March 25, 2025 • 37 mins
Writing your first novel is a journey unlike any other—equal parts exhilarating, frustrating, magical, and challenging. But here's what you need to know right now: it's completely doable with the right approach.
Something I've discovered after working with hundreds of writers is that finishing a novel requires more than just talent or a great idea. It takes the right mindset, practical tools, and a strategic approach that keeps you moving forward even when inspiration fades.
Tune in to learn the exact novel-writing framework that has helped my clients and students transform their ideas into completed manuscripts, with a special focus on the foundational elements that make stories truly resonate with readers.
You’ll hear me talk about things like:
- [02:10] The #1 reason most first-time novelists abandon their manuscripts (spoiler alert: it's not writer's block)
- [13:25] Why understanding your protagonist's inner obstacle is the key to creating a page-turning novel
- [20:20] The simple 3-part story structure that successful authors use to prevent getting stuck in the dreaded "murky middle"
- [26:45] Which writing routines actually work for busy people (and why marathon writing sessions might be sabotaging your progress)
- [30:20] The psychological trick that transforms "someday" writers into authors who actually finish their first draft
- [32:50] Episode recap and final thoughts
If you've been dreaming about becoming an author but find yourself staring at a blank page or blinking cursor, or if you've started multiple manuscripts only to abandon them when the going gets tough, then this episode is for you!
🔗 Links mentioned in this episode:
- Your First Draft Roadmap: 10 Steps To Writing a Novel (Free Guide)
- Want my entire step-by-step process for brainstorming, outlining, and writing your first draft? Click here to learn more about my Notes to Novel program.
⭐ Rate + Review + Follow on Apple Podcasts
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Also, if you haven't done so already, make sure you're following the podcast! I'll be adding a bunch of bonus episodes to the feed, and if you're not following the show, there's a good chance you'll miss them. Click here to follow now!
Click here to register for my FREE training: 3 Things You Need to Write Your Novel in 2025.
👉 Looking for a transcript? If you’re listening on Apple Podcasts or Spotify, scroll down below the episode player until you see the transcript.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
And if you're a perfectionist, you might be
cringing, thinking there's noway I could do that.
But trust me when I say thatmomentum matters more than
perfection, and the reason I saythis is because the first draft
of your story is all aboutdiscovery and learning what your
story really wants to be, andthis means you're going to need
to give yourself permission towrite poorly at times, and
(00:21):
that's okay.
You can and you will reviselater.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:43):
you can implement in yourwriting right away.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In this episode, we're going tocover the 10 essential steps to
writing your first novel.
If you've been dreaming aboutbecoming an author but find
(01:03):
yourself staring at a blank pageor blinking cursor, or if
you've started multiplemanuscripts only to abandon them
when the going gets tough, thenthis episode is for you.
Something I've discovered afterworking with hundreds of
writers is that finishing anovel requires more than just
talent or a great idea.
It takes the right mindset,practical tools and a strategic
(01:24):
approach that keeps you movingforward even when inspiration
fades.
In this episode, I'm sharingthe exact framework that has
helped my clients and studentstransform their ideas into
completed manuscripts, withspecial focus on the
foundational elements that makestories truly resonate with
readers, and we're going tocover a lot in today's episode.
So I've created a free PDFguide of everything we're going
(01:47):
to talk about today all so thatyou don't have to take notes as
you listen which you can grab atsavannagilbocom forward, slash
write.
So one more time, that'ssavannagilbocom forward, slash
write.
This guide will be yourcompanion as you bring your
novel to life, one step at atime.
So, with that being said, let'sgo ahead and dive in, shall we,
(02:07):
starting with step number one?
Step number one is to identifyyour why.
So, before you type a singleword, we need to talk about
motivation, and I know thismight seem like an odd place to
start, but trust me when I saythat understanding your why or
that deeper level motivation isthe secret ingredient that will
keep you going when the initialexcitement of writing a novel
(02:29):
fades and yes, it will fade atsome point.
So, to uncover your why, I wantyou to just think about.
Why are you writing a book inthe first place?
Is it to share a message thatmatters deeply to you?
Is it because you havecharacters or worlds living in
your imagination that you needto bring to life?
Are you hoping to start acareer as a full-time author?
Or maybe is writing a novelyour own personal Mount Everest,
(02:52):
something you want toaccomplish just for the
achievement itself?
Now, there are no wrong answershere.
Many successful novels havebeen written for each of these
reasons and countless others.
What matters most is that yourmotivation resonates deeply
enough to fuel your writingthrough the inevitable rough
patches.
What most new writers don'trealize is that identifying your
(03:13):
core motivation is more thanjust a feel-good exercise.
It's really the foundation thatwill inform everything from
your writing schedule to how youapproach challenges, and
without a clear why, you're muchmore likely to abandon your
project when obstacles arise.
For example, I once worked witha writer who kept abandoning
manuscripts until we finallyuncovered her true motivation.
(03:35):
This writer really wanted toshare stories about the kind of
healthy and supportiverelationships that she had
experienced in her own life.
So she was writing romance andshe just really loved the power
of love and the power ofintimate relationships in
someone's life.
So with this why finally clear?
Her writing started to flownaturally and she was able to
(03:56):
finish her draft.
I know that might sound simple,but that's the power of writing
from a place of passion andpurpose and that's the power of
uncovering your why.
So I want you to think about it.
What is driving you to writethis particular story at this
particular time?
When you can answer thisquestion with conviction, you'll
be much more equipped to dealwith any mental or emotional
(04:17):
roadblocks that come up as youwrite because, let's be honest,
they will come up and you'll bemuch more equipped to get to the
end of your first draft as well.
Now, a little pro tip is towrite down your motivation and
keep it somewhere visible inyour writing space when you hit
those inevitable moments orthose roadblocks where you start
thinking everything I'm writingis terrible and I should
probably just quit.
(04:38):
This reminder will help youreconnect to the deeper purpose
behind your work.
Okay, so that is step number oneto identify your why.
Step number two is to pick onenovel-worthy idea to focus on.
So once you're clear on yourmotivation, it's time to choose
the idea you want to turn into afull-length novel.
If you're anything like thewriters I work with, then you
(04:58):
probably have an ideas folderbursting with concepts and
little snippets of ideas andpictures for inspiration.
I have one of those too.
But the truth is that not everyidea we have can sustain a
full-length novel, at least notwithout a little more
development first.
So while you might haveinteresting thoughts or concepts
or ideas that could start astory, not all of them are going
(05:21):
to have enough depth orcomplexity to carry an entire
novel length work Again, atleast not without fleshing them
out a little more first.
So I want you to think about itlike this Something like a
vampire moving into town mightsound really cool and intriguing
, but this concept alone lacksthe necessary substance for an
80,000 plus word novel.
(05:41):
Similarly, a fascinatingsetting without a compelling
character who faces conflictwon't keep readers turning pages
either.
Okay, so that's not to say thatthey can't work and can't be
developed into an idea, butthose kinds of things on their
own don't make a novel worthyidea just yet.
Now, the best type of storyideas often come in the form of
what-if?
(06:01):
Questions that hint at theconflict and stakes.
So, for example, something likewhat if a wizard school existed
alongside our ordinary world?
You might recognize that asHarry Potter.
Another example what if a womandisappeared and framed her
husband for her murder?
You might recognize that asGone Girl.
Last example what if a deadlyplague wiped out most of
(06:22):
humanity?
You'll probably recognize thatas the stand.
And what you're looking for isan idea that's novel worthy, so
one with enough potentialconflict, character development
and thematic exploration to fillhundreds of pages while keeping
readers engaged.
And, like I hinted at earlier,sometimes this takes a little
bit of work.
Whatever you come up with,don't worry if your idea feels
(06:43):
simple at this stage.
A farm boy discovers he's partof a galactic rebellion might
sound basic, but it became StarWars.
So trust that your idea willdevelop complexity as you work
through the remaining steps inthis episode.
Now here's what I recommend.
From all of your potentialideas, I want you to choose one
that gives you that sense ofboth excitement and fear.
(07:04):
The best ideas often scare us alittle bit, and they're the ones
that feel important enough tospend months, or maybe even
years, bringing to life.
