Writing

So, you want to write a novel?

In this series, I’ll detail out my process of writing a novel. How I converted a simple idea into 70,000 (Scrabble Queen) and 80,000 (Penniless) word manuscripts?

I will use my latest writing project Bhumiyin Kathai (Bhumi’s story) as an example, so that it can serve as an inspiration for you. (Totally selfish reasons, while trying to explain stuff to you, I am getting the motivation to complete outlining the story 😁)

I am writing this story (eventually as a screenplay) to serve as a backdrop and an interest creator for this course - https://onlinedegree.iitm.ac.in/course_pages/BSCMG3001.html

Right, back to novel writing.

Where to start?

Step 1: Write the story in one line.

For Bhumiyin Kathai:

An indecisive and scheming literature student from a village helps all her siblings become artists by learning to make apps.

How to write a novel-Ideas a plenty

in Writing

2022-01-26

So many people in the past have told me “I have an idea for a novel” or “There is a novel in everyone” or “Bah.. I can write better than that novel that I just read”.

Translating these words into action requires, brace yourselves,

inspiration.

Nope, wrong answer. The answer is actually very simple - writing.

Not:

learning about writing
reading other people’s work
contemplating how your fans will be clamouring for your autograph once your book reaches the top of the book stack.

In this series, I’ll detail out my process of writing a novel. How I converted a simple idea into 70,000 (Scrabble Queen) and 80,000 (Penniless) word manuscripts?

But, is it just writing? So, if you keep writing for a year, will you have a novel at the end of the year?

Yes, in many cases. In my case, my intention was to plan out the details of the book first before diving headlong into writing.

I consider this an architect or an engineer’s approach to writing fiction.

More posts will come out soon detailing the process. Hang tight!

COEXIST - Actionable Stories for Sustainable Change - The End

in Writing

2021-08-05

The final battle, challenge, finale, climax

You can call it whatever you want. This is it!

You’ve been prepping the hero and their team for, the entire story. Let’em have it all. There are certain battles which are epic and form their own story (You can apply the COEXIST structure just for the ending sequences).

Let’s recap. In the COEXIST storytelling method, we

chose a hero and an issue in step C;
wrote our grand story in one-line in step O;
made our hero “get out” of their comfort zone in step E;
gave them an external threat for them to battle in step X;
moved the hero from reaction to action in step I;
removed the help of their best friend/mentor in step S;
pitted them against the very thing that they never faced before on their own in step T;
and now, describe the final face-off in its entirety and give them something special as well.

Let’s go back to the stories that we have been tracking.

In Finding Nemo, Nemo, Marlin and Dory ask the fish to fight against the might of the fishing net. “Just keep swimming” is the mantra that these three tell all of the fish caught in the net. Marlin’s son does manage to free up all the fish and Dory, however Nemo lies at the ocean floor. Of course, Marlin, Dory and Nemo are united and as a special, we meet offspring, the Turtle, as the exchange student.

In The Matrix, after several failed attempts at being stopped, Neo reaches a telephone to be transported back to the real world. He faces his last challenge, he is shot by the agent at point blank range. Trinity throws a contradictory statement at Neo, which somehow revives him. He is now unstoppable and destroys Agent Smith. As a bonus, we see Neo do a flying thing at the end.

In Titanic, the tough challenge is to gain her senses to attract the attention of the rescuers, evade Cal and enter the US. She becomes an actress and finally has the heart to throw the Heart of the Ocean necklace into the… well… ocean.

How do you perform the final step of The End?

COEXIST - Actionable Stories for Sustainable Change - T - Tough challenge

in Writing

2021-07-14

“What makes heroes heroes?” It is the ability to surmount tough challenges that everyone else before them gave up on.

So far, the hero has always had some help and they never truly believed in themselves or their own ability. The heroes were never in such a hopeless situation all by themselves before. We, as authors, have really set them up so that they can excel at what they are really good at, in the story - Be a Hero!

