First Draft In 30 Days: a Review
First Draft in 30 Days
ca_pierson asked me to write up a review on the tools found in First Draft in 30 Days by Karen S. Weisner. I thought since I’m leaving in two days, I might as well write it up now! If anything is confusing, just let me know and I’ll do my best to clarify!
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My copy of this book is tattered after only a year of having it in my shelf. That is how much I use it. I refer back to First Draft in 30 Days every time I start a new story be it fan fiction or original. The tools Weisner teaches in this book provide an endless amount of resource’s you’ll be coming back to again and again. Even if you’re not a fan of outlines, the tools listed here will help you keep characters - and their developments - consistent throughout the story.
Another aspect of this book helps you schedule how much you’re doing when. The idea of this book is to write out an outline so detailed that when you are writing your first draft it will (save for a few minor grammar edits) be your only draft. You’ll know exactly what scenes you’re writing without having to go back and reread what you wrote before every time.
Tools By Chapter
Chapter One: Brainstorming Before you Outline
So this is just a little introductory thing. Most of us already do the stuff listed, but it can be very helpful for new ideas if you don’t already have a story in mind.
Chapter two: Days 1-6 Preliminary Outline
Uses character sketches, setting sketches, character settings, plot sketches Summary outline, misc scene notes.
I use the character sketches and merge them with the character setting sketches. Another favorite of mine is the plot sketch which helps you keep a balance especially within romances. Personally, I don’t have very much patience for Summary Outlines so I tend to forego them (although, tbh they’re what I need the most).
I’ve created some of my own character sketch forms but the one implemented in this book is by far, the most helpful as far as getting into your characters mind. Even if it’s fan fiction - especially if it’s fan fiction - the sketch helps you cement how you view your character and the plans you have for them in the future.
Chapter Three: Days 7-13 Researching Your Idea
She goes over strategies and some etiquette here but other than that this chapter is pretty self explanatory. There is one form she uses here, but it’s fairly standard and something you probably could have thought up on your own.
The one thing I’ll recommend here though - especially for those writing murder mysteries or other crime stories - is the fact sheet (particularly useful for getting a feel of towns and their locations). This is pure genius in it’s organization. This section also holds timelines for crimes, characters, etc.
Chapter Four: Days 14-15 The Evolution of Your Story
At first, this section sounds like the same thing as the plot sketch. It’s not. It’s generalization vs details. Where your plot sketch is focusing on the general idea of the story (Story goal, Romance thread, Subplots, plot tension, sexual tension, release, downtime, black moments & resolution) the evolution sketch focuses on the details of each subplot within your story. This chapter helps you organize each section of your story. It’s basically the three stages (beginning, middle & end) within the three stages of your story. Great for figuring out things like transitional scenes!
Chapter Five: Days 16-24 Formatted Outline
These are essential for people who get writers block easily. This where you plan out each scene before you write them. This is going to be a lifesaver guys! Basically, it is divided by day # (why I never thought of this before I do not know!), chapter and scene number (I’m writing by scene and will group them together once the story is actually done), POV character, additional characters within the scene, location, approx time of day, facts necessary for writing the scene (criminal minds writers out there? This will save you from the terrifying genius that is Dr. Spencer Reid), notes, questions, and a draft (don’t write the scene here, just list what you want to happen).
Additionally, I tend to add a note for what I want the scene to accomplish. Even if it’s just to introduce a character, once I’m finished with the outline, it will be easier to look at the scene to see if it’s really needed or if I should just get rid of it.
Chapter Six: Days 25-28 Evaluating the Strength of your Formatted Outline
This is the chapter that explains the reason why this outline will prevent a second draft (again, save for the one that holds the inevitable grammar/spelling etc issues). This is why you will have a polished draft instead of a second draft.