I recently worked with anauthor who had five different
story ideas that she wasbouncing back and forth between,
and every time one gotdifficult or she hit a roadblock
, she would switch to anotherand, as you can imagine, this
wasn't helping her make verymuch progress overall.
(07:27):
So what we did is we stoppedand we evaluated each idea based
on its potential for engagingconflict and also her personal
connection to the material.
So again, which one brought herboth that level of excitement
and a little bit of fear, andthis exercise helped her commit
to just one idea.
Then, once she committed to thestory that genuinely moved her,
(07:47):
not just the one that seemedmost exciting or easy, that day
she was finally able to completeher first draft after years and
years of false starts.
So if you are like this authorand you're jumping between ideas
, I want you to ask yourselfwhich one of your ideas do you
keep returning to, or which ideakind of has a chokehold on your
mind and refuses to let go.
(08:07):
That persistence is usually asign that you have found your
novel worthy idea.
Now, a little pro tip here isthat you can test your idea to
see if it's novel worthy.
So what I want you to look foris a main character with a clear
goal, significant obstacles tothat goal and meaningful
consequences if they fail.
If these elements aren'timmediately apparent, then your
(08:27):
idea might need a little moredevelopment before it's ready to
sustain a full-length novel.
Okay, so that is step numbertwo.
Pick one novel-worthy idea tofocus on.
Step number three is to chooseyour story's genre.
So now that you have your onenovel-worthy idea, it's time to
figure out where your novel fitsin the literary landscape.
And genre isn't just amarketing category.
(08:49):
It's a powerful tool that helpsyou understand what readers
expect and then how to satisfythem.
Think of genre as the sectionof the bookstore where your
novel would be shelved.
Some common examples of genresare things like literary fiction
.
These are character-drivenstories that focus on
relationships and the humancondition.
Romance novels are stories thatcenter around a relationship
(09:10):
and emotional fulfillment.
Mysteries and thrillers areplot-driven stories involving
suspense, crime or puzzles.
Science fiction novels areexplorations of advanced
technology and scientificconcepts.
Fantasy books are stories withmagical or supernatural elements
.
Historical fiction includesnarratives set in the past with
(09:30):
historical events as backdrop.
Horror stories are designed tofrighten or disturb readers.
And then something like youngadult are stories targeted at
teenage readers, and this, ofcourse, can cross with other
genres, so you might havesomething like young adult
fantasy or a young adult mysteryor something like that.
Now here's what's reallyimportant for you to understand.
Each genre is going to have itsown conventions, typical word
(09:53):
counts and reader expectations.
For example, something like aromance is going to require a
central love story and anemotionally satisfying ending.
Thrillers generally maintainfast pace with high stakes, and
fantasy novels often includemagic and invented worlds.
So just a few examples.
Now, what many aspiring authorsdon't realize is that genre
(10:14):
selection impacts nearly everyaspect of your writing process,
from character development toplot structure to pacing.
So choosing your genre earlywill help you understand your
readers' expectations and it canguide your creative decisions,
which in turn makes the writingprocess a little bit less
overwhelming.
Now a little pro tip for you.
If you're like okay, I knowwhat kind of story I'm writing,
(10:36):
but I don't know what readerswould expect from a story like
mine, or I don't really knowwhat to do with this information
, I want you to go identifythree published novels similar
to your idea.
These are often called comptitles or comparative titles.
And then I want you to studywhat these books have in common,
and the goal is to understandthe patterns that are in the
story, and this is going to showyou what readers of your genre
(10:58):
will expect and what they love.
Okay, so that is step numberthree choose your story's genre.
Step number four is to pickyour point of view and tense.
So, now that you have yourgenre selected, it's time to
make two foundational choicesthat will shape every single
sentence you write.
Number one is your point ofview and number two is your
tense.
These elements are going todetermine who tells your story
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and when it's being told, andthey affect everything from how
much information readers receiveto the emotional tone of your
narrative.
So your main point of viewoptions include first person,
and in this scenario, thenarrator uses I and directly
shares their experiences.
This helps to create thatintimacy between reader and
character, but limitsinformation to what only that
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character knows.
So, as an example, this wouldbe something like I walked into
the room and immediately sensedsomething was wrong.
The next option you have isthird person limited.
So in this scenario, thenarrator refers to characters as
he, she or they, or by usingtheir name, while following one
character at a time.
So, for example, sarah walkedinto the room and immediately
(12:03):
sensed that something was wrong.
The third option you have isthird person omniscient, and in
this scenario scenario thenarrator knows everything about
all characters, providingreaders with a more expansive
view.
So an example of this would besomething like Sarah walked into
the room and sensed somethingwas wrong, unaware that behind
the curtain, the intruder heldhis breath.
(12:23):
Okay, so you can probablyalready tell how your choice
there is going to impact howreaders experience your story.
Now, once, once you've selectedyour point of view, you'll need
to decide on tense.
So really, you have two choiceshere past tense she walked into
the room or present tense shewalks into the room.
Past tense feels natural tomost readers and is traditional
(12:44):
for storytelling, while presenttense creates a sense of
immediacy that can make readersfeel the events are unfolding in
real time.
So there's no wrong answer here.
But just know that the choicesyou make will dramatically
impact your writing experienceand your reader's connection to
your story.
Each combination of point ofview and tense creates a
distinct reading experience, soit's worth taking the time to
(13:05):
find the right match for yourparticular story.
Now a little pro tip here ifyou're unsure which option is
right for you, you can try andexperiment and write the same
scene using different point ofviews and different tenses.
As you do that, pay attentionto which version feels the most
comfortable to write and whichbest serves your story.
Okay, so that is step four.
Pick your point of view andtense.
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Step number five is to developyour main characters.
So now that you've made somereally important decisions on
your genre and point of view,it's time to focus on the heart
of any great story, and that isyour characters, particularly
your protagonist and antagonist.
And I say particularly becausethese two characters will create
the conflict of your novel andthey'll drive your entire plot
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forward.
Also, most readers connect withcharacters first and plot
second.
So this step is really reallyimportant For your protagonist.
You can start by answering thesethree foundational questions.
Number one what do they wantmore than anything?
This is going to be theirexternal goal.
Number two what do they needemotionally or psychologically?
This is going to be thatinternal need.
(14:09):
And number three what flaw orweakness must they overcome?
This is their inner obstacle.
Now, the reason these threequestions are so important is
because the most compellingprotagonists want something
badly enough to face significantobstacles to achieve their
goals.
Think about Katniss Everdeen inthe Hunger Games.
Right, she wants to protect hersister and survive the games.
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She wants both of those thingsbadly enough to deal with the
conflict coming her way.
To go with a completelydifferent example, you can think
about Elizabeth Bennet in Prideand Prejudice, who seeks
independence and true connectionabove all else, which, if
you're familiar with the story,definitely makes her life a
little bit harder.
But she's so committed to thatgoal that she is willing to face
obstacles and conflict to getit.
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Now let's consider yourantagonist.
So this is going to be theforce that opposes your
protagonist in your story, andthere are three questions you
can ask and answer here thatwill help you flesh them out.
So number one what are theytrying to achieve?
Ideally, whatever your answeris is going to conflict with
what the protagonist wants.
Number two why do they believethey're justified?
This one's important becausethe best antagonists usually
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believe they're right or have avery strong motivation for doing
what they're doing.
And number three whatweaknesses or vulnerabilities
make them human?
And this one's important justto create that sense of
three-dimensionality and thatcomplexity that helps your
character feel like a realperson.
Okay, now remember that theword antagonist doesn't always
mean villain.
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Your antagonist could be acompelling love interest in a
romance.
It could be nature itself in asurvival story, or even aspects
of the protagonist's ownpersonality in a story about
internal struggle.
Now, what many first-timewriters don't realize is that
character development isn'tabout creating likable
characters.
It's about creating fascinatingones, and that's because
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readers will follow a deeplyflawed character through
hundreds of pages if those flawsfeel authentic and create
meaningful conflict.
I worked with a sci-fi writeronce who couldn't understand why
readers didn't connect with hermechanically-minded protagonist
.
And when we dug deeper, wediscovered that she had made her
protagonist just too perfect.