Let’s recap. In the COEXIST storytelling method, we

chose a hero and an issue in step C;
wrote our grand story in one-line in step O;
made our hero “get out” of their comfort zone in step E;
gave them an external threat for them to battle in step X;
moved the hero from reaction to action in step I;
removed the help of their best friend/mentor in step S;
and now, pit them against the very thing that they never faced before on their own.

Let’s go back to the stories that we have been tracking.

In Finding Nemo, Marlin has to now fight his worst enemy, his own parental instinct, to let his son do his own thing. The toughest challenge he faces is to help Dory, who is caught in a fishing net, while protecting his son, Nemo.

In The Matrix, Neo has to now fight his worst enemy, Agent Smith. One of the toughest challenges he faces is Agent Smith in the subway station, followed by many more interactions with the Agents, all this while trying to get back to the ship within time (There are sentinels attacking the ship in the real world).

In Titanic, Rose has to now fight for survival against all odds. With Jack gone, Rose has to get picked up by the rescue teams, not be detected by Cal and still make a life for herself as she had promised Jack before he died.

How do you perform the step of T - Tough Challenge?

COEXIST - Actionable Stories for Sustainable Change - S - Support of friend/mentor - gone

in Writing

2021-06-23

“What are friends for?” this is a rhetoric you would hear from your friend when they help you in your hour of need. Awesome!

But in your story, if you want the hero to struggle the most and you want their best to come out, remove the support of their best friend/mentor. This is when the hero realizes that the power is within them.

Let’s recap. In the COEXIST storytelling method, we

chose a hero and an issue in step C;
wrote our grand story in one-line in step O;
made our hero “get out” of their comfort zone in step E;
gave them an external threat for them to battle in step X;
moved the hero from reaction to action in step I;
and now we are about to remove the help of their best friend.

Let’s go back to the stories that we have been tracking.

In Finding Nemo, Marlin and Dory reach Sydney and the dentists’ place only to find Nemo “dead”, Marlin’s worst fear. Marlin finding his son again, now has to fight his paternal instinct to be protective and let his son be.

In The Matrix, Neo and Trinity reach the military installation and rescue both Morpheus and Trinity only to find Agent Smith in battle, Neo’s worst fear. Neo finding Agent Smith again, now has to fight his instinct (and advice from his fellow officers) to run away and fight back.

In Titanic, Rose and Jack (after rescuing Jack and after the Titanic sank) reach a place of safety on a piece of wreckage, only to find Jack dead, Rose’s worst fear. Rose finding Cal again (on the Carpathia), now has to fight her instinct of looking for support and fight her way back in life.

How do you perform the step of S - support of friend/mentor gone?

COEXIST - Actionable Stories for Sustainable Change - I - In-between

in Writing

2021-05-04

We’ve reached an important point of a story. For regular movie-goers in India, we know this phase as the Interval or Intermission. Not only does this break in a movie serve as a pop-corn/bathroom break, but also from a story-perspective, it is the middle point of the story.

So, what is so special about the mid-point? For the hero, the mid-point has just one significance and an important one at that - Move from reaction to action. No, this has nothing to do with Sir Isaac Newton’s third law.

Let’s recap. In the COEXIST storytelling method, we chose a hero and an issue in step C; wrote our grand story in one-line in step O; made our hero “get out” of their comfort zone in step E; gave them an external threat for them to battle in step X; and now the hero is just tired of running around and just reacting to whatever is thrown at them.

Let’s go back to the stories that we have been tracking.

In Finding Nemo, Marlin and Dory find a diver’s mask which has the address where Marlin’s son might be. After dealing with the three sharks (Bruce, Anchor and Chum, if you wanted to know their names 😊), Marlin is faced with a dire situation. The only way to finding his son is in the mask, but the mask is in a dark abyss. With some persuasion from Dory (“Let’s keep swimming” earworm), Marlin decides that he’ll swim for the mask.

