Brian Yansky's Blog

 How To Become A Better Writer: Read. 

I read for pleasure first--because the experience of reading is one of the things I love about this world. But I'm a writer so I also read with an eye to how another writer does something well.  I try to learn. 

For example, I look at this sentence that opens A Prayer for Owen Meany by John Irving and I think WOW. And then I think--what makes it so good? It does a lot of things in one sentence, but I think, more than anything it makes me want to know Owen Meany and, to a lesser degree, the narrator. It's a great opening and it immediately attracts me to the characters. I want to know more.

"I am doomed to remember a boy with a wrecked voice—not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother's death, but because he is the reason I believe in God; I am a Christian because of Owen Meany."

"doomed" (a powerful word that makes us think of fate and tragedy), a boy with a "wrecked" voice and "smallest person I ever knew"---give the beginning of this sentence almost a mythic quality, and there is something about wrecked that has the echo of forces beyond us. Shipwreck--for example. And he's not just a "small" person but the "smallest person I ever knew"--Here it's a bit like a fairy tale. In all these sentences there’s the sense that this story is larger than itself, whatever itself will be. 

And then the next line: "the instrument of my mother's death"--not that he killed her exactly (though we’re not sure). More vague and yet full of mystery and more involved than just being a part of it --"the instrument". How was he the instrument? What does instrument mean in this context? We want answers to this question and it is always good when a writer gets a reader wanting answers to questions she's posed directly or indirectly in the text. So this is yet another thing that this sentence makes me think about.

As a reader you might not be aware of all the things going on here but you will be sucked into the story and that’s what you need on page one of your

This sentence makes me want to read on because I want to know more about Owen Meany and the plot. Thewriter already has me hooked on character and story and I haven't even finished the first sentence.

OK, onward------Then the "but" and we turn the corner. All of these interesting and strange things that Owen Meany is, as interesting and compelling as they are, are not the reason our narrator is "doomed" to remember Owen. This is a thrilling moment in this sentence. We've been brought to it by the choice of words, the compelling information, the rhythm of the clauses...not because, or because, or even because... THEN but because he is the reason I believe in God.

What? I didn't see that coming but when it comes it seems just right...all of this is about faith and this will be a book about faith. You don't have to be a Christian to feel that this is right. Faith or the lack of it, is at the heart of who we are.

I learn a lot from reading other writers. Sometimes I learn just from reading one sentence.

 Don't Listen To The Doubters

Inspiration is great, but it can’t be depended upon. On the other hand, perspiration is something much more predictable. You show up, and it shows up.

                                                ***

“Crap,” says The Little Doubter in my mind. He jumps right out and sits in the gold chair across from me. He is small and has a distinct resemblance to an imp. The unkind kind.

“F*** off,” I say.

You can’t be too easy on your subconscious.

“You’re writing crap,” The Little Doubter says. “This is all crap. You should hit delete. Delete the whole thing and give up writing. I hear they’re hiring at that hamburger place with the funny hats.”

“They all have funny hats.”

He slouches in the chair; he needs a shower; his clothes could use a good washing. I don’t like looking at him.

“The one with the funniest hats.”

“At least I haven’t given up,” I say.

“Let’s watch bad TV, eat ten desserts, drink until we can’t see, and just forget all about making these little marks on a blank page. You’re no good at it; you have a sweet tooth. I bought those cookies you love.”

True. This is why you have to watch yourself around your subconscious. They are tricky and they know you.”

“I don’t think so,” I say.

The truth is, I have to write. Writing, most days, gives me purpose, and it fulfills a need in me. I’d write even if I were never paid a cent.

I turn to tell him that I am going to write no matter what, but the yellow chair is empty. He gets me. He really does. Not this time though. Not this time.

Chapter 12 

Step 12: Final Inspection - Grammar, Flow, and Reading Aloud

You’ve reached the final phase of building your novel. The structure is solid; the details are in place, and now it’s time for the final inspection.

This fourth draft is about polishing your prose until it shines, ensuring the reading experience is smooth and immersive. It’s about fixing the squeaky floorboards and touching up the paint—the small imperfections that, if left unaddressed, might distract from the overall effect of what you’ve created.

Here’s how to approach this final draft:

Read aloud: You really need to do this! Read your entire manuscript aloud, either to yourself or using text-to-speech software. Your ears will catch what your eyes miss. I prefer to use text-to-speech software with a mechanical-type voice. It’s just what works best for me. Look for these the following:

· Awkward phrasing

· Repeated words or sounds

· Missing words, phrases, or wrong words

· Unintentional rhymes

· Run-on sentences

· Dialogue that doesn’t work

· Inconsistent tense or point of view

The Grammar and Mechanics: Now is the time to address grammar problems. Use grammar-checking software if you like, but remember it’s a tool, not a replacement for your judgment. Sometimes, grammar rules should be broken for style or effect.

· Proper punctuation

· Consistent formatting for thoughts, emphasis, text messages, etc.

· Correct use of commonly confused words (their/there/they’re, etc.)

· Properly formatted dialogue

· Consistent spelling (especially of names and places)

· Appropriate paragraph breaks        

Flow and Rhythm: Check your prose.

· Vary sentence length for rhythm and emphasis

· Break up overly long paragraphs

· Ensure transitions between scenes and chapters are smooth

· Use sentence fragments and run-ons intentionally, not accidentally

· End chapters and sections with sentences that have impact

The Checklist Method: Create personalized checklists of your common writing weaknesses.:

· Overuse of “just,” “very,” and “suddenly”

· Too many sentences beginning with “He” or “She”

· Characters nodding, sighing, or shrugging too frequently

· Repetitive sentence structures

· Unnecessary dialogue tags

Use your word processor’s search function to find and evaluate each instance.

Consistency Check: One final review for consistent details:

· Character descriptions (eye color, height, etc.)

