Category: Writing in Overdrive

How to Write a Novel in Three Days

By Jim Denney

From Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney [Kindle Edition available at Amazon.com for $3.99] [Print edition available at Amazon.com for $7.75]

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In his early career, Michael Moorcock eked out a living writing adventure novels in the low-paying pulp fiction field. To boost his productivity and income, he devised a plan for writing sword-and-sorcery potboilers very quickly, usually in a matter of three to ten days. Every novel he wrote this way adhered to a series of simple formulas:

• Length formula: 60,000 words, divided into four sections of 15,000 words, six chapters in each section, no chapter longer than 2,500 words. Each chapter is required to contain elements that advance the action.

• Plot formula: the familiar tale of a lot of people competing in a quest to gain a much-sought-after object (examples of such objects: the Holy Grail, the Maltese Falcon, the gold of El Dorado, Alfred Hitchcock’s notion of “the MacGuffin,” or the Rambaldi artifacts in TV’s Alias).

• Character formula: a fallible and reluctant hero who tries to avoid responsibility, but ends up being pitted against vastly superior, even superhuman, forces.

• Structural formula: a dire event occurs every four pages to advance the action and keep the reader hooked.

• Fantastic images formula: the story must contain a series of wild, vivid, fantasy images, such as Moorcock’s “City of Screaming Statues.”

• Time formula: the hero is in a race against time. Moorcock explained: “It’s a classic formula: ‘We’ve only got six days to save the world!’ Immediately you’ve set the reader up with a structure: there are only six days, then five, then four, and finally … there’s only 26 seconds to save the world! Will they make it in time?”1

Even though the actual writing of a novel may take as little as three days (a phenomenal 20,000 words per day!), Moorcock would always spend at least a couple of days preparing and organizing the story structure, characters, and lists of images and events he wanted to include, so he’d have everything he needed once the writing began. “The whole reason you plan everything beforehand,” he explained, “is so that when you hit a snag, a desperate moment, you’ve actually got something there on your desk that tells you what to do.”2

This may sound like a recipe for churning out the most dreary and unreadable fiction imaginable—and in the hands of a lesser talent, it undoubtedly would be. But Moorcock actually wrote some of his highly acclaimed Hawkmoon and Elric tales on this formula. Though the plots were formulaic, his characters were strongly delineated and memorable, and his writing was clean and well-crafted. About the same time he perfected this recipe for writing novels in three days, he began earning better money. Growing tired of the formula, he moved on to more challenging genres and projects.

Yet he continued to write quickly. One of his most celebrated novels is Gloriana, or The Unfulfill’d Queen, a literary fantasy novel that won the World Fantasy Award and the John W. Campbell Memorial Award. Published in 1978, Gloriana has remained continuously in print to this day. Moorcock wrote it in a mere six weeks.

For Michael Moorcock, preparing to write quickly is a matter of quality as well as speed. He organized and disciplined himself to write quickly, and in the process he wrote very well, and acquired a reputation for literary excellence.

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Notes
1. Michael Moorcock and Colin Greenland, Death Is No Obstacle (Manchester, UK: Savoy, 1992), 8.
2. Ibid., 9.

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Update — Tuesday, August 23, 2016:

I received this from a friend on Twitter today: “I’ll go so far as to say it can be done, but I don’t think even attempting this speed is good for most writers.”

I wouldn’t claim to know what’s best for most writers — there’s no one-size-fits-all approach to writing. In my books and blogs about writing, I try to present ideas that my fellow writers are free to adopt, adapt, or ignore, depending on their preferences and predilections.

Yet I absolutely believe that most writers could benefit from “writing in overdrive” — that is, writing quickly in a state of creative flow. When you are “in flow” or “in the zone,” you are tapping into the creative power of the unconscious Muse. You are not thinking critically and analytically about your work. You are simply letting the work flow straight from your imagination onto the page. Your writing is free and uninhibited. Because the work is flowing quickly, you can easily remember everything that happened before, and you don’t get lost in the thicket of your plot. You stay excited and energized, and you experience one inspired insight after another.

Michael Moorcock’s peak results — 20,000 words per day — are an extreme case. But any writer could adapt Moorcock’s formula by lowering the daily word goals to a less daunting level — say, 5,000 words per day. At that rate, you could first-draft a 60,000-word novel in twelve days. At 2,000 words per day (which, by the way, is the daily word quota set by Stephen King, Ray Bradbury, and John Steinbeck), you could first-draft a 60,000-word novel in thirty days.