So he was skilled, he wasethical and he was always right.
(16:18):
But then, once she gave him apainful past that caused him to
make critical mistakes in thepresent, readers were a lot more
engaged in her story andcouldn't put it down.
So in this scenario, hercharacter's flaws were what made
him human and his humanity madehim compelling.
Now, of course, this examplewon't ring true for every single
story.
Protagonists like SherlockHolmes or Jack Reacher don't
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really have tragic pasts orflaws that hold them back, but
for the most part, readers doappreciate a more
three-dimensional, well-roundedprotagonist.
So just something to keep inmind.
Now, a little pro tip here is tocreate character profiles for
your protagonist and antagonistbefore you start writing, and I
want you to go beyond justphysical descriptions and I want
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you to dig into theirbackgrounds, their motivations,
their fears and their desires,and then focus especially on the
moments from their past thathelped shaped who they are now
in the present, because thesedefining experiences will inform
how they react to thechallenges in the story and
everything that's happeningaround them.
Okay, so that is step numberfive develop your main
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characters.
Step number six is to determineyour story's setting.
With your characters takingshape, let's explore where and
when their story unfolds.
The setting of your story is farmore than just a backdrop.
It's an active element that'sgoing to shape your entire
narrative, and the best settingsdo more than just establish a
location.
They create mood and atmosphere, they reflect character
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emotions, they introducespecific challenges and provide
unique opportunities for plotdevelopment.
Introduce specific challengesand provide unique opportunities
for plot development.
For example, the setting of aromance in a small town is going
to create different dynamicsthan that same story set in a
big city.
A mystery set in the 1920s willhave different laws and
investigation techniques thanone set in our present time
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today.
So, when developing yoursetting, I want you to consider
things like the time period.
So is your story taking placein the contemporary world?
Is it taking place in thefuture or at some point in the
past?
I want you to consider thegeographic location.
So is your story taking placein the real world or a made up
one?
I want you to think about thephysical environments where your
scenes will take place and howthe setting might limit or
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enable your characters.
Now, if you're creating afictional world, my advice would
be to focus on the elementsthat directly impact your story,
rather than developing everysingle detail up front.
Keep in mind that you canalways expand your world
building as you get to know yourstory more and as you write.
If you're using a real locationor historical period, you will
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need to do some research toflesh out your setting, and
that's just because readers whoare familiar with your setting
will notice inaccuracies.
Of course, they will right.
However, I don't want you tolet research become a form of
procrastination.
So what I would suggest you dois just get the basics right and
then dive into writing.
Now, no matter if you'rewriting in a fictional world or
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a real location or historicaltime period, I just want you to
ask yourself could your storyhappen anywhere, or does your
setting create uniqueopportunities and challenges
specific to your characters andyour plot?
The reason this is important isbecause, if you could just
transplant your story to acompletely different location
without changing very much interms of your characters and
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your plot, you might not beutilizing the setting to its
full potential.
So just something to keep inmind and, above all else,
remember that your settingshould work in harmony with your
plot and your characters,creating a cohesive world that
enhances your story rather thansimply serving as a backdrop.
The most memorable novels oftenfeature settings that feel like
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the characters themselves.
They're places that are sovivid and integral to the story
that the narrative simplycouldn't exist elsewhere.
Now, a little pro tip here isto choose settings that
naturally create conflict orcomplications for your
protagonist.
As an example, if yourcharacter fears water, you could
maybe set a crucial scene on aboat.
If they're strugglingfinancially, place them in an
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environment that constantlyreminds them of their financial
stress.
You know things like that Allright.
So that is step six determineyour story's setting.
Step seven is to use storystructure to shape your plot.
Now, with your characters andsettings established, it's time
to map out how the events ofyour story's plot will unfold.
A solid structure will help youcreate a novel that engages
(20:34):
readers from beginning to end,while also preventing the
dreaded writer's block thatstops so many first-time writers
in their tracks.
Now, there are many, manystructural frameworks out there.
There's things like thethree-act structure, the
snowflake method, the hero'sjourney, save the cat.
You know there are so many, butall of them boil down to these
three fundamental sections.
(20:55):
Number one is the beginningsection of your story, and this
typically represents the first25% of your novel.
In this section, you'll want todo three really important
things.
Number one introduce yourprotagonist in their ordinary
world.
Number two present an incitingincident that disrupts their
world.
And then, number threeestablish what your protagonist
wants and what's stopping them.
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Okay, so that's the beginning,or the first 25% of your novel.
Then you have the middle, whichmakes up about 50% of your
entire novel, and here you'llwant to do three things as well.
Number one developcomplications and obstacles that
test your protagonist.
Number two raise the stakes asthe story progresses,
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no-transcript, okay.
So, at its bare bones, that iswhat the middle of your novel
should do.
And then, finally, we have theend, which is the final 25% of
your novel.
And again here there are threemain things you want to do.
Number one you want to presenta climactic confrontation
between your protagonist andyour antagonist.
Number two you want to show howthe protagonist has changed.
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And number three you want toresolve the main storylines and
provide readers that emotionalsatisfaction.
Okay.
So again, there are manystructural frameworks out there.
So if you want to go morein-depth, you can certainly do
so.
Now, what many new writersdon't realize is that structure
is far more than just abeginning, middle and end.
It's actually a way to help youorganize your ideas, build
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tension at just the rightmoments and give readers the
emotional payoff they're hopingfor.
And when you deliver this kindof emotional payoff, that's what
leaves readers feelingfulfilled.
When you don't deliver it,readers will feel unsatisfied,
even if they can't explain why.
I once worked with a literaryfiction writer who prided
himself on rejectingquote-unquote formulaic
(22:44):
storytelling, and when I readtwo of his drafts for two
different books that he wasworking on.
They were both beautifullywritten on the sentence level,
but they fell flat with readers.
So he had beta readers and hetold me they're just not
responding, they don't like mybooks.
So when we dug into his work,what I discovered is that he was
missing this type of structure,particularly the escalating
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complications in the middle ofhis story and a true climactic
moment at the end.
And that was the case for bothof his drafts, which was really
interesting.
But long story short.
Once he incorporated theseelements, while maintaining his
unique style and voice, ofcourse, readers responded really
well and they were a lot moreinterested in his stories.
Now a little pro tip for youhere if it's your first novel, I
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recommend focusing on justhaving a clear beginning, which
I want you to think of as thesetup, a clear middle which you
can think about as escalatingcomplications, and then a clear
end with a satisfying resolution.
From there you can map out themajor turning points or plot
points in your story before youstart writing.
But also keep in mind the goalis to remain flexible enough to
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discover unexpected directionsas you write your book.
So just a little tip there, andthat is step number seven.
Use story structure to help youshape your plot.
Step number eight is to createan outline or not.
Now that you have yourcharacters, settings and an
understanding of structure, it'stime to decide how much
planning you'll do before divinginto the actual writing.
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If you've been around thewriting world for a while, you
know there's a spectrum ofapproaches when it comes to
writing a book, andunderstanding where you fall on
this spectrum can save you anenormous amount of frustration.
So on one hand of the spectrum,we have plotters, and these are
writers who map out everythingbefore they start writing.
So they want to know theircharacters, they want to know
what happens in their story frombeginning to end, and things
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like that.
On the other side of thespectrum we have pantsers, who
are writers who prefer to kindof write by the seat of their
pants.
So they normally start with alittle bit of an idea and then
they write as a process ofdiscovering what their
characters and their plot is allabout.
Okay, so obviously two verydifferent approaches so far.
Now, in the middle of thespectrum, we have plantsers, and
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these are the writers who kindof blend both approaches.
So sometimes that meanscreating a loose roadmap while
allowing room for discoveryduring the writing process.
Now, after working withhundreds of writers, I would say
most of us fit in that plantercategory or that in-between zone
between plotters and panters,but of course, there's no wrong
answer or anything.
It's just about identifyingwhere you fit on that spectrum.
(25:16):
Now here's something I want youto know no matter how you
approach outlining your outlinedoesn't need to be elaborate to
be effective.
Even a simple sketch of themajor plot points in your story
what happens at the beginning,the major complications in the
middle and how it all resolvesat the end can provide enough
direction to keep you movingforward without feeling
constrained.