· Timeline (seasons, days of the week, character ages)

· Setting details (distances, room layouts, etc.)

· Special terminology within your story world

The First and Last Impressions: Give extra attention to your opening pages and final chapter. These create the strongest impressions for readers:

· Does your first page establish voice, character, and situation effectively?

· Do the first few pages raise questions that compel readers to continue?

· Does your ending provide satisfaction? Do you leave room for more story if you’re writing a series?

· Have you cut any unnecessary epilogue that weakens the impact?

The “One More Thing” Trap: Be wary of the urge to keep making “just one more change” indefinitely. At some point, you need to declare your novel complete.

 Congratulations:

After this final draft, your novel won’t be perfect—no novel ever is—but it will be the best you can make it at this point in your writing journey. It will be ready for others to read.

This is a moment to celebrate. You’ve done something extraordinary. You’ve built a novel from nothing, discovered its shape as you wrote, and refined it into something that others can experience and enjoy.

The process I’ve described—from breaking ground to final inspection—has focused on craft, not art. I’ve talked about structure, technique, and process because these can be taught. But the spark that makes your novel uniquely yours—that comes from you alone.

Trust that spark. Nurture it through each draft. Let it guide you when rules and advice fail.

And remember that every novel you write teaches you how to write that novel—usually just as you’re finishing it. The next one will be different. You’ll make new mistakes and discover new strengths.

That’s what keeps things interesting. It has kept me interested for decades, and I expect it will keep me interested until the end.

Building a novel is never simple, especially for discovery writers. It’s messy, challenging, and sometimes frustrating. But it’s also one of the most rewarding creative acts possible. You create worlds and people from nothing but imagination and perseverance.

So, go build your novel. Make it sturdy. Make it beautiful. Make it yours.

 https://www.amazon.com/Building-Novel-12-Steps-Discovery-ebook/dp/B0FSHQ9QF1?ref

Chapter 11

Step 11: Detail Work: Polishing Language and Character

You’ve built the structure. You’ve created a cohesive story. Now it’s time for the detail work that transforms a functional manuscript into a compelling one. This is your third revision—where good writing becomes good storytelling.

Think of this phase as adding the elements that make a house a home. The walls are up; the roof doesn’t leak, but now you’re installing the beautiful staircase, the perfect light fixtures, the crown molding that makes each room distinctive.

Here’s what to focus on in your third draft:

Powerful Dialogue: Good dialogue does multiple things simultaneously—it reveals character, advances the plot, creates subtext, and sounds authentic. Review your conversations with these questions:

· Does each character have a distinctive voice?

· Is the dialogue free of unnecessary exposition? We do not want that.

· Does the subtext (what’s not being said but exists just beneath the surface) create tension?

· Have you cut small talk and mundane exchanges?

Try this exercise: Take a crucial dialogue scene and rewrite it three different ways—one where both characters are honest, one where both are hiding something, and one where they have completely different understandings of the conversation. Even if you don’t use these versions, they’ll help you find the most compelling approach.

Deepening Characterization: By now, you know your characters well. Use that knowledge to add layers:

· Give important characters distinctive habits, expressions, or perspectives

· Ensure secondary characters have their own motivations, not just serving the protagonist

· Add moments of internal contradiction—people are rarely consistent

· Show characters through the eyes of others for a fuller picture

· Create moments where characters surprise the reader, yet remain true to themselves

Scene Dynamics: Each scene should have its own arc of tension and release. For important scenes, identify:

· The power dynamics at the beginning and how they shift

· The goals of each character in the scene

· The obstacle or conflict that creates tension

· How the scene changes the story situation

· The emotional impact on both characters and readers

Emotional Impact: This is where many technically competent manuscripts fall short. For pivotal moments, ask:

· Have you earned this emotional beat through proper setup?

· Are you allowing readers to feel the emotion rather than just describing it?

· Have you varied emotional notes throughout ?

· Are you using physical sensations to convey feeling?

· Have you avoided melodrama and sentimentality?

For each important emotional scene, identify the primary emotion you want readers to feel. Then, make sure not to name that emotion directly in the scene. Show everything around it, but let readers supply the label themselves.

Setting as Character: Bring your locations to life:

· Appeal to all five senses, not just the visual, when describing…

· Show how settings reflect or contrast with characters’ emotions

· Make settings dynamic—changing with weather, time, circumstances

· Use settings to create mood and atmosphere

· Include specific, vivid details that only someone who’s been there would know

I definitely think of Eden, the town, in my series Strangely Scary Funny as a character. If your setting is important (as it is in fantasy, horror, and sci fi in particular) consider thinking of it as a character when you’re bringing it to life.

Language Precision: Now’s the time to make every word count:

· Replace generic verbs (“walked,” “said,” “looked”) with more specific ones when it adds value

· Cut adjectives and adverbs when strong nouns and verbs can do the work

· Vary sentence structure and length for rhythm and emphasis

· Eliminate pet phrases and words you overuse

· Make metaphors and similes fresh and relevant to your story world

Beginnings and Endings: Polish the most important parts of your novel:

· Does your opening immediately engage with character, conflict, and/or question?

· Does your ending provide emotional satisfaction while reflecting the journey of your story?

· Have you cut unnecessary preamble or epilogue? Watch out for this, especially in the beginning.

The Rule of Three: In storytelling, three is a magic number. Important concepts, images, or phrases often benefit from appearing three times throughout your manuscript—first introducing, then developing, finally culminating. Look for opportunities to create these patterns.

The Unexpected Turn: Review each chapter for predictability. Where can you add a twist, revelation, or surprise that keeps readers engaged?

Clarity Check: Make sure readers will understand what’s happening without being spoon-fed:

· Have beta readers or an editor identify confusing passages/ these are often hard for the author to identify.

