful
for pantsers!)
If you have a firm understanding of your character, who they are, how they behave, then they will drive your story to those magical first draft words: THE END.
3. Three Disasters
Maybe you don’t want to know
everything that happens in your story. You need to explore as you write, to see
where it takes you. And that’s okay! But maybe, too, you can think of a few
major plot points to keep you from getting completely lost.
everything that happens in your story. You need to explore as you write, to see
where it takes you. And that’s okay! But maybe, too, you can think of a few
major plot points to keep you from getting completely lost.
This is where Three Disasters come
about, coined from the Snowflake Method.
about, coined from the Snowflake Method.
What are three horrible things that
can happen to your character? (Horrible is, of course, relative depending on
the type of book you’re writing.)
can happen to your character? (Horrible is, of course, relative depending on
the type of book you’re writing.)
One of them can be the inciting
incident, if you’d like. But what are two more? Does someone die? Do they break
up with their SO? Do they lose an arm? The options are limitless!
incident, if you’d like. But what are two more? Does someone die? Do they break
up with their SO? Do they lose an arm? The options are limitless!
It’s okay if that first disaster
comes about because of external things, but it’s best if those next two
disasters come about because your main character is trying to fix things, or
driving toward the thing they want most in the world, and they make things
worse. How does your character’s controlling emotion lead to the disasters?
comes about because of external things, but it’s best if those next two
disasters come about because your main character is trying to fix things, or
driving toward the thing they want most in the world, and they make things
worse. How does your character’s controlling emotion lead to the disasters?
If you sit down and write out your
three disasters before your draft, you will have three major plot points mapped
out and ready for you to aim for as your pen wanders about, letting the gaps
fill themselves in.
three disasters before your draft, you will have three major plot points mapped
out and ready for you to aim for as your pen wanders about, letting the gaps
fill themselves in.
4. Write a Query
I know, I know! Query writing is
haaaaaard. No one wants to do it (unless you’re me.)
haaaaaard. No one wants to do it (unless you’re me.)
But let me tell you, writing a query
before you write the draft is a stone-cold awesome way to get your head on
straight about your draft.
before you write the draft is a stone-cold awesome way to get your head on
straight about your draft.
Maybe when all is said and done, the
finished draft won’t resemble what you wrote in the query, but that’s okay! The
point of the pre-work query is to help you write the draft.
finished draft won’t resemble what you wrote in the query, but that’s okay! The
point of the pre-work query is to help you write the draft.
You’ll write that query and have a
one page synopsis of what you think your story is going to be about. It’s not
too detailed, just enough to say what’s going to happen to your character.
one page synopsis of what you think your story is going to be about. It’s not
too detailed, just enough to say what’s going to happen to your character.
Then, when you get to the mid-point
of your draft and it’s gotten really hard, and you think you’re a terrible
writer, and you’re not even sure if this story is any good, and why did you
think this was even an interesting plot, you can whip out your query, give it a
read, and be reminded of what it was that you thought was interesting about
your story. You’ll see it as a whole, on a micro scale and think “Right. This
story sounds cool. I can do this.” And you’ll push forward with your draft.
of your draft and it’s gotten really hard, and you think you’re a terrible
writer, and you’re not even sure if this story is any good, and why did you
think this was even an interesting plot, you can whip out your query, give it a
read, and be reminded of what it was that you thought was interesting about
your story. You’ll see it as a whole, on a micro scale and think “Right. This
story sounds cool. I can do this.” And you’ll push forward with your draft.
Bonus! When the draft is finished,
you now have a query draft already written to use as a query or a pitch letter
or an online blurb!
you now have a query draft already written to use as a query or a pitch letter
or an online blurb!
5.
Outline/Beat
Sheet/Whatever
Outline/Beat
Sheet/Whatever
This is where I know pantsers are
going to cover their ears and say “Lalala! We can’t hear you!”
going to cover their ears and say “Lalala! We can’t hear you!”
And I get it. But hear me out,
please!
please!
Not all outlines are created equal.
The key is to find one that works for you.
The key is to find one that works for you.
Some outlines are super detailed,
telling the writer exactly what happens in every paragraph.
telling the writer exactly what happens in every paragraph.
But not all outlines are like that!
Mine tend to be a list of scenes. They may say something like “Lea gets
arrested.” And then “Lea and Les kiss.” But why/how Lea gets arrested, and what
leads to that first kiss, I won’t know until I get to that scene and write it.
Mine tend to be a list of scenes. They may say something like “Lea gets
arrested.” And then “Lea and Les kiss.” But why/how Lea gets arrested, and what
leads to that first kiss, I won’t know until I get to that scene and write it.
An outline can keep you on pace.
Maybe writing is like wandering the desert for you, seeing what there is to discover
in the wilderness. But an outline could be your compass, making sure that
you’re always headed north, and not getting lost along the way.
Maybe writing is like wandering the desert for you, seeing what there is to discover
in the wilderness. But an outline could be your compass, making sure that
you’re always headed north, and not getting lost along the way.
Even just vaguely thinking about an
outline may be enough to make that first draft that much easier to complete.
outline may be enough to make that first draft that much easier to complete.
And
that’s it! Those are my 5 pre-work tricks that can help make writing the first
draft so much easier. You can experiment within these tricks, too. Maybe you
realize you need to go really deep in your character before starting your
draft. Or maybe you realize you don’t actually even need outlines as long as
you know your three disasters.
that’s it! Those are my 5 pre-work tricks that can help make writing the first
draft so much easier. You can experiment within these tricks, too. Maybe you
realize you need to go really deep in your character before starting your
draft. Or maybe you realize you don’t actually even need outlines as long as
you know your three disasters.
The
sky is the limit! The key is to figure out what works best for you. And then
write your precious little hearts out.
sky is the limit! The key is to figure out what works best for you. And then
write your precious little hearts out.
Good
drafting, friends.
drafting, friends.
About
Sarah Ahiers
Sarah Ahiers
Sarah
Ahiers is the author of ASSASSIN’S HEART and THIEF’S CUNNING (HarperTeen.) She
has a house full of dogs and other critters, an MFA in Writing for Children and
Young Adults from Hamline University, and when she’s not writing she spends her
time with good games, good food, good friends, and good family.
Ahiers is the author of ASSASSIN’S HEART and THIEF’S CUNNING (HarperTeen.) She
has a house full of dogs and other critters, an MFA in Writing for Children and
Young Adults from Hamline University, and when she’s not writing she spends her
time with good games, good food, good friends, and good family.
About
THIEF’S CUNNING (companion to ASSASSIN’S HEART)
THIEF’S CUNNING (companion to ASSASSIN’S HEART)
Allegra Saldana has always had to look over her shoulder. As the niece of
the infamous assassin Lea Saldana, Allegra is used to hiding from people who
want her dead. Once the strongest clipper family in the Kingdom of Lovero, the
Saldanas—or what’s left of them—are now the most hunted. Their number one enemy
is the Da Vias, whose thirst for retaliation is almost two decades in the
making.
But lately Allegra’s getting fed up with everything being kept from
her—including her parents’ identity. When she finally learns the truth about
her family, though—that she’s a Da Via—her world crumbles. Feeling betrayed by
the people she trusted the most, Allegra turns to Nev, a Traveler boy whose
presence makes her feel alive in ways she’s only dreamed of. But getting
caught up in Nev’s world has consequences Allegra never saw coming.
In this dark and enthralling fantasy that fans of Sarah Maas and Leigh
Bardugo will devour, one girl must decide if she’s destined to pay for the
wrongs of her family’s past—whether Saldana or Da Via—or if the future is hers
for the taking.
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