If you're brand new to writing,I recommend at least a basic
(25:39):
outline that identifies thesefive things.
Number one what is your openingscene?
Number two what is the incitingincident that launches your
story?
Number three what are the majorplot points or turning points
in your story?
Number four what does thatclimactic scene look like?
And then, number five how doesthe story resolve?
So, again, if you're brand newto writing, those are the five
(26:02):
things I recommend thinkingthrough before you start to
write.
But what's most important ischoosing an outlining approach
that works for you and yourcreative process, rather than
against it.
Like I mentioned earlier, anextensive outline can be
liberating for some writers andtotally paralyzing for others.
So pay attention to whatenergizes you and what depletes
your enthusiasm.
(26:22):
And a little pro tip here thinkabout your outline as a living,
breathing document.
As you write, you're going todiscover new possibilities that
might not have occurred to youduring planning.
That's totally normal, and youknow, just give yourself
permission to deviate from youroutline when your story
naturally evolves, because,trust me, it will.
Okay, so that is step numbereight create an outline that's
(26:43):
going to work for you, notagainst you.
And then it's time to move on tostep number nine, which is to
develop and establish yourwriting routine.
So, before you dive intoactually writing your first
draft, I want you to take amoment to set yourself up for
success.
You now know what you need todo, but how, when and where will
you do it?
And this is important, becausecreating a sustainable writing
(27:05):
routine is often the differencebetween finishing your novel and
joining the ranks ofquote-unquote someday writers
who never quite get there.
So to help you create a routinethat works for you, I want you
to consider things like are youmore creative in the morning or
in the evening?
Is there a certain environmentthat helps you focus the best?
So a quiet room, a bustlingcoffee shop, something else?
(27:31):
Are there any rituals that youneed to help you get in the zone
, like a fresh cup of tea or aspecific playlist?
And then, of course, how muchtime can you realistically
dedicate to writing?
Once you've considered thesefactors, it's time to create a
specific plan.
So maybe you'll write for 30minutes before work each morning
, or perhaps you'll dedicate twohours every Saturday and Sunday
to working on your book.
The exact schedule doesn'treally matter as much as your
(27:52):
commitment to showing up to yourdesk consistently, okay.
So once you develop a plan,then I want you to figure out a
way to track your progress.
So you might be the type ofwriter who likes to set a daily
or weekly word count goal andtrack words written versus your
goal.
Now, this is not a hard andfast rule by any means, but many
new writers will target around500 to 1,000 words per writing
(28:14):
session.
Again, that's not a hard andfast rule or anything.
It's just something I'venoticed over the years of
working with writers.
And again, that is per session,so it doesn't necessarily mean
per day or per week or anything.
It's just per session that youshow up to write.
Now, something else I've learnedafter coaching hundreds of
writers is that the mostconsistent writers they don't
rely on motivation orinspiration to sit down at their
(28:38):
desk and write.
Instead, they rely on systemsand habits and they create
writing environments thatminimize resistance and maximize
productivity.
And this is important, becausewhat many first-time writers
don't realize is that thequote-unquote perfect writing
routine is one that you canactually maintain.
And, of course, this is goingto look different for every
(28:58):
writer and it's going to lookdifferent from what you see on
social media.
Okay, so, for example, lastyear I worked with a busy
executive who had been planningto write a novel for over a
decade and she just wasn'tmaking progress.
So we looked at her scheduletogether and we found that she
consistently had about 45minutes free during her lunch
break and she said you know what?
I don't really do anything elsebesides maybe scroll on my
(29:21):
phone as I'm eating.
You know things like that.
So we came up with this idea todownload a writing app on her
phone, and she already had adistraction-free environment,
and so she just took advantageof those 45-minute lunch breaks
and she ended up writing herentire first draft in these
small daily chunks.
So she is proof thatconsistency really does matter
more than available time.
(29:42):
So when building your ownwriting routine, I want you to
think about this what is thesmallest, most manageable
writing commitment you couldmake that you're 90% confident
you can keep?
Whatever your answer is, I wantyou to start there and then
build momentum as writingbecomes a natural part of your
life.
And a little pro tip here ifyou're someone who thrives with
(30:02):
accountability, then find a wayto build that into your routine.
Tell someone about your writinggoals, or join a writing group
that expects regular check-ins.
You can even hire a book coachto help keep you accountable and
moving toward your goals.
Okay, so that is step numbernine develop and establish your
writing routine.
Now on to step number 10, youprobably guessed what this one
(30:22):
is already.
It's to start writing yourfirst draft.
This is where you transform allyour hard work and planning
into actual words on the page.
And when it comes to writingyour first draft, I want you to
focus on writing all the way tothe end, without stopping to
edit.
And if you're a perfectionist,you might be cringing, thinking
there's no way I could do that,but trust me when I say that
(30:43):
momentum matters more thanperfection, and the reason I say
this is because the first draftof your story is all about
discovery and learning what yourstory really wants to be, and
this means you're going to needto give yourself permission to
write poorly at times, andthat's okay.
You can and you will reviselater.
So here are some guidingprinciples that I recommend
(31:05):
adopting for the drafting phase.
Number one aim for forwardprogress.
Always Don't edit while youwrite.
Number two don't focus on thedetails.
Use placeholders to keep movingforward.
Number three if you get stuckon a scene, make a note and skip
ahead.
Number four keep your outlineup to date as you write.
This will save you time later.
(31:26):
And number five celebrate smallvictories along the way because
you deserve it.
One of my favorite successstories is an author who wrote
what she called the worst firstdraft in history.
She was so embarrassed by itthat she almost deleted the
entire manuscript off her harddrive, but instead she took a
chance on it and she sent it tome and I read it, and while it
certainly needed work.
(31:47):
I could see the bones of acompelling story underneath the
rough prose and the plot holesand things like that.
Three revisions later, thatquote-unquote terrible draft
became a novel that landed heran agent and a book deal.
Okay, so just something to keepin mind, especially if you're a
perfectionist and a little protip here remember that you can't
revise a blank page.
(32:07):
Your first draft does not needto be good, it just needs to
exist.
Luckily, by going through thesteps in this article, you will
already have a strong foundationbuilt.
But even then, it's not goingto be perfect.
It's still going to be yourfirst draft, okay, and I
recommend adopting this littlemantra for your first draft Just
say to yourself it's okay, I'llfix it later.
It sounds so simple, but thesesix little words give you
(32:29):
permission to write freely,without the paralysis of
perfection.
And remember the magic happensin revision, but you can't
revise what you haven't written.
So give yourself permission towrite that messy first draft and
just get your draft done, okay.
So that is step number 10 tostart writing your first draft,
ideally all the way to the end.
(32:49):
Now, before I let you go, I wantto remind you about a few
things.
Number one is that there's aPDF guide of everything we
talked about in today's episode,all ready for you, so you don't
have to take notes or re-listento this episode a bunch of
times.
You can get your hands on thatat savannahgilbocom forward,
slash, write.
It's totally free.
One more time savannahgilbocomforward, slash, write.
(33:10):
And then the second thing I wantto tell you is that the 10
steps we just went over, letthese become your roadmap to
navigate the complex journey ofwriting your first novel.
The way that I've laid it outhere is that each step is going
to build on the one before it,so let this be your guide
through the entire process, frominitial idea to finished draft.
And as you write, just rememberthat there will be days where
(33:32):
the words flow effortlessly anddays when extracting a single
sentence feels like pullingteeth.
This is normal, and I've nevermet a writer who didn't
experience both extremes.
But what separates publishedauthors from aspiring writers
isn't talent or luck.
It's perseverance through thedifficult parts of the process.
It's showing up consistentlyeven when motivation wanes, and
(33:54):
it's trusting the process enoughto keep going when self-doubt
creeps in.
So as you embark on thiswriting journey, don't forget
that every established authorwas once exactly where you are
now, and always remember thatyour first draft doesn't need to
be perfect, it just needs to becomplete.
The world needs the story thatonly you can write, not a
theoretical, perfect novel thatexists only in your imagination.