In The Matrix, after Morpheus is captured by the agents (Smith, Jones and Brown, if you wanted to know their names 😊), Neo is faced with a dire situation. The only way to rescuing Morpheus is to go to a military location, but the location is guarded by the military and three agents. With some persuasion (indirect) from the Oracle (“Know thyself” theatrics), Neo decides he’ll fight for Morpheus.

In Titanic, after Jack is captured by Cal (Lovejoy is the thug’s name, if you wanted to know his name 😊), Rose is faced with a dire situation. The only way to rescuing Jack is to go (back) to the Titanic, but the ship is sinking and she has no idea where Jack will be. With some (indirect) persuasion from Cal (and Jack himself), Rose decides to get back on to Titanic to rescue Jack and be with him.

Well, since today is May 4th, I’ll also talk about Star Wars (“May the fourth be with you”, get it?).

In Star Wars - A New Hope, Luke Skywalker is captured by Darth Vader’s storm troopers (Oh c’mon, I can’t name them all 😊) on the Death Star, Luke is faced with a dire situation. The only way to rescuing Princess Leia is to battle out along with Han Solo and the droids. Luke decides to join the Rebel Alliance against the Galactic Empire.

How do you perform the step of I - in-between?

COEXIST - Actionable Stories for Sustainable Change - X - eXternal threat

in Writing

2021-04-21

What is the role of monsters in movies or stories?

Monsters or villainous characters have a responsibility in a story. They are there to apply pressure on the main character/protagonist, so that the heroes rethink their decision on “getting out” of their comfort zone.

Marlin, Nemo’s dad, gets out of his anemone, but now, he has to face 3 sharks (or “4800 teeth” as a character in the movie later puts it).

Rose (in Titanic) has the iceberg episode to deal with.

Neo (in The Matrix) is arrested, intimidated and bugged after he decides to get out of the dream world.

In the COEXIST method of storywriting, so far, you have chosen your hero, issue (in the step C) and you wrote a one-liner of your story (in the step O). You then kick-started the hero’s journey by making them “get out” of their normal course of life (in the step E).

In this step, X, you will learn how to create pressure on the hero at a juncture when they have taken a decision to “get out”.

Charles and his pigeons

in Writing

2021-04-07

It was the year 1837. Charles woke up with the sound of ding-ding. He knew what that was, the pigeons had arrived, at least one of them. He slipped into his robe and slippers and almost jumped the stairs leading him to the yard. He scanned the pigeon holes. About 40 of them in all. Each pigeon hole was meticulously labelled and cleaned overnight to welcome the visitors. Only two of the holes seem to be occupied.

COEXIST - Actionable Stories for Sustainable Change - E - Eventful start

in Writing

2021-04-02

In the COEXIST method of storywriting, you have chosen your hero, issue (in the step C) and you wrote a one-liner of your story (in the step O). Now what? The story has to start somewhere and sometime. But this somewhere, sometime has to be pivotal that it changes the normal course of life for our hero. This is the essence of what we try to accomplish in E (Eventful start). Let’s take the heroes from some popular movies.

Marlin, Nemo’s dad, gets out his anemone, to look for his son. (Finding Nemo)

Neo, gets out of The Matrix to find the truth about his real world. (The Matrix)

Rose, gets out of her protected life, to experience life in the third class. (Titanic)

Ben, gets out of his human life, to become one of the many aliens. (Ben 10 and the ultimate alien)

“Gets out” is the big event here. So, how do you write the E step for your story? Take any favourite movie. Make the hero step out (or “get out”) of their comfort zone.

COEXIST - Actionable Stories for Sustainable Change - O - One-liner story

in Writing

2021-03-17

A woman, engaged to someone, meets and falls in love with another man onboard a ship, which sinks a few hours after they meet.

A hacker, on discovering that the world that he is in is a computer program, teams up with a few rebels to overthrow the guardian programs of the system.