The Writer's Compass: From Story Map to Finished Draft in 7 Stages
By Nancy Ellen Dodd
Published by: Writer's Digest
Released: June 2011
Site: The Writer's Compass
From Nancy Ellen Dodd:
When I started writing fiction many years ago, I knew that I was driven to write. However, I quickly realized that I wasn't an innate writer. The first manuscript I sent to an editor at a major publishing house, I was fortunate in that his secretary loved the story Teacups and encouraged the editor to read it. The editor was kind enough to call me to discuss the novel. Unfortunately, I was devastated when he told me that I needed to develop as a writer and to learn the difference between telling and showing. I learned three things from that experience: the first being that I had a lot to learn -- like what makes a good story. The second was that I wanted to figure out for myself when something was missing, before being humiliated by someone else having to tell me. The third thing I learned is that sometimes people can enjoy a story even if it is poorly written.
I also had a problem with editing and never finishing, spending hours polishing a scene, then later realizing it didn't fit or had to be rewritten to fit. For two years I committed to spend at least 15 minutes a day working on a manuscript called The President's Trigger. At the end of those two years I had over 600 pages. My problem became finishing the manuscript in that I couldn't figure out what I should be looking for as I edited. I kept going through the manuscript over and over again, more than a dozen times. There had to be a more efficient way to develop a story that addressed its weaknesses before spending hours on the wrong things.
At one point I wrote a one-act play, Pitter-Patter that Pulitzer-prize winning playwright and author Paul Zindel told me was verging on genius. However, in my exuberance to impress him, I turned the play into a load of crap. What was I doing wrong?
So, for 25 years I spent thousands of hours studying writing. While sitting in a graduate class listening to another lecture on the 3-act structure based on Aristotle's dramatic principles and Freytag's Triangle, a light bulb went off. I realized that in most of the books, seminars, and classes they were all saying the same thing, but using different terminology. I placed that terminology on a 3-act chart where they said each element belonged. Then I realized that not all of these elements of writing were necessary. Some of them were entirely arbitrary depending on the story and the writer. I eliminated what I thought was redundant or not essential to good storytelling. I then created a story map by replacing the essential elements of writing with ideas. Finally, I took all of my notes, which I had put into a workbook format, and reorganized them into 7 stages of development.
For the first few years I printed all of the development questions in the 7 stages on 5x8 cards and I would sit on the subway or bus and answer the questions about my story, developing it one stage at a time. Then I would take my story into a class or to my critique group and if I had worked up through Stage 1 (ideas) and 2 (structure), I would get comments about how interesting my ideas were and how well structured the story was, but that my characters seemed weak. When I took the story back after putting it through the Stage 3 (characterization) questions, the comments would be about how vivid my characters were. When others started asking me to share my process with them, at that point I realized I had something unique that worked.
From Angela
Many thanks to Nancy for this article, and writing for the book. I haven't read it, but I ordered it today (and yes, I'm paying for it -- writers need to support other writers.)
I'm looking forward to reading the book, and as soon as I do, I'll be posting my review.
If you've read the book, please post a comment.
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