· Clarify without over-explaining

· Make sure important information stands out from background details

This level-of-detail work is demanding, but it’s also deeply satisfying. You’re no longer wrestling with big structural problems—you’re crafting moments, creating beauty, adding depth.

Don’t try to perfect everything at once. You might go through the whole manuscript or sections focusing on one aspect, such as dialogue or description (adding sensory details, which almost always helps), or emotional beats or what’s at stake in a scene.

By the end, your manuscript should feel like a real book—one that pulls readers in and keeps them engaged from beginning to end. You’ve moved from builder to craftsperson. Your novel isn’t just standing; it’s taking on character and charm.

There’s just one more step to go.

 Chapter 10: The Second Draft - Bringing the Story into Focus

With the major structural issues addressed, it's time for your second draft. This is often where your novel starts to feel like a real book rather than a collection of scenes.

The second draft is your opportunity to refine the entire manuscript with the incredible advantage of knowing the complete story. When you wrote the first draft, you were discovering. Now you're shaping with purpose.

Think of it this way: your first draft was like walking through a forest at night with a flashlight, seeing only what was directly in front of you. Now you have a map of the entire forest. You can see which paths connect, where the dead ends are, and how to create the most compelling journey.

Here's how to approach your second draft:

Start at the Beginning: Unlike the targeted revisions of your major renovation phase, the second draft means going through your entire manuscript from page one. You're creating a cohesive reading experience.

The Through-Line: With your complete story in mind, strengthen the narrative thread that pulls readers from beginning to end. Every scene should connect to this through-line, either advancing the plot, developing characters, or building your world in ways that matter to the outcome.

Foreshadowing and Payoff: You know  your story now. You can look for places to Reverse Engineer.  You can create foreshadowing. For example, let’s say you know that on page 88 the two main characters kiss. SO you want to lead the reader to this important moment in the development of their relationship by some progression. You can create foreshadowing for the reader because of what you know will happen later in the novel The Art of Setups and Payoffs: Make a list of every major reveal, twist, or climactic moment in your story. Then ensure each has adequate setup. Conversely, check that every setup has a satisfying payoff. Readers notice when you promise something and don't deliver.

Strengthening Character Arcs: Ensure your characters' growth (or deliberate lack thereof) follows a convincing progression. Now that you know who they become by the end, you can make their journey there more believable and compelling.

Finding the Balance Between Showing and Telling: Discovery writers often switch between showing and telling somewhat randomly in first drafts. In your second draft, make strategic choices:

Show (through scene, dialogue, and action) when:

·       A moment has emotional significance

·       An interaction changes a relationship

·       A character makes an important decision

·       Something happens that changes the course of the story

Tell (through summary and exposition) when:

·       You're bridging between important scenes

·       You need to convey background information quickly

·       The details would be repetitive or unnecessary

·       You're intentionally creating distance for stylistic reasons

·       CONTRARY, to the advice of many writing books you do not always need to show rather than tell…

Pacing Adjustments: Modify the rhythm of your story by expanding important moments and condensing less crucial ones. Add scenes where the story moves too quickly for emotional impact. Trim or cut scenes where the energy drags.

Consistency Check: Ensure details remain consistent throughout—character descriptions, abilities, timelines, settings, rules of your world. What was nebulous in your first draft must become concrete now.

Strengthening Beginnings and Endings: Pay special attention to chapter beginnings and endings. Each chapter opening should raise a question or create tension that propels readers forward. Each ending should satisfy while prompting readers to continue.

The Language Layer: While you're not focusing primarily on line-by-line prose yet, start shaping your novel's voice more consistently. If certain passages sing while others fall flat, begin bringing everything up to your best standard.

Cut Mercilessly: Most first drafts are too long, not too short. Be ruthless about cutting:

·       Scenes that duplicate the same purpose or emotional beat

·       Extended passages where nothing changes

·       Clever writing that doesn't serve the story

·       Characters who could be combined or eliminated

·       Subplots that don't connect meaningfully to the main story

I always challenge myself to cut at least 10% from my first draft, and I've never regretted a single cut once the manuscript was finished.

The Read-Aloud Test: As you revise each chapter, read portions aloud. Your ear will catch problems your eye misses—awkward phrasing, repetitive sentence structures, dialogue that doesn't sound natural.

What if you're still discovering significant aspects of your story during this draft? That's normal for discovery writers. The second draft often reveals deeper layers of meaning and connection. Remain open to these discoveries while maintaining focus on creating a cohesive whole.

By the end of your second draft, your novel should have:

·       A clear, compelling narrative arc

·       Consistent, developing characters

·       Logical plot progression

·       Appropriate pacing and tension

·       A cohesive thematic resonance

·       A satisfying balance of setup and payoff

Does this mean your novel is ready? Not quite. But it should now be recognizably the book you want it to be, even if it needs further refinement.

The second draft transforms your raw material into a real novel. It brings your story into focus. The remaining drafts are about making that image sharper, clearer, and more vivid.

You're getting there. Keep going.

 Chapter 10: The Second Draft - Bringing the Story into Focus

With the major structural issues addressed, it's time for your second draft. This is often where your novel starts to feel like a real book rather than a collection of scenes.

The second draft is your opportunity to refine the entire manuscript with the incredible advantage of knowing the complete story. When you wrote the first draft, you were discovering. Now you're shaping with purpose.

Think of it this way: your first draft was like walking through a forest at night with a flashlight, seeing only what was directly in front of you. Now you have a map of the entire forest. You can see which paths connect, where the dead ends are, and how to create the most compelling journey.

Here's how to approach your second draft:

Start at the Beginning: Unlike the targeted revisions of your major renovation phase, the second draft means going through your entire manuscript from page one. You're creating a cohesive reading experience.