(34:17):
So take a deep breath, open yournotebook or laptop, download
the free guide that goes alongwith this episode and start
writing.
You've got this.
So that's it for today'sepisode.
As always, thank you so muchfor tuning in and for showing
your support.
If you want to check out any ofthe links I mentioned in this
episode, you can find them inthe show notes listed in the
(34:38):
description of each episodeinside your podcast player or at
savannahgilbocom forward slashpodcast.
If you're an Apple user, I'dreally appreciate it if you took
a few seconds to leave a ratingand a review.
Your ratings and reviews tellApple that this is a podcast
that's worth listening to, and,in turn, your reviews will help
this podcast get in front ofmore fiction writers just like
(34:59):
you.
And while you're there, goahead and hit that follow button
, because there's going to beanother brand new episode next
week, full of actionable tips,tools and strategies to help you
become a better writer.
So I'll see you next week, anduntil then, happy writing.
And if you're a perfectionist, you might be
cringing, thinking there's noway I could do that.
But trust me when I say thatmomentum matters more than
perfection, and the reason I saythis is because the first draft
of your story is all aboutdiscovery and learning what your
story really wants to be, andthis means you're going to need
to give yourself permission towrite poorly at times, and
(00:21):
that's okay.
You can and you will reviselater.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:43):
you can implement in yourwriting right away.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In this episode, we're going tocover the 10 essential steps to
writing your first novel.
If you've been dreaming aboutbecoming an author but find
(01:03):
yourself staring at a blank pageor blinking cursor, or if
you've started multiplemanuscripts only to abandon them
when the going gets tough, thenthis episode is for you.
Something I've discovered afterworking with hundreds of
writers is that finishing anovel requires more than just
talent or a great idea.
It takes the right mindset,practical tools and a strategic
(01:24):
approach that keeps you movingforward even when inspiration
fades.
In this episode, I'm sharingthe exact framework that has
helped my clients and studentstransform their ideas into
completed manuscripts, withspecial focus on the
foundational elements that makestories truly resonate with
readers, and we're going tocover a lot in today's episode.
So I've created a free PDFguide of everything we're going
(01:47):
to talk about today all so thatyou don't have to take notes as
you listen which you can grab atsavannagilbocom forward, slash
write.
So one more time, that'ssavannagilbocom forward, slash
write.
This guide will be yourcompanion as you bring your
novel to life, one step at atime.
So, with that being said, let'sgo ahead and dive in, shall we,
(02:07):
starting with step number one?
Step number one is to identifyyour why.
So, before you type a singleword, we need to talk about
motivation, and I know thismight seem like an odd place to
start, but trust me when I saythat understanding your why or
that deeper level motivation isthe secret ingredient that will
keep you going when the initialexcitement of writing a novel
(02:29):
fades and yes, it will fade atsome point.
So, to uncover your why, I wantyou to just think about.
Why are you writing a book inthe first place?
Is it to share a message thatmatters deeply to you?
Is it because you havecharacters or worlds living in
your imagination that you needto bring to life?
Are you hoping to start acareer as a full-time author?
Or maybe is writing a novelyour own personal Mount Everest,
(02:52):
something you want toaccomplish just for the
achievement itself?
Now, there are no wrong answershere.
Many successful novels havebeen written for each of these
reasons and countless others.
What matters most is that yourmotivation resonates deeply
enough to fuel your writingthrough the inevitable rough
patches.
What most new writers don'trealize is that identifying your
(03:13):
core motivation is more thanjust a feel-good exercise.
It's really the foundation thatwill inform everything from
your writing schedule to how youapproach challenges, and
without a clear why, you're muchmore likely to abandon your
project when obstacles arise.
For example, I once worked witha writer who kept abandoning
manuscripts until we finallyuncovered her true motivation.
(03:35):
This writer really wanted toshare stories about the kind of
healthy and supportiverelationships that she had
experienced in her own life.
So she was writing romance andshe just really loved the power
of love and the power ofintimate relationships in
someone's life.
So with this why finally clear?
Her writing started to flownaturally and she was able to
(03:56):
finish her draft.
I know that might sound simple,but that's the power of writing
from a place of passion andpurpose and that's the power of
uncovering your why.
So I want you to think about it.
What is driving you to writethis particular story at this
particular time?
When you can answer thisquestion with conviction, you'll
be much more equipped to dealwith any mental or emotional
(04:17):
roadblocks that come up as youwrite because, let's be honest,
they will come up and you'll bemuch more equipped to get to the
end of your first draft as well.
Now, a little pro tip is towrite down your motivation and
keep it somewhere visible inyour writing space when you hit
those inevitable moments orthose roadblocks where you start
thinking everything I'm writingis terrible and I should
probably just quit.
(04:38):
This reminder will help youreconnect to the deeper purpose
behind your work.
Okay, so that is step number oneto identify your why.
Step number two is to pick onenovel-worthy idea to focus on.
So once you're clear on yourmotivation, it's time to choose
the idea you want to turn into afull-length novel.
If you're anything like thewriters I work with, then you
(04:58):
probably have an ideas folderbursting with concepts and
little snippets of ideas andpictures for inspiration.
I have one of those too.
But the truth is that not everyidea we have can sustain a
full-length novel, at least notwithout a little more
development first.
So while you might haveinteresting thoughts or concepts
or ideas that could start astory, not all of them are going
(05:21):
to have enough depth orcomplexity to carry an entire
novel length work Again, atleast not without fleshing them
out a little more first.
So I want you to think about itlike this Something like a
vampire moving into town mightsound really cool and intriguing
, but this concept alone lacksthe necessary substance for an
80,000 plus word novel.
(05:41):
Similarly, a fascinatingsetting without a compelling
character who faces conflictwon't keep readers turning pages
either.
Okay, so that's not to say thatthey can't work and can't be
developed into an idea, butthose kinds of things on their
own don't make a novel worthyidea just yet.
Now, the best type of storyideas often come in the form of
what-if?
(06:01):
Questions that hint at theconflict and stakes.
So, for example, something likewhat if a wizard school existed
alongside our ordinary world?
You might recognize that asHarry Potter.
Another example what if a womandisappeared and framed her
husband for her murder?
You might recognize that asGone Girl.
Last example what if a deadlyplague wiped out most of
(06:22):
humanity?
You'll probably recognize thatas the stand.
And what you're looking for isan idea that's novel worthy, so
one with enough potentialconflict, character development
and thematic exploration to fillhundreds of pages while keeping
readers engaged.
And, like I hinted at earlier,sometimes this takes a little
bit of work.
Whatever you come up with,don't worry if your idea feels
(06:43):
simple at this stage.
A farm boy discovers he's partof a galactic rebellion might
sound basic, but it became StarWars.
So trust that your idea willdevelop complexity as you work
through the remaining steps inthis episode.
Now here's what I recommend.
From all of your potentialideas, I want you to choose one
that gives you that sense ofboth excitement and fear.
(07:04):
The best ideas often scare us alittle bit, and they're the ones
that feel important enough tospend months, or maybe even
years, bringing to life.
I recently worked with anauthor who had five different
story ideas that she wasbouncing back and forth between,
and every time one gotdifficult or she hit a roadblock
, she would switch to anotherand, as you can imagine, this
wasn't helping her make verymuch progress overall.
(07:27):
So what we did is we stoppedand we evaluated each idea based
on its potential for engagingconflict and also her personal
connection to the material.
So again, which one brought herboth that level of excitement
and a little bit of fear, andthis exercise helped her commit
to just one idea.
Then, once she committed to thestory that genuinely moved her,
(07:47):
not just the one that seemedmost exciting or easy, that day
she was finally able to completeher first draft after years and
years of false starts.
So if you are like this authorand you're jumping between ideas
, I want you to ask yourselfwhich one of your ideas do you
keep returning to, or which ideakind of has a chokehold on your
mind and refuses to let go.
(08:07):
That persistence is usually asign that you have found your
novel worthy idea.
Now, a little pro tip here isthat you can test your idea to
see if it's novel worthy.
So what I want you to look foris a main character with a clear
goal, significant obstacles tothat goal and meaningful
consequences if they fail.
If these elements aren'timmediately apparent, then your
(08:27):
idea might need a little moredevelopment before it's ready to
sustain a full-length novel.
