Meredith Mansfield, Author

Having recently completed the first draft of SEVEN STARS, it feels like a good time to explore how ideas develop in a story. As mentioned in a previous post, I’m largely a discovery writer, so this evolution happens while I’m writing. I’m sure pretty much the same thing happens to a plotter/outliner, though. Just at a different point in the process.

So, fairly early on in SEVEN STARS I had my characters isolated. There’s a war on and because of some imprudent behavior by one of the characters, they’re cut off from their main army, from the capital city, and from the hidden fortress where the women and children have been taken for shelter. I knew from the beginning that at some point they would make it to the fortress through a system of caves.

When I got to that point, I had an idea to have a little fun with them. In battle, the female character is more prepared, more experienced, better trained and not afraid of much. The male character is learning, but he’s never been in this situation before. So, I decided that when they went underground, it would be fun to switch things on them. He’d be perfectly comfortable in the caves and she’d be claustrophobic.

From there, the caves became a sort of almost religious experience for him. It’s like an initiation, but only he feels it. His confidence increases in the caves, which leads to a couple of interesting side effects.

Well, at this point, the caves started to become almost another character in the story.  I decided that the caves actually were responding to his presence and that their guide would notice it. When they reach the fortress, the guide proclaims that the caves, by affecting the character in this way, have indicated that he is the heir. He’s the youngest prince, the one nobody expected anything from, and now this guy’s saying that he’s the heir because he liked the caves?

This introduced some more world-building. Not just the caves, but the notion that through the caves the land is supposed to choose the heir. The current king has been trying to circumvent that by not sending his younger two sons into the caves and suppressing the knowledge that the oldest son failed to even get through the caves.

Those ideas only come to me when I’m writing. I would never get that idea while making an outline. 

Now, of course, I have to go back and introduce a few elements a little earlier in the story to foreshadow that revelation. That’s okay. It will make the story richer. And it won’t actually take much. A couple of sentences here and there, maybe a paragraph.

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Hello, my name is Meredith Mansfield and I’m a discovery writer.

And, no, I’m not looking for a twelve-step program. I like it just the way it is, thank you.

Some writers–many very successful writers–fully outline a story before they start. I know writers who have every scene mapped before they put “Chapter One” at the top of a page.  More power to them. If I outlined in that detail, I would never write the story. What would be the point? I’d already have told it.

For some of us, the more often we tell the story (and outlining is telling the story, just in a boring way), the less enthusiasm we have for it. We have to be free to find things out as we go along. We’re discovery writers or sometimes pantsers (because we write by the seat of our pants).

I set up a basic structure for my novel, so I know where I’m going. It helps to keep me from veering off into the weeds (too much). And then I start. I generally sort of outline about a chapter ahead as I go.

The fun part is, I’m learning parts of the story at the same time I’m writing the first draft. Yes, that means that I’ll have things I need to go back and add, change, or delete in the second draft. That’s okay. I make a note and move on.

But as I get really into a story, as I’m into SEVEN STARS right now, new things come into my head and I get to explore them, turn them around and look at them from the other side, and decide whether or not to put them in the story. It grows. It gets better. Things that were hazy when I wrote that proto synopsis come into focus. How to get the characters from A to B or how to accomplish that important plot point becomes clear. They’re still new and exciting and I get to write them while that excitement is fresh.

And I’m willing to bet discovery writers have more fun.

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