The Through-Line: With your complete story in mind, strengthen the narrative thread that pulls readers from beginning to end. Every scene should connect to this through-line, either advancing the plot, developing characters, or building your world in ways that matter to the outcome.

Foreshadowing and Payoff: You know  your story now. You can look for places to Reverse Engineer.  You can create foreshadowing. For example, let’s say you know that on page 88 the two main characters kiss. SO you want to lead the reader to this important moment in the development of their relationship by some progression. You can create foreshadowing for the reader because of what you know will happen later in the novel The Art of Setups and Payoffs: Make a list of every major reveal, twist, or climactic moment in your story. Then ensure each has adequate setup. Conversely, check that every setup has a satisfying payoff. Readers notice when you promise something and don't deliver.

Strengthening Character Arcs: Ensure your characters' growth (or deliberate lack thereof) follows a convincing progression. Now that you know who they become by the end, you can make their journey there more believable and compelling.

Finding the Balance Between Showing and Telling: Discovery writers often switch between showing and telling somewhat randomly in first drafts. In your second draft, make strategic choices:

Show (through scene, dialogue, and action) when:

·       A moment has emotional significance

·       An interaction changes a relationship

·       A character makes an important decision

·       Something happens that changes the course of the story

Tell (through summary and exposition) when:

·       You're bridging between important scenes

·       You need to convey background information quickly

·       The details would be repetitive or unnecessary

·       You're intentionally creating distance for stylistic reasons

·       CONTRARY, to the advice of many writing books you do not always need to show rather than tell…

Pacing Adjustments: Modify the rhythm of your story by expanding important moments and condensing less crucial ones. Add scenes where the story moves too quickly for emotional impact. Trim or cut scenes where the energy drags.

Consistency Check: Ensure details remain consistent throughout—character descriptions, abilities, timelines, settings, rules of your world. What was nebulous in your first draft must become concrete now.

Strengthening Beginnings and Endings: Pay special attention to chapter beginnings and endings. Each chapter opening should raise a question or create tension that propels readers forward. Each ending should satisfy while prompting readers to continue.

The Language Layer: While you're not focusing primarily on line-by-line prose yet, start shaping your novel's voice more consistently. If certain passages sing while others fall flat, begin bringing everything up to your best standard.

Cut Mercilessly: Most first drafts are too long, not too short. Be ruthless about cutting:

·       Scenes that duplicate the same purpose or emotional beat

·       Extended passages where nothing changes

·       Clever writing that doesn't serve the story

·       Characters who could be combined or eliminated

·       Subplots that don't connect meaningfully to the main story

I always challenge myself to cut at least 10% from my first draft, and I've never regretted a single cut once the manuscript was finished.

The Read-Aloud Test: As you revise each chapter, read portions aloud. Your ear will catch problems your eye misses—awkward phrasing, repetitive sentence structures, dialogue that doesn't sound natural.

What if you're still discovering significant aspects of your story during this draft? That's normal for discovery writers. The second draft often reveals deeper layers of meaning and connection. Remain open to these discoveries while maintaining focus on creating a cohesive whole.

By the end of your second draft, your novel should have:

·       A clear, compelling narrative arc

·       Consistent, developing characters

·       Logical plot progression

·       Appropriate pacing and tension

·       A cohesive thematic resonance

·       A satisfying balance of setup and payoff

Does this mean your novel is ready? Not quite. But it should now be recognizably the book you want it to be, even if it needs further refinement.

The second draft transforms your raw material into a real novel. It brings your story into focus. The remaining drafts are about making that image sharper, clearer, and more vivid.

You're getting there. Keep going.

 Step  9: Major Renovations - Tackling Big Problems First

Now you’re staring at your list of problems and thinking, “My God, this is hopeless.” It’s not. I promise. What you need is a renovation strategy that addresses the foundation before you start picking the colors you want to paint the bedrooms.

Honestly, for me revision is where I have the most fun with writing. I mean, the discovery process in the first draft is exciting and often exhilarating when things come together and frustrating and worrying when they don’t.

But in revision you get to really dig into the manuscript and identify problems and fix those problems. You also get to refine ideas, scenes, characters that were a little blurry in the first draft. It’s a chance to bring your whole story into focus. Finally, you get to work on really making your sentences sharp and worthy of your story. Mark Twain said the difference between the right word and the almost right word is the difference between lightning and the lightning bug. You get it. In revision, you get an opportunity that we don't always get in life: second, third, fourth chances.

For me, I revise two or three times and then go over a fourth time for grammar and polish. Each revision takes less time than the previous one for me.

***

The most common approach is to begin with the big problems and end with the small. Structure before scenes. Scenes before sentences. If you start polishing prose in a chapter you might end up cutting entirely, you’re wasting precious time and energy.

Big problems typically fall into a few categories. You need to address these in your first revision.

Structural Problems: Maybe your novel starts too slowly. Or the middle sags like a worn-out mattress. Or the ending comes out of nowhere. These are foundational issues that affect the entire book. Identify them and know that these will take some time to correct.

Character Arcs: Perhaps your protagonist doesn’t change meaningfully over the course of the story. Or their decisions don’t drive the plot. Or they’re simply not compelling enough to carry a novel. You’ve got to see this even if you love your characters. See them for who they are. If you find a weakness, find a way to improve it.

Plot Logic: The story might contain significant holes, contradictions, or a deus ex machina (those convenient coincidences that solve problems too easily).

Stakes and Tension: Maybe the conflict isn’t compelling enough, or the consequences of failure aren’t clear or meaningful.

Here’s how to tackle these big issues without getting overwhelmed:

Create a Revision Plan: List your major problems in order of priority. Structural issues usually come first because fixing them often solves character and plot problems automatically. Be specific about what needs fixing and why.

The Scene List: Create a simple list of every scene in your novel with a one-sentence description of what happens and why it matters. This bird’s-eye view makes structural problems more obvious. Too many scenes with the same purpose? A character who disappears for 100 pages? A subplot that goes nowhere? You’ll see it.