Okay, so that is step numbertwo.
Pick one novel-worthy idea tofocus on.
Step number three is to chooseyour story's genre.
So now that you have your onenovel-worthy idea, it's time to
figure out where your novel fitsin the literary landscape.
And genre isn't just amarketing category.
(08:49):
It's a powerful tool that helpsyou understand what readers
expect and then how to satisfythem.
Think of genre as the sectionof the bookstore where your
novel would be shelved.
Some common examples of genresare things like literary fiction
.
These are character-drivenstories that focus on
relationships and the humancondition.
Romance novels are stories thatcenter around a relationship
(09:10):
and emotional fulfillment.
Mysteries and thrillers areplot-driven stories involving
suspense, crime or puzzles.
Science fiction novels areexplorations of advanced
technology and scientificconcepts.
Fantasy books are stories withmagical or supernatural elements
.
Historical fiction includesnarratives set in the past with
(09:30):
historical events as backdrop.
Horror stories are designed tofrighten or disturb readers.
And then something like youngadult are stories targeted at
teenage readers, and this, ofcourse, can cross with other
genres, so you might havesomething like young adult
fantasy or a young adult mysteryor something like that.
Now here's what's reallyimportant for you to understand.
Each genre is going to have itsown conventions, typical word
(09:53):
counts and reader expectations.
For example, something like aromance is going to require a
central love story and anemotionally satisfying ending.
Thrillers generally maintainfast pace with high stakes, and
fantasy novels often includemagic and invented worlds.
So just a few examples.
Now, what many aspiring authorsdon't realize is that genre
(10:14):
selection impacts nearly everyaspect of your writing process,
from character development toplot structure to pacing.
So choosing your genre earlywill help you understand your
readers' expectations and it canguide your creative decisions,
which in turn makes the writingprocess a little bit less
overwhelming.
Now a little pro tip for you.
If you're like okay, I knowwhat kind of story I'm writing,
(10:36):
but I don't know what readerswould expect from a story like
mine, or I don't really knowwhat to do with this information
, I want you to go identifythree published novels similar
to your idea.
These are often called comptitles or comparative titles.
And then I want you to studywhat these books have in common,
and the goal is to understandthe patterns that are in the
story, and this is going to showyou what readers of your genre
(10:58):
will expect and what they love.
Okay, so that is step numberthree choose your story's genre.
Step number four is to pickyour point of view and tense.
So, now that you have yourgenre selected, it's time to
make two foundational choicesthat will shape every single
sentence you write.
Number one is your point ofview and number two is your
tense.
These elements are going todetermine who tells your story
(11:20):
and when it's being told, andthey affect everything from how
much information readers receiveto the emotional tone of your
narrative.
So your main point of viewoptions include first person,
and in this scenario, thenarrator uses I and directly
shares their experiences.
This helps to create thatintimacy between reader and
character, but limitsinformation to what only that
(11:42):
character knows.
So, as an example, this wouldbe something like I walked into
the room and immediately sensedsomething was wrong.
The next option you have isthird person limited.
So in this scenario, thenarrator refers to characters as
he, she or they, or by usingtheir name, while following one
character at a time.
So, for example, sarah walkedinto the room and immediately
(12:03):
sensed that something was wrong.
The third option you have isthird person omniscient, and in
this scenario scenario thenarrator knows everything about
all characters, providingreaders with a more expansive
view.
So an example of this would besomething like Sarah walked into
the room and sensed somethingwas wrong, unaware that behind
the curtain, the intruder heldhis breath.
(12:23):
Okay, so you can probablyalready tell how your choice
there is going to impact howreaders experience your story.
Now, once, once you've selectedyour point of view, you'll need
to decide on tense.
So really, you have two choiceshere past tense she walked into
the room or present tense shewalks into the room.
Past tense feels natural tomost readers and is traditional
(12:44):
for storytelling, while presenttense creates a sense of
immediacy that can make readersfeel the events are unfolding in
real time.
So there's no wrong answer here.
But just know that the choicesyou make will dramatically
impact your writing experienceand your reader's connection to
your story.
Each combination of point ofview and tense creates a
distinct reading experience, soit's worth taking the time to
(13:05):
find the right match for yourparticular story.
Now a little pro tip here ifyou're unsure which option is
right for you, you can try andexperiment and write the same
scene using different point ofviews and different tenses.
As you do that, pay attentionto which version feels the most
comfortable to write and whichbest serves your story.
Okay, so that is step four.
Pick your point of view andtense.
(13:26):
Step number five is to developyour main characters.
So now that you've made somereally important decisions on
your genre and point of view,it's time to focus on the heart
of any great story, and that isyour characters, particularly
your protagonist and antagonist.
And I say particularly becausethese two characters will create
the conflict of your novel andthey'll drive your entire plot
(13:48):
forward.
Also, most readers connect withcharacters first and plot
second.
So this step is really reallyimportant For your protagonist.
You can start by answering thesethree foundational questions.
Number one what do they wantmore than anything?
This is going to be theirexternal goal.
Number two what do they needemotionally or psychologically?
This is going to be thatinternal need.
(14:09):
And number three what flaw orweakness must they overcome?
This is their inner obstacle.
Now, the reason these threequestions are so important is
because the most compellingprotagonists want something
badly enough to face significantobstacles to achieve their
goals.
Think about Katniss Everdeen inthe Hunger Games.
Right, she wants to protect hersister and survive the games.
(14:30):
She wants both of those thingsbadly enough to deal with the
conflict coming her way.
To go with a completelydifferent example, you can think
about Elizabeth Bennet in Prideand Prejudice, who seeks
independence and true connectionabove all else, which, if
you're familiar with the story,definitely makes her life a
little bit harder.
But she's so committed to thatgoal that she is willing to face
obstacles and conflict to getit.
(14:52):
Now let's consider yourantagonist.
So this is going to be theforce that opposes your
protagonist in your story, andthere are three questions you
can ask and answer here thatwill help you flesh them out.
So number one what are theytrying to achieve?
Ideally, whatever your answeris is going to conflict with
what the protagonist wants.
Number two why do they believethey're justified?
This one's important becausethe best antagonists usually
(15:14):
believe they're right or have avery strong motivation for doing
what they're doing.
And number three whatweaknesses or vulnerabilities
make them human?
And this one's important justto create that sense of
three-dimensionality and thatcomplexity that helps your
character feel like a realperson.
Okay, now remember that theword antagonist doesn't always
mean villain.
(15:34):
Your antagonist could be acompelling love interest in a
romance.
It could be nature itself in asurvival story, or even aspects
of the protagonist's ownpersonality in a story about
internal struggle.
Now, what many first-timewriters don't realize is that
character development isn'tabout creating likable
characters.
It's about creating fascinatingones, and that's because
(15:55):
readers will follow a deeplyflawed character through
hundreds of pages if those flawsfeel authentic and create
meaningful conflict.
I worked with a sci-fi writeronce who couldn't understand why
readers didn't connect with hermechanically-minded protagonist
.
And when we dug deeper, wediscovered that she had made her
protagonist just too perfect.
So he was skilled, he wasethical and he was always right.
(16:18):
But then, once she gave him apainful past that caused him to
make critical mistakes in thepresent, readers were a lot more
engaged in her story andcouldn't put it down.
So in this scenario, hercharacter's flaws were what made
him human and his humanity madehim compelling.
Now, of course, this examplewon't ring true for every single
story.
Protagonists like SherlockHolmes or Jack Reacher don't
(16:40):
really have tragic pasts orflaws that hold them back, but
for the most part, readers doappreciate a more
three-dimensional, well-roundedprotagonist.
So just something to keep inmind.
Now, a little pro tip here is tocreate character profiles for
your protagonist and antagonistbefore you start writing, and I
want you to go beyond justphysical descriptions and I want
(17:01):
you to dig into theirbackgrounds, their motivations,
their fears and their desires,and then focus especially on the
moments from their past thathelped shaped who they are now
in the present, because thesedefining experiences will inform
how they react to thechallenges in the story and
everything that's happeningaround them.
Okay, so that is step numberfive develop your main
(17:22):
characters.
