6. Re-evaluate continuously.
So, in practice, how does this work? When you sit down at the keyboard each day, what do you do if you don’t have an outline to work from?
Reorient yourself to the context. Print out the previous 50 or 100 pages (once a week I find it helpful to do the whole novel) and read it through the eyes of a reader, not an editor. Remember, readers aren’t looking for what’s wrong with the story; they’re looking for what’s right with it. Continually ask yourself, What are readers wondering about, hoping for and expecting at this moment in the story? Then give it to them.
Draft the scene that would naturally come next. The length and breadth of the scene needs to be shaped by the narrative forces I mentioned earlier.
Go back and rework earlier scenes as needed. What you write organically will often have implications on the story you’ve already written.
Keep track of unanswered questions and unresolved problems. Review them before each read- through of your manuscript.
Come up with a system to organize your ideas as they develop. In addition to files of character descriptions, phrases, clues and so on, I have four word processing files I use to organize my thoughts: 1) Plot Questions, 2) Reminders, 3) Discarded Ideas and 4) Notes.
If you find yourself at a loss for what to write next, come up with a way to make things worse, let the characters respond naturally to what’s happening, write a scene that fulfills a promise you made earlier in the book, or work on a scene you know readers will expect based on your genre and the story you’ve told so far. When you understand the principles of good storytelling, you always have a place to start.
Move into and out of the story, big picture, small picture, focusing one day on the forest and the next day on the trees. Follow these ideas, and stories will unfold before you.
Leave outlining to English teachers. Let the rebellion begin.