Do you have several scenes doing the same thing? Cut the redundancy. Your manuscript will be stronger.

The chapter-by-chapter outline: For more complex revisions, create a detailed outline of your existing manuscript. For each chapter, note the key events, character developments, reveals, and emotional beats. Then, create a parallel outline of how the revised version should look. This gives you a roadmap for reconstruction.

The Character Journey Map: For character problems, track your protagonist’s emotional state, beliefs, and goals at key points in the story. Where does their arc stall or contradict itself? Where do they need stronger reactions to events in the plot? This map highlights where character development needs work.

The “Why” Chain: For plot logic issues, create a chain of cause and effect. Each major event should have a clear cause (“This happened because...”) and consequence (“Which led to...”). Notice I wrote major events. Not every event needs a cause-and-effect chain, but your major ones do.

Targeted Rewrites: Instead of revising the entire manuscript at once, focus on specific sections that need major work. This will make your revision faster.

The “Zero Draft” Technique: For truly problematic sections, try rewriting them from scratch without looking at your first draft. You might try writing a few sentences to discover what you want to do in the scene. Then rewrite the scene.

The Cut-and-Keep File: Create a separate document for material you cut. Nothing is truly deleted—it’s just set aside. Sometimes this is a good way to allow you to cut without getting emotional about the loss. It’s not a loss. It’s just a relocation.

What about those sections you know need work but aren’t sure how to fix? Try these approaches:

The “What If?” Game: Brainstorm three radically different ways the section could play out. One may be right. If none is right, one might spark an idea.

The Purpose Test: Ask what this section needs to accomplish for the story. Is there a more effective, interesting way to achieve that purpose?

The Character-Driven Solution: When plot problems seem intractable, let character guide you. What would this specific character actually do in this situation, based on everything we know about them?

The Reader Question: What question does the reader have at this point in the story? What answer would be both satisfying and surprising?

The biggest challenge during major renovations is maintaining momentum. Revision can feel endless, especially when you’re restructuring significant portions of your novel. To avoid revision fatigue:

Set Concrete Goals: “Today I’ll rewrite the confrontation scene” is better than “Today I’ll work on the manuscript.”

Celebrate Milestones: Acknowledge progress when you solve a major problem. These victories fuel further work.

Remember, you don’t need to fix everything at once. The goal of this phase is to address the fundamental problems that would make more detailed revision pointless. Once your structure is solid, your characters consistent, and your plot logical, you’re ready for the comprehensive second revision.

Revision number one is still a bit messy, but it will clarify your story, especially for the discovery writer. This is where discovery writers often work out their story. Embrace that. The novel you end up with might be quite different from what you first imagined. That’s okay. In fact, it probably is you finding your best story.

Major renovations take courage. You might need to cut your favorite scenes, rewrite entire chapters, or even change your ending. Trust that these big changes will make your novel better.

I find that I do a lot of demolition and a lot of renovation in revision, especially in the first revision.

 Chapter 8:  Revision (time to shift gears) : Evaluating Draft One/ Checking the structure

Congratulations! You've completed your first draft. That puts you ahead of about 95% of people who want to write a novel. Take a moment to appreciate what you've accomplished.

Now, put your manuscript in a drawer and don't look at it for a few days. I’ll often let it sit a week. Some say you need a few weeks or even a month. I don’t have the time for that. Or the patience. You do need to try and create distance between your writing of your first draft and revision though

I do agree that if you just go back to the beginning and start revising your manuscript, you won’t have the distance to flip that switch you need to flip to analyze/edit for revision. You’ll often get stuck just changing words here and there or details. You need a broader look at the manuscript to have an effective revision.

Go back and look at your notes and work through any messages you had for yourself. Also if you have places where you used the placeholder summary, now go ahead and try to write those scenes. It will be easier now that you have a full manuscript with a beginning, middle and end. If you know of a chapter that is weak, go work on that. What you’re doing here is shoring up the first draft a little. This might take you a few days or maybe a week.

When you come back, approach your manuscript as a reader, not its writer. Print it out if possible, or transfer it to an e-reader—anything to make it look different from how you saw it while writing. Read it straight through without making corrections, just taking occasional notes

This first read-through isn't about fixing anything once you’ve done your touching up of draft one and let the manuscript sit for a couple of days or week. It's about seeing what you actually wrote. Not what you thought you were writing. The two are rarely the same, especially for discovery writers. 

As you read, you'll notice problems. Lots of them. This is normal and good. Finding problems means you're developing the critical eye needed for effective revision. Here's what to look for:

Structural Issues

The big picture stuff. Does your story have a clear beginning, middle, and end? Does it build logically from one event to the next? Are there sections that drag or feel rushed? Is there a satisfying arc of tension and release?

Many discovery writers find their true beginning several chapters into the draft. Often, those first few chapters were you, the writer, figuring out the story. Readers don't need to watch you warm up.

Similarly, you might find your ending comes too abruptly or drags on too long. Mark these sections but don't fix them yet—just identify where the structure needs work.

Character Inconsistencies

Discovery writers often find their understanding of characters evolves during drafting. The Sarah in chapter twenty might be quite different from the Sarah in chapter two.

Note these inconsistencies without judgment. They're not failures; they're discoveries about who your character truly is. Later, you'll decide which version to keep and revise accordingly.

Pay special attention to motivation. Do your characters' actions make sense given what we know about them? If not, you'll need to either change the actions or deepen the characterization to make them believable.

Plot Holes and Logic Problems

How did your character know information you never showed them learning? Why didn't they use the magical ability in chapter five that would have solved the problem in chapter twelve? How did winter turn to summer in what was supposed to be a week of story time?