Step number six is to determineyour story's setting.
With your characters takingshape, let's explore where and
when their story unfolds.
The setting of your story is farmore than just a backdrop.
It's an active element that'sgoing to shape your entire
narrative, and the best settingsdo more than just establish a
location.
They create mood and atmosphere, they reflect character
(17:45):
emotions, they introducespecific challenges and provide
unique opportunities for plotdevelopment.
Introduce specific challengesand provide unique opportunities
for plot development.
For example, the setting of aromance in a small town is going
to create different dynamicsthan that same story set in a
big city.
A mystery set in the 1920s willhave different laws and
investigation techniques thanone set in our present time
(18:06):
today.
So, when developing yoursetting, I want you to consider
things like the time period.
So is your story taking placein the contemporary world?
Is it taking place in thefuture or at some point in the
past?
I want you to consider thegeographic location.
So is your story taking placein the real world or a made up
one?
I want you to think about thephysical environments where your
scenes will take place and howthe setting might limit or
(18:29):
enable your characters.
Now, if you're creating afictional world, my advice would
be to focus on the elementsthat directly impact your story,
rather than developing everysingle detail up front.
Keep in mind that you canalways expand your world
building as you get to know yourstory more and as you write.
If you're using a real locationor historical period, you will
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need to do some research toflesh out your setting, and
that's just because readers whoare familiar with your setting
will notice inaccuracies.
Of course, they will right.
However, I don't want you tolet research become a form of
procrastination.
So what I would suggest you dois just get the basics right and
then dive into writing.
Now, no matter if you'rewriting in a fictional world or
(19:10):
a real location or historicaltime period, I just want you to
ask yourself could your storyhappen anywhere, or does your
setting create uniqueopportunities and challenges
specific to your characters andyour plot?
The reason this is important isbecause, if you could just
transplant your story to acompletely different location
without changing very much interms of your characters and
(19:30):
your plot, you might not beutilizing the setting to its
full potential.
So just something to keep inmind and, above all else,
remember that your settingshould work in harmony with your
plot and your characters,creating a cohesive world that
enhances your story rather thansimply serving as a backdrop.
The most memorable novels oftenfeature settings that feel like
(19:51):
the characters themselves.
They're places that are sovivid and integral to the story
that the narrative simplycouldn't exist elsewhere.
Now, a little pro tip here isto choose settings that
naturally create conflict orcomplications for your
protagonist.
As an example, if yourcharacter fears water, you could
maybe set a crucial scene on aboat.
If they're strugglingfinancially, place them in an
(20:12):
environment that constantlyreminds them of their financial
stress.
You know things like that Allright.
So that is step six determineyour story's setting.
Step seven is to use storystructure to shape your plot.
Now, with your characters andsettings established, it's time
to map out how the events ofyour story's plot will unfold.
A solid structure will help youcreate a novel that engages
(20:34):
readers from beginning to end,while also preventing the
dreaded writer's block thatstops so many first-time writers
in their tracks.
Now, there are many, manystructural frameworks out there.
There's things like thethree-act structure, the
snowflake method, the hero'sjourney, save the cat.
You know there are so many, butall of them boil down to these
three fundamental sections.
(20:55):
Number one is the beginningsection of your story, and this
typically represents the first25% of your novel.
In this section, you'll want todo three really important
things.
Number one introduce yourprotagonist in their ordinary
world.
Number two present an incitingincident that disrupts their
world.
And then, number threeestablish what your protagonist
wants and what's stopping them.
(21:16):
Okay, so that's the beginning,or the first 25% of your novel.
Then you have the middle, whichmakes up about 50% of your
entire novel, and here you'llwant to do three things as well.
Number one developcomplications and obstacles that
test your protagonist.
Number two raise the stakes asthe story progresses,
(21:39):
no-transcript, okay.
So, at its bare bones, that iswhat the middle of your novel
should do.
And then, finally, we have theend, which is the final 25% of
your novel.
And again here there are threemain things you want to do.
Number one you want to presenta climactic confrontation
between your protagonist andyour antagonist.
Number two you want to show howthe protagonist has changed.
(22:00):
And number three you want toresolve the main storylines and
provide readers that emotionalsatisfaction.
Okay.
So again, there are manystructural frameworks out there.
So if you want to go morein-depth, you can certainly do
so.
Now, what many new writersdon't realize is that structure
is far more than just abeginning, middle and end.
It's actually a way to help youorganize your ideas, build
(22:23):
tension at just the rightmoments and give readers the
emotional payoff they're hopingfor.
And when you deliver this kindof emotional payoff, that's what
leaves readers feelingfulfilled.
When you don't deliver it,readers will feel unsatisfied,
even if they can't explain why.
I once worked with a literaryfiction writer who prided
himself on rejectingquote-unquote formulaic
(22:44):
storytelling, and when I readtwo of his drafts for two
different books that he wasworking on.
They were both beautifullywritten on the sentence level,
but they fell flat with readers.
So he had beta readers and hetold me they're just not
responding, they don't like mybooks.
So when we dug into his work,what I discovered is that he was
missing this type of structure,particularly the escalating
(23:04):
complications in the middle ofhis story and a true climactic
moment at the end.
And that was the case for bothof his drafts, which was really
interesting.
But long story short.
Once he incorporated theseelements, while maintaining his
unique style and voice, ofcourse, readers responded really
well and they were a lot moreinterested in his stories.
Now a little pro tip for youhere if it's your first novel, I
(23:26):
recommend focusing on justhaving a clear beginning, which
I want you to think of as thesetup, a clear middle which you
can think about as escalatingcomplications, and then a clear
end with a satisfying resolution.
From there you can map out themajor turning points or plot
points in your story before youstart writing.
But also keep in mind the goalis to remain flexible enough to
(23:47):
discover unexpected directionsas you write your book.
So just a little tip there, andthat is step number seven.
Use story structure to help youshape your plot.
Step number eight is to createan outline or not.
Now that you have yourcharacters, settings and an
understanding of structure, it'stime to decide how much
planning you'll do before divinginto the actual writing.
(24:10):
If you've been around thewriting world for a while, you
know there's a spectrum ofapproaches when it comes to
writing a book, andunderstanding where you fall on
this spectrum can save you anenormous amount of frustration.
So on one hand of the spectrum,we have plotters, and these are
writers who map out everythingbefore they start writing.
So they want to know theircharacters, they want to know
what happens in their story frombeginning to end, and things
(24:32):
like that.
On the other side of thespectrum we have pantsers, who
are writers who prefer to kindof write by the seat of their
pants.
So they normally start with alittle bit of an idea and then
they write as a process ofdiscovering what their
characters and their plot is allabout.
Okay, so obviously two verydifferent approaches so far.
Now, in the middle of thespectrum, we have plantsers, and
(24:53):
these are the writers who kindof blend both approaches.
So sometimes that meanscreating a loose roadmap while
allowing room for discoveryduring the writing process.
Now, after working withhundreds of writers, I would say
most of us fit in that plantercategory or that in-between zone
between plotters and panters,but of course, there's no wrong
answer or anything.
It's just about identifyingwhere you fit on that spectrum.
(25:16):
Now here's something I want youto know no matter how you
approach outlining your outlinedoesn't need to be elaborate to
be effective.
Even a simple sketch of themajor plot points in your story
what happens at the beginning,the major complications in the
middle and how it all resolvesat the end can provide enough
direction to keep you movingforward without feeling
constrained.
If you're brand new to writing,I recommend at least a basic
(25:39):
outline that identifies thesefive things.
Number one what is your openingscene?
Number two what is the incitingincident that launches your
story?
Number three what are the majorplot points or turning points
in your story?
Number four what does thatclimactic scene look like?
And then, number five how doesthe story resolve?
So, again, if you're brand newto writing, those are the five
(26:02):
things I recommend thinkingthrough before you start to
write.
But what's most important ischoosing an outlining approach
that works for you and yourcreative process, rather than
against it.
Like I mentioned earlier, anextensive outline can be
liberating for some writers andtotally paralyzing for others.
So pay attention to whatenergizes you and what depletes
your enthusiasm.
(26:22):
And a little pro tip here thinkabout your outline as a living,
breathing document.