I’ve never had a 20,000-word day myself — but I’ve had quite a few 10,000-word days over my writing career. That kind of speed may not be for everybody, but it’s exhilarating to experience. Over the next few weeks I plan to post more “writing in overdrive” insights that I hope my fellow writers will find helpful and empowering. God bless and inspire you!

— Jim Denney

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Jim Denney has written more than 100 books for a variety of publishers including Simon & Schuster, St. Martin’s Press, McGraw-Hill, Thomas Nelson Publishers, Baker Books, Humanix, and many more. He is the author of the four-book Timebenders science fantasy series for young readers, and is a member of Science Fiction and Fantasy Writers of America (SFWA). For more writing insight and inspiration, read:

Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney

Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney

Write Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney 

Copyright 2016 by Jim Denney.

Dip Up the Fire!

“The writer of originality, unless dead, is always shocking, scandalous; novelty disturbs and repels.”
— Simone de Beauvoir

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Why did you become a writer?

My own reasons for writing have evolved over the years. I knew I wanted to write stories from the time I was nine years old. A writer, it is said, is a reader moved to emulation. That was me. I wanted to write the kinds of stories I liked to read, and to entertain others the way those stories entertained me.

There’s nothing wrong with writing purely to entertain. But somewhere along the way to adulthood, I discovered that stories do so much more than merely entertain. As Harlan Ellison observed in Slippage:

“Entertain, yes! That goes without saying. But a good writer does that automatically, it’s built into the machine. Telling a thumpingly good, mesmerizing story is what one does without question. But beyond that, any writer worth his/her hire knows that all writing, one way or another, is subversive. It is guerrilla warfare against the status quo.”

Ellison expanded on the idea of writing as guerilla warfare in his story collection Shatterday,

“I don’t know how you perceive my mission as a writer, but for me it is not a responsibility to reaffirm your concretized myths and provincial prejudices. It is not my job to lull you with a false sense of the rightness of the universe. This wonderful and terrible occupation of recreating the world in a different way, each time fresh and strange, is an act of revolutionary guerrilla warfare. I stir the soup. I inconvenience you. I make your nose run and your eyeballs water. I spend my life and of miles of visceral material in a glorious and painful series of midnight raids against complacency. It is my lot to wake up with anger every morning, to lie down at night even angrier.”

When you write, do you inconvenience anyone? Is your writing an act of guerrilla warfare? I’m not saying you should intentionally preach sermons through your fiction. A story should be a story, not propaganda. If you pollute your fiction with heavy-handed preaching, you obliterate its artistic and moral integrity. “The theme must be deeply submerged in the story,” novelist Elizabeth Bowen warned. “If a theme or idea is too near the surface, the novel becomes simply a tract illustrating an idea.”

The unconscious mind does not lie. If you draw upon the power of your unconscious mind to write your story, if you dig deep within yourself and write about characters and situations that engage your emotions and passions, your story will be honest — and it will possess layers of meaning that you may not even realize. Your story will come alive as literature, verging on myth.

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The writer’s unconscious mind always reveals more truth than the writer suspects. As Madeleine L’Engle reflected in Walking on Water, “It is a humbling and exciting thing to know that my work knows more than I do. … Sometimes it is years after a book is published that I discover what some of it meant.”

When you write from the unconscious mind, you write stories that entertain — and that resonate deep within the reader. You write honestly. You write about things that matter. You write about universal truths — deep truths you share with your readers. Again, Harlan Ellison:

“I talk about the things people have always talked about in stories: pain, hate, truth, courage, destiny, friendship, responsibility, growing old, growing up, falling in love, all of these things. What I try to write about are the darkest things in the soul, the mortal dreads. I try to go into those places in me that contain the cauldrous. I want to dip up the fire, and I want to put it on paper. The closer I get to the burning core of my being, the things which are most painful to me, the better is my work.”

Write to entertain. Tell a story, don’t preach. But summon your stories from the volcanic core of your being. Reach down into the cauldrous unconscious, dip up the fire, and put it on paper. You’ll find that the truth within you burns brighter than the sun.

“It’s not worth doing something unless you are doing something that someone, somewhere, would much rather you weren’t doing.”
— Terry Pratchett

Jim Denney has written more than 100 books for a variety of publishers including Simon & Schuster, St. Martin’s Press, McGraw-Hill, Thomas Nelson Publishers, Baker Books, Humanix, and many more. He is the author of the four-book Timebenders science fantasy series for young readers, and is a member of Science Fiction and Fantasy Writers of America (SFWA). For more writing insight and inspiration, read:

Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney

Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney

Write Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney 

Copyright 2016 by Jim Denney.