These continuity errors are the discovery writer's special curse. List them all. Some will be easy fixes; others might require major restructuring.

The "But Why?" Test

For key plot points, ask "But why?" If you can't answer clearly, you've found a weakness. Why did the villain kidnap the hero's sister? Why did the protagonist quit her job? If your answer is "because I needed it for the plot," you likely have a problem.

The Missing Scenes

Discovery writers often find they've skipped crucial scenes—moments that need to be shown but were bypassed. Maybe you jumped from the argument directly to the reconciliation without showing how the characters got there. Note where these gaps exist.

The Unnecessary Scenes

Conversely, discovery writing produces scenes that may not earn their keep. Often these happen because you the writer are trying to understand some aspect of the story or develop character. These can likely be cut for the reader.

Theme and Meaning

What is your novel actually about beneath the plot? What patterns, images, or ideas keep recurring? Discovery writers often find their themes emerge organically during drafting. Identifying these themes will help you focus on using them in the best ways to improve your manuscript.

How do you organize all these observations without getting overwhelmed? Break them down into categories.

Major Reconstruction: Fundamental problems requiring significant rewriting. "The middle section has no tension." "The protagonist's motivation makes no sense." "The ending contradicts what we know about the character." 

Notable Issues: Specific problems that need addressing but don't require rebuilding entire sections. "The best friend disappears for 100 pages." "The subplot about the neighbor never connects to the main story." These usually require additions.

Minor Fixes: Small continuity errors, inconsistent details, etc. "Eye color changes from blue to brown." "Character mentions a sister who never appears."

Focus first on understanding the major reconstruction needed. The minor stuff is easy to fix once the foundation is solid.

One warning: this evaluation phase can be emotionally brutal. You'll wonder how you didn't notice these problems while writing. You'll question your ability. You'll contemplate burning the manuscript and becoming a pig farmer or dog trainer or….

This is normal. Every novelist goes through it. Even the really good writers don’t get everything right on the first try.

Finding problems is not a sign of failure either. Ah contraire, it’s a sign of growth. Your ability to see these issues means you're developing the critical skills necessary to become a better writer.

Also as a discovery writer your first draft is going to wander and it’s going to be messy and disorganized in places. Expect this. Embrace it. Now you have the chance to revise and rework it and make it the best novel you can.

ALSO:

I'm publishing a short book on these 12 steps to Building A Novel, including some bonus material. It's on Amazon on preorder, pub date Oct. 9. I've revised some of what you've read but not extensively. I will continue to post the steps here until I've posted them all. 

The amazon book will be available in ebook and paperback, so if you want a copy to keep, you can get it here:

 https://www.amazon.com/dp/B0FSHQ9QF1?ref_=pe_93986420_775043100

Here's the beginning—

About Me: 

I have an MFA in Writing, and I taught creative writing at the college level for a decade, but these aren’t why I think my book on writing can help you become a better writer. It’s because I’ve written well over a million words and plan to write many, many more. I love to write. I’m a writer. That’s why.

I’ve had five novels trad published and won a few awards and sold a few copies. I’ve written another twenty plus novels as an independent writer. My Strangely Scary Funny series has sold copies into the six figures. I know how to write novels. I'll do my best to give you some tools that will help you build your own novel. This is a short book crammed full of advice that will take you from ideas to begin your novel to those last two words at the end which are, oddly enough, THE END.

  Besides the 12 steps to writing a novel, I’ve included bonus sections on what not to do, character creation and development, and a little encouragement section. Writing a novel is tough. No use pretending otherwise. But it is fun, engaging, and you may find that it’s a positive addiction you can enjoy over a lifetime. With a bit of luck, you might even earn some cash or win awards or accomplish whatever your specific goals are.

I wish you a bit of luck. You’re a writer if you write. Don’t let anyone tell you otherwise.

INTRODUCTION

12 Steps To Building A Novel: Especially For Discovery (Pantsers, same thing) Writers  

You don’t need an outline but you do need the right tools.

Here's the truth: you don't need an outline to write a novel. What you need is courage and determination. The process you use to find your way isn’t all that important. Outline, don’t outline. Find what works for you and do that.

However, I’m here for the discovery writers because that’s my process. I’m going to try to tell you how to build a novel. Hope it helps.

My dad was a builder of homes. He had a regular job working for the post-office but his passion was building houses. While working full-time at the post-office, he’d build two or three houses a year. 

I can remember him taking me to lots he’d bought and telling me what kind of house was going to be built there. Empty lot one day. Foundation poured the next. Then weeks and months passed and the frame, the walls, the roof. Then the inside of the house: plumbing, appliances, electricity, paint and so on.  Eventually, a house was built to be lived in.

“If you build it they will come” is an oft-used quote from the movie Field of Dreams. Sadly, that’s not always the case, but if you build it you have a chance that they will come. If you don’t, you just have an empty lot.

 Chapter 8:  Revision (time to shift gears) : Evaluating Draft One/ Checking the structure

Congratulations! You've completed your first draft. That puts you ahead of about 95% of people who want to write a novel. Take a moment to appreciate what you've accomplished.

Now, put your manuscript in a drawer and don't look at it for a few days. I’ll often let it sit a week. Some say you need a few weeks or even a month. I don’t have the time for that. Or the patience. You do need to try and create distance between your writing of your first draft and revision though

I do agree that if you just go back to the beginning and start revising your manuscript, you won’t have the distance to flip that switch you need to flip to analyze/edit for revision. You’ll often get stuck just changing words here and there or details. You need a broader look at the manuscript to have an effective revision.

Go back and look at your notes and work through any messages you had for yourself. Also if you have places where you used the placeholder summary, now go ahead and try to write those scenes. It will be easier now that you have a full manuscript with a beginning, middle and end. If you know of a chapter that is weak, go work on that. What you’re doing here is shoring up the first draft a little. This might take you a few days or maybe a week.