As you write, you're going todiscover new possibilities that
might not have occurred to youduring planning.
That's totally normal, and youknow, just give yourself
permission to deviate from youroutline when your story
naturally evolves, because,trust me, it will.
Okay, so that is step numbereight create an outline that's
(26:43):
going to work for you, notagainst you.
And then it's time to move on tostep number nine, which is to
develop and establish yourwriting routine.
So, before you dive intoactually writing your first
draft, I want you to take amoment to set yourself up for
success.
You now know what you need todo, but how, when and where will
you do it?
And this is important, becausecreating a sustainable writing
(27:05):
routine is often the differencebetween finishing your novel and
joining the ranks ofquote-unquote someday writers
who never quite get there.
So to help you create a routinethat works for you, I want you
to consider things like are youmore creative in the morning or
in the evening?
Is there a certain environmentthat helps you focus the best?
So a quiet room, a bustlingcoffee shop, something else?
(27:31):
Are there any rituals that youneed to help you get in the zone
, like a fresh cup of tea or aspecific playlist?
And then, of course, how muchtime can you realistically
dedicate to writing?
Once you've considered thesefactors, it's time to create a
specific plan.
So maybe you'll write for 30minutes before work each morning
, or perhaps you'll dedicate twohours every Saturday and Sunday
to working on your book.
The exact schedule doesn'treally matter as much as your
(27:52):
commitment to showing up to yourdesk consistently, okay.
So once you develop a plan,then I want you to figure out a
way to track your progress.
So you might be the type ofwriter who likes to set a daily
or weekly word count goal andtrack words written versus your
goal.
Now, this is not a hard andfast rule by any means, but many
new writers will target around500 to 1,000 words per writing
(28:14):
session.
Again, that's not a hard andfast rule or anything.
It's just something I'venoticed over the years of
working with writers.
And again, that is per session,so it doesn't necessarily mean
per day or per week or anything.
It's just per session that youshow up to write.
Now, something else I've learnedafter coaching hundreds of
writers is that the mostconsistent writers they don't
rely on motivation orinspiration to sit down at their
(28:38):
desk and write.
Instead, they rely on systemsand habits and they create
writing environments thatminimize resistance and maximize
productivity.
And this is important, becausewhat many first-time writers
don't realize is that thequote-unquote perfect writing
routine is one that you canactually maintain.
And, of course, this is goingto look different for every
(28:58):
writer and it's going to lookdifferent from what you see on
social media.
Okay, so, for example, lastyear I worked with a busy
executive who had been planningto write a novel for over a
decade and she just wasn'tmaking progress.
So we looked at her scheduletogether and we found that she
consistently had about 45minutes free during her lunch
break and she said you know what?
I don't really do anything elsebesides maybe scroll on my
(29:21):
phone as I'm eating.
You know things like that.
So we came up with this idea todownload a writing app on her
phone, and she already had adistraction-free environment,
and so she just took advantageof those 45-minute lunch breaks
and she ended up writing herentire first draft in these
small daily chunks.
So she is proof thatconsistency really does matter
more than available time.
(29:42):
So when building your ownwriting routine, I want you to
think about this what is thesmallest, most manageable
writing commitment you couldmake that you're 90% confident
you can keep?
Whatever your answer is, I wantyou to start there and then
build momentum as writingbecomes a natural part of your
life.
And a little pro tip here ifyou're someone who thrives with
(30:02):
accountability, then find a wayto build that into your routine.
Tell someone about your writinggoals, or join a writing group
that expects regular check-ins.
You can even hire a book coachto help keep you accountable and
moving toward your goals.
Okay, so that is step numbernine develop and establish your
writing routine.
Now on to step number 10, youprobably guessed what this one
(30:22):
is already.
It's to start writing yourfirst draft.
This is where you transform allyour hard work and planning
into actual words on the page.
And when it comes to writingyour first draft, I want you to
focus on writing all the way tothe end, without stopping to
edit.
And if you're a perfectionist,you might be cringing, thinking
there's no way I could do that,but trust me when I say that
(30:43):
momentum matters more thanperfection, and the reason I say
this is because the first draftof your story is all about
discovery and learning what yourstory really wants to be, and
this means you're going to needto give yourself permission to
write poorly at times, andthat's okay.
You can and you will reviselater.
So here are some guidingprinciples that I recommend
(31:05):
adopting for the drafting phase.
Number one aim for forwardprogress.
Always Don't edit while youwrite.
Number two don't focus on thedetails.
Use placeholders to keep movingforward.
Number three if you get stuckon a scene, make a note and skip
ahead.
Number four keep your outlineup to date as you write.
This will save you time later.
(31:26):
And number five celebrate smallvictories along the way because
you deserve it.
One of my favorite successstories is an author who wrote
what she called the worst firstdraft in history.
She was so embarrassed by itthat she almost deleted the
entire manuscript off her harddrive, but instead she took a
chance on it and she sent it tome and I read it, and while it
certainly needed work.
(31:47):
I could see the bones of acompelling story underneath the
rough prose and the plot holesand things like that.
Three revisions later, thatquote-unquote terrible draft
became a novel that landed heran agent and a book deal.
Okay, so just something to keepin mind, especially if you're a
perfectionist and a little protip here remember that you can't
revise a blank page.
(32:07):
Your first draft does not needto be good, it just needs to
exist.
Luckily, by going through thesteps in this article, you will
already have a strong foundationbuilt.
But even then, it's not goingto be perfect.
It's still going to be yourfirst draft, okay, and I
recommend adopting this littlemantra for your first draft Just
say to yourself it's okay, I'llfix it later.
It sounds so simple, but thesesix little words give you
(32:29):
permission to write freely,without the paralysis of
perfection.
And remember the magic happensin revision, but you can't
revise what you haven't written.
So give yourself permission towrite that messy first draft and
just get your draft done, okay.
So that is step number 10 tostart writing your first draft,
ideally all the way to the end.
(32:49):
Now, before I let you go, I wantto remind you about a few
things.
Number one is that there's aPDF guide of everything we
talked about in today's episode,all ready for you, so you don't
have to take notes or re-listento this episode a bunch of
times.
You can get your hands on thatat savannahgilbocom forward,
slash, write.
It's totally free.
One more time savannahgilbocomforward, slash, write.
(33:10):
And then the second thing I wantto tell you is that the 10
steps we just went over, letthese become your roadmap to
navigate the complex journey ofwriting your first novel.
The way that I've laid it outhere is that each step is going
to build on the one before it,so let this be your guide
through the entire process, frominitial idea to finished draft.
And as you write, just rememberthat there will be days where
(33:32):
the words flow effortlessly anddays when extracting a single
sentence feels like pullingteeth.
This is normal, and I've nevermet a writer who didn't
experience both extremes.
But what separates publishedauthors from aspiring writers
isn't talent or luck.
It's perseverance through thedifficult parts of the process.
It's showing up consistentlyeven when motivation wanes, and
(33:54):
it's trusting the process enoughto keep going when self-doubt
creeps in.
So as you embark on thiswriting journey, don't forget
that every established authorwas once exactly where you are
now, and always remember thatyour first draft doesn't need to
be perfect, it just needs to becomplete.
The world needs the story thatonly you can write, not a
theoretical, perfect novel thatexists only in your imagination.
(34:17):
So take a deep breath, open yournotebook or laptop, download
the free guide that goes alongwith this episode and start
writing.
You've got this.
So that's it for today'sepisode.
As always, thank you so muchfor tuning in and for showing
your support.
If you want to check out any ofthe links I mentioned in this
episode, you can find them inthe show notes listed in the
(34:38):
description of each episodeinside your podcast player or at
savannahgilbocom forward slashpodcast.
If you're an Apple user, I'dreally appreciate it if you took
a few seconds to leave a ratingand a review.
Your ratings and reviews tellApple that this is a podcast
that's worth listening to, and,in turn, your reviews will help
this podcast get in front ofmore fiction writers just like
(34:59):
you.
And while you're there, goahead and hit that follow button
, because there's going to beanother brand new episode next
week, full of actionable tips,tools and strategies to help you
become a better writer.
So I'll see you next week, anduntil then, happy writing.
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