You're standing at the foot of a mountain and wonder how to take your first step. Do you pull out a map to help plot your course or do you ditch the map, step out in faith and trust your instincts?

As you can well imagine, writing a novel is much like scaling a mountain. The task is fierce, with many unexpected turns, near tragedies, frustrating standstills, and miles of uphill sluggin'. But part of the thrill that comes from climbing is the anticipation that fills us as we press toward the next ridge. And then the next. And the next. What scenic wonder will fill our eyes as we gaze into the valley or across to the adjacent peak? Similarly, the thrill in crafting a novel comes as we put flesh to each piece of an intelligent story line. So herein lies the question: If plot describes the internal logic or sequence of events that leads the characters from their situations and attitudes at the beginning of the problem to their situations and attitudes when the effort to solve the problem is finally over, then how does an intuitive writer start? How does a more structured writer start? What tactics can each use to see their story come to life?

Let us first understand the essence of each. Intuition, as it pertains to writing fiction, can be as nebulous as it sounds. It stems from the belief that stories pretty much make themselves. The writer's job is to create a situation, watch what takes place between characters, and write down what is seen. Proponents of this approach would advise: Just start the novel and see where it takes you. It's a "destination unknown" (or partially known) approach that can be freeing for writers who don't like shoving themselves into a box, so to speak, but can also be frightening for new writers. The sky may be the limit, say the latter, but too much room to move can be just as debilitating.

Outlines, however, occupy the opposite end of the creative spectrum. Here we face more structure, guidance, and pre-thought. Outlines take on many forms, from the meager to the massive, and provide a skeleton, or launching pad, from which to build ideas. They typically consist of a list and sketch of primary characters and a plot skeleton which also incorporates: 1) a believable and sympathetic central character's urgent and difficult problem; 2) his attempts to resolve the problem, which fail and make his situation more grave; 3) the crisis, his last chance to win; and 4) the successful resolution, brought about by means of the central character's own courage, ingenuity, etc. For new writers, outlines provide security. For others, a straightjacket. Stephen King, an outspoken opponent of pre-planning plot, asserts that "plotting and the spontaneity of real creation aren't compatible." He adds, plot is "clumsy, mechanical, and anti-creative. Plot is the good writer's last resort and the dullard's first choice. The story which results from it is apt to feel artificial and labored."

Having tried King's approach for my novel, Into the Eyes of Payne, I can attest to his proposed sense of freedom. In many instances one scene seemed to naturally lead into another, gain momentum, and spontaneously give birth to new ideas, natural-sounding dialogue, and flavorful description.

The drawbacks, of course, included countless dead ends and meandering braids that found no connection. Just as irritating were the occasions when the story grew to be too large, almost tumor-like. Too many characters and a complex story line that expanded beyond my control, an ailment which, all too frequently, required expensive and time-consuming surgery.

Having also worked from an outline, I can see how they might be cumbersome to some and liberating to others. Cumbersome because ideas change. You may have the slickest outline prepared at the onset of your endeavor, but an idea may come to you midstream which will force you to reinvent the remainder (or large portions) of your story. This can also be both frustrating and counterproductive. But the liberating part of an outline comes in the ease of filling in the scenes. Especially when you are confident that your plot line provides the reader with as many surprises as it does conflict and fullness of character.

My intent is not to sway you this way or that. However, I would highly advise you to decide your plan of attack beforehand – even if it means starting the book with a partial outline and then relying on your intuition to complete it.

Regardless of your plan of attack, I would also encourage you to consider the following before you start:

1. Establish a Strong Premise. The premise is to the writer what a compass is to the mountaineer. It's an idea that serves as the foundation for both plot and character. And the glory of it is that it can be summed up in a sentence. For example, a successful farmer is elected as mayor of a small town until his wife is murdered and he must to raise an autistic daughter on his own. Stated another way: What if the wife of a small, farming town's mayor is murdered and he is left to care for his autistic daughter? It's surprising how much direction a simply-stated premise can give. You may also be surprised at where you end up.

   One of the greatest strengths of a premise is its ability to allow for a myriad of possibilities. And very few options seem unrealistic. In the above example, the mayor could go crazy, become vengeful, turn to drug addiction, attempt suicide, or escape to Mars. With the right approach, any alternative would make a good story.

2. Envision a Destination. This almost sounds like I'm telling you to be structured. I'm not. But with a target, lots of things will come into focus as you put your pieces together. On a macro-scale, this applies to how your scenes or chapters build toward your final destination. But even on a micro-scale, each scene/chapter should have a goal; that way each piece of your story has purpose. Scenes without purpose make uninteresting reading. Purpose helps build momentum.

3. Be Prepared for the Unexpected. Ideas will pop into your head at the best and worst of times. It's a fact. They can be both crown of glory and Achilles' heel for intuitive writers, because an idea that catches you unawares might be the element that provides your story with a necessary twist. However, if the idea is too good to toss away, it can force you to redirect your story and create the need for a lot of laborious reworking.

   Unexpected ideas can also throw an outline out the window – regardless of how good the outline is. So, to keep you from popping back too many aspirin, it's best to allow for some elbow room in your outline.

4. Clearly Define Your Characters. Take extra time at the onset to cast your characters. Physical traits, mannerisms, occupation, quirks, attitudes, opinions, strengths and weaknesses. Especially the weaknesses. For it's in the weaknesses that conflicts and tension build. Without clearly-cast characters you may unknowingly reinvent them as you go. The tendency is all too common – especially when the manuscript is somehow abandoned for a couple days, weeks, months, or longer. Put the characters on paper. Draw them. Post them. Refer to them often. Do whatever you need to do to keep your characters fresh in your mind and consistent throughout the work.

When you have these elements in place you're ready to go. Let me rephrase: intuitive plotters are ready to go. Structured writers still need to prepare their outline.

References

Imboden, Durant. "Character vs. Plot." http://writing.org/html/a_char_vs_plot.htm

King, Stephen. 2000. On Writing: A Memoir of the Craft. Scribner: New York, NY.

Knight, Damon. "Plot." http://www.efn.org/~dknight/plot/

Norman, Marsha. "Plots: They Come in Pairs." http://www.vcu.edu/artweb/playwriting/plot.html

Phillips, Melanie Anne, and Chris Huntley. Dramatica: A New Theory of Story. http://heartcorps.com/dramatica/dramatica_theory_book/chapter_16.html

Sassone, Bob. "10 Tips for Writing Your Mystery." http://www.poewar.com/articles/writing_your_mystery.htm

Writing Coach. "Give Your Plot Motion: A Writing Class Transcript."
http://www.ivillage.com/books/expert/writecoach/articles/0,11872,167259_45896,00.html