When you come back, approach your manuscript as a reader, not its writer. Print it out if possible, or transfer it to an e-reader—anything to make it look different from how you saw it while writing. Read it straight through without making corrections, just taking occasional notes

This first read-through isn't about fixing anything once you’ve done your touching up of draft one and let the manuscript sit for a couple of days or week. It's about seeing what you actually wrote. Not what you thought you were writing. The two are rarely the same, especially for discovery writers. 

As you read, you'll notice problems. Lots of them. This is normal and good. Finding problems means you're developing the critical eye needed for effective revision. Here's what to look for:

Structural Issues

The big picture stuff. Does your story have a clear beginning, middle, and end? Does it build logically from one event to the next? Are there sections that drag or feel rushed? Is there a satisfying arc of tension and release?

Many discovery writers find their true beginning several chapters into the draft. Often, those first few chapters were you, the writer, figuring out the story. Readers don't need to watch you warm up.

Similarly, you might find your ending comes too abruptly or drags on too long. Mark these sections but don't fix them yet—just identify where the structure needs work.

Character Inconsistencies

Discovery writers often find their understanding of characters evolves during drafting. The Sarah in chapter twenty might be quite different from the Sarah in chapter two.

Note these inconsistencies without judgment. They're not failures; they're discoveries about who your character truly is. Later, you'll decide which version to keep and revise accordingly.

Pay special attention to motivation. Do your characters' actions make sense given what we know about them? If not, you'll need to either change the actions or deepen the characterization to make them believable.

Plot Holes and Logic Problems

How did your character know information you never showed them learning? Why didn't they use the magical ability in chapter five that would have solved the problem in chapter twelve? How did winter turn to summer in what was supposed to be a week of story time?

These continuity errors are the discovery writer's special curse. List them all. Some will be easy fixes; others might require major restructuring.

The "But Why?" Test

For key plot points, ask "But why?" If you can't answer clearly, you've found a weakness. Why did the villain kidnap the hero's sister? Why did the protagonist quit her job? If your answer is "because I needed it for the plot," you likely have a problem.

The Missing Scenes

Discovery writers often find they've skipped crucial scenes—moments that need to be shown but were bypassed. Maybe you jumped from the argument directly to the reconciliation without showing how the characters got there. Note where these gaps exist.

The Unnecessary Scenes

Conversely, discovery writing produces scenes that may not earn their keep. Often these happen because you the writer are trying to understand some aspect of the story or develop character. These can likely be cut for the reader.

Theme and Meaning

What is your novel actually about beneath the plot? What patterns, images, or ideas keep recurring? Discovery writers often find their themes emerge organically during drafting. Identifying these themes will help you focus on using them in the best ways to improve your manuscript.

How do you organize all these observations without getting overwhelmed? Break them down into categories.

Major Reconstruction: Fundamental problems requiring significant rewriting. "The middle section has no tension." "The protagonist's motivation makes no sense." "The ending contradicts what we know about the character." 

Notable Issues: Specific problems that need addressing but don't require rebuilding entire sections. "The best friend disappears for 100 pages." "The subplot about the neighbor never connects to the main story." These usually require additions.

Minor Fixes: Small continuity errors, inconsistent details, etc. "Eye color changes from blue to brown." "Character mentions a sister who never appears."

Focus first on understanding the major reconstruction needed. The minor stuff is easy to fix once the foundation is solid.

One warning: this evaluation phase can be emotionally brutal. You'll wonder how you didn't notice these problems while writing. You'll question your ability. You'll contemplate burning the manuscript and becoming a pig farmer or dog trainer or….

This is normal. Every novelist goes through it. Even the really good writers don’t get everything right on the first try.

Finding problems is not a sign of failure either. Ah contraire, it’s a sign of growth. Your ability to see these issues means you're developing the critical skills necessary to become a better writer.

Also as a discovery writer your first draft is going to wander and it’s going to be messy and disorganized in places. Expect this. Embrace it. Now you have the chance to revise and rework it and make it the best novel you can.

ALSO:

I'm publishing a short book on these 12 steps to Building A Novel, including some bonus material. It's on Amazon on preorder, pub date Oct. 9. I've revised some of what you've read but not extensively. I will continue to post the steps here until I've posted them all. 

The amazon book will be available in ebook and paperback, so if you want a copy to keep, you can get it here:

 https://www.amazon.com/dp/B0FSHQ9QF1?ref_=pe_93986420_775043100

Here's the beginning—

About Me: 

I have an MFA in Writing, and I taught creative writing at the college level for a decade, but these aren’t why I think my book on writing can help you become a better writer. It’s because I’ve written well over a million words and plan to write many, many more. I love to write. I’m a writer. That’s why.

I’ve had five novels trad published and won a few awards and sold a few copies. I’ve written another twenty plus novels as an independent writer. My Strangely Scary Funny series has sold copies into the six figures. I know how to write novels. I'll do my best to give you some tools that will help you build your own novel. This is a short book crammed full of advice that will take you from ideas to begin your novel to those last two words at the end which are, oddly enough, THE END.

  Besides the 12 steps to writing a novel, I’ve included bonus sections on what not to do, character creation and development, and a little encouragement section. Writing a novel is tough. No use pretending otherwise. But it is fun, engaging, and you may find that it’s a positive addiction you can enjoy over a lifetime. With a bit of luck, you might even earn some cash or win awards or accomplish whatever your specific goals are.

I wish you a bit of luck. You’re a writer if you write. Don’t let anyone tell you otherwise.

INTRODUCTION

12 Steps To Building A Novel: Especially For Discovery (Pantsers, same thing) Writers  

You don’t need an outline but you do need the right tools.

Here's the truth: you don't need an outline to write a novel. What you need is courage and determination. The process you use to find your way isn’t all that important. Outline, don’t outline. Find what works for you and do that.