There aren’t any forms here to use because by now you’ve already used them. You’re done outlining the story. What you’re doing in this chapter is “tagging and tracing”. This will keep the rewriting (the daft) to a minimum. What’s really helpful about this chapter is that it walks you through how to ‘tag and trace’. It doesn’t just say to tag and trace, it gives you techniques. It’s the same as when you’re in English class and the teacher wants you to analyze a book. Here, you’re analyzing the strengths and weaknesses of your plots and drafts. You’re not revising them - that’s in the next chapter - you’re just leaving notes where things could be strengthened.
Chapter Seven: Days 29-30 Revising Your Formatted Outline
This, as I learned the hard way, is where it would be really helpful to have done on the computer. Usually when I’m scheming (read: plotting) I like to write out my thoughts on paper. I type faster than I think, so it’s a little more relaxing (and fun) for me to write it out.
Anyway, here is where you’ll be writing your outline - taking out scenes here and there, adding some, inserting new characters etc. Again, no forms needed but still way helpful.
Chapter Eight: Creating an Outline for a Project Already in Development or Reoutlining a Stalled Project
I have a feeling that those of us in gsd_rtfn are the ones who will get the most use out of this section. This can be very helpful for those projects you need to get more organized thoughts in. The forms are the same, the information is presented differently - catered to those of us already partly through with our stories.
Chapter Nine: Getting the Most From your Formatted Outline
Here is where you’ll find some of the most valuable advice in this book. Leave yourself room to shelf the story. It doesn’t matter if you’re writing for a big bang or for yourself. Outlining takes a lot of work even as it saves you some. Give yourself some time to take a break from the story. Work on that other idea that’s been poking you in the arm the last week or so. After a day or two, come back and write. You’ll be thankful that you’ve got everything so solid, that you just have to pull the words out of the outline and shape them into a cake!
Chapter Ten: Outlining Your Career
You have multiple projects you want to get done, right? This can be great for fan fiction writers - especially those writing on LJ and want to keep their readers informed of updates and schedules. I haven’t used this so much, but with upcoming stories, I plan to. Some helpful facts from this chapter: 50k words= 200pg.
60k words= 240pg.
70k words=280pg.
80k words= 320pg.
90k words=360pg.
100k words=400pg.
Most big bangs want you to shoot for 15k words. If you’re working on a word document (using the times new roman font at size 12), that’s about 500 words per page. 15k(w)/500(w) = 30 pages. Not very much if you think about it. What’s nice about this is, if you’ve completed the scene capsules, you can get a feel for when you’re going to finish your fic or original story (provided you stick to the schedule).
Personally, I write about 800 words per session before I get exhausted. I’m a huge procrastinator so that also means that I get in about 800 words a day. One and half pages per day doesn’t seem like much, I know, but knowing this means that I can plan accordingly. Big bangs usually give you months to work on your fic. One and half pages a day means that I can get the goal word count within that first month (again, only if I stuck to schedule), ‘shelf’ it for week, and come back and polish it with fresh eyes.
Here’s an example schedule for a big bang. (Taken from sncross_bigbang).Author Sign Ups - January 11th to February 25th
Checkpoint #1 - February 11th
Checkpoint #2 - March 11th
Checkpoint #3 - April 8th
Rough Drafts Due - April 20th
Artist Claiming - April 23rd
Art and Fics Due - May 23rd
Posting Schedule Up - May 27th
Posting Starts - June 3rd
Say I don’t start working on the story until the first checkpoint for whatever reason. The 1st check point starts February 11th so if I outline from there through March 11th (the second checkpoint) that = 29 days.
I don’t have to finish my fic until April 20th. That’s 69 days! I know I write 800 words a day on average. Keeping this in mind, I can figure a month to work on an outline, 10 days to shelf it and 30 days (another month) to write it. Keep in mind that if you want to factor in a beta-reader, it will cut your shelf time in half at best, depending on your editor’s time.
Now, unfortunately, this was my first time using the book and I did not stick to schedule at all. I had personal woes and angst that prevented me from plowing on through which puts me on a really tight time crunch with the current WIP but even so, this book was an endless resource that I will always come back to when I’m stumped.
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First Draft in 30 Days has it's own website here.
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