However, I’m here for the discovery writers because that’s my process. I’m going to try to tell you how to build a novel. Hope it helps.

My dad was a builder of homes. He had a regular job working for the post-office but his passion was building houses. While working full-time at the post-office, he’d build two or three houses a year. 

I can remember him taking me to lots he’d bought and telling me what kind of house was going to be built there. Empty lot one day. Foundation poured the next. Then weeks and months passed and the frame, the walls, the roof. Then the inside of the house: plumbing, appliances, electricity, paint and so on.  Eventually, a house was built to be lived in.

“If you build it they will come” is an oft-used quote from the movie Field of Dreams. Sadly, that’s not always the case, but if you build it you have a chance that they will come. If you don’t, you just have an empty lot.

 Step 7: Discovery Writers in step 7 Discover Their Ending

You’ve survived the middle. You can see daylight. But now comes another challenge for discovery writers: how do you end this thing?

Endings are tricky for all novelists, but especially for those of us who work without a roadmap. You’ve been following breadcrumbs through the forest, and now you need to find your way home—a home you haven’t actually seen yet.

The good news? By this point, your story knows what it wants to be. Your characters have revealed their true natures. The themes have emerged. Your job now is to listen to what your draft is telling you and find the ending that feels inevitable yet surprising.

Sure, you say, but what does that mean? It means you have set up a series of events and character development and development of setting that are leading your characters to an inevitable ending. Follow it.

The first rule for discovery writers, as I have said repeatedly, is finish your draft. An imperfect ending that you can revise is infinitely better than a perfect ending that exists only in your head. Give yourself permission to write an ending that’s “good enough for now.”

How do you know what your ending should be? Start by asking these questions:

What has your protagonist learned? The ending should demonstrate how your character has been changed in some way through the events of the story and his or her own growth or transformation.

What promises did your beginning make? If you opened with a mystery, it should be solved. If you began with a character wanting something, they should either get it or discover they wanted the wrong thing all along. In other words, discover something, learn something, through failing that gives the story meaning.

What would feel emotionally satisfying? Logic matters less than emotional truth in endings. What would give readers the emotional closure they need, even if some plot threads remain loose?

When I’m struggling to find my ending, I’ll often go back to the first few chapters and look for clues I left myself without realizing it at the time. Or maybe an offhand observation can lead you to a satisfying ending.

Discovery writers frequently find that their endings were hiding in plain sight all along. Trust the groundwork your subconscious has been laying.

Fiction writing is always a mix of conscious and subconscious decisions. You can write something you don’t quite understand but feel is right. That something might lead you to a clear understanding of your theme later, especially in revision when the EDITOR part of your brain takes over.

Some practical approaches when the ending eludes you are the following:

Write multiple endings: Draft two or three different conclusions to your story. Sometimes the act of writing one ending clarifies why a different ending would work better.

The cinematic approach: Visualize your ending as a series of images. What’s the final scene that would stay with readers? Work backward from there.

Ask the “what if?” question: What if the villain won? What if your protagonist failed but found something more valuable? What if the external goal turned out to be a distraction from what really matters to the character internally?

Follow emotional arcs to their conclusion: If your character started fearful, where might courage lead them? If they began selfish, how would newfound empathy change their choices?

How do you know when you’ve reached “the end” of draft one? When the primary problem of the story has been resolved or transformed in a meaningful way. When your protagonist has completed their emotional journey, for better or worse. When the central question of your novel has been answered. You may not know all these things. Or you may find out in revision that you can deepen the groundwork you’ve laid.

Your ending doesn’t need to tie up every loose end. In fact, some of the most powerful endings leave certain threads for readers to ponder. But the central promise of your story needs fulfillment.

What about those stubborn stories that resist ending? We’ve all been there—250 pages in and still no clear conclusion in sight. When this happens, it’s usually because:

1.     You’re afraid to finish because then you’ll have to face revision.

2.     You’ve got too many plot threads and can’t resolve them all.

3.     You never clarified what your story was truly about.

For the first problem, set a deadline and stick to it. For the second, decide which threads matter most and focus on resolving those. Understand you may need to do serious cutting in revision. For the third, go back to your foundation—what was the core of this story? End there. Again, you may have to guess at your core in draft one. That’s fine. You’ll figure it out in revision.

Remember: first-draft endings are rarely perfect. Mine certainly aren’t. I’ve written “placeholder” endings just to get to the finish line, knowing I’ll completely rewrite them later.

Let me emphasize once again that a first draft is a beginning and not an end. It is an accomplishment. You have proven to yourself that you can write an entire novel from beginning to end.

So, write your ending. Make it as good as you can with what you know right now. Then type those magical words: “The End.”

Celebrate! You’ve done something remarkable.

Let me make one last important point (again) before we move on to Revision: This is, I think, an essential part of being a discovery writer. You have to have faith in your ability to find your way without a map. You have to have faith in your subconscious and your ability to make connections that will lead you to other connections in revision. As a discovery writer, it’s important you don’t try to edit when you’re writing the first draft. Let me explain. It’s all very scientific. Your brain will get in the way of your brain. Terrible when that happens. Your wild creative story-making brain cannot run free when the nagging editor brain starts criticizing. They start to argue. They really go at it. You get lost or stuck or worse.

You’ve got to run wild in draft 1. Then, in revision your analytical (editorial) self must take over and look for problems and ways to generally and specifically improve the manuscript. The revision is essential, too. In revision, you must calm the “run wild” part of your brain with practical decisions. Of course there will be a bit of overlap, but work to keep these two separate as much as possible.

Now, as we move into the next phase of building your novel, you’ll need to use the analytical/editorial brain. A first draft is not the true end. It is the end of the first part of your journey (bit of a mixed metaphor here, forgive me) and the beginning of the second.