Writing and Plotting and Pantsing

This blog is about Writing, Plotting and Pantsing. I am a discovery writer (also called pantser) naturally. I like writing a novel from beginning to end with little or no plot, and discovery the story as I write. That’s what I’ve been doing so far with both short stories and novels.

After writing my first novel I realized that I had to work through 4 drafts so far, and 2 of them were rewrites. Now I am facing a 3rd full rewrite as well. I realized then that, even though I want to stay a pantser at the core, I wanted to work through some plotting outlines so I can at least start doing a basic plot to give me some direction. That doesn’t mean my story won’t change while writing… but it is just meant to give me at least a basis to work from. Something similar to at least pointing in the right direction.

The first thing I did was research different types of plotting methods. Below are a few that I uncovered in my research.

This isn’t meant to be an exhaustive list, just a few hours’ worth of research in my attempts at finding the one that resonated with me the most.

The three-act structure: The three-act structure is a classic plotting method that involves dividing the story into three parts: the setup, the confrontation, and the resolution. This method helps to create a clear beginning, middle, and end to the story.
The hero’s journey: The hero’s journey is a popular plotting method that follows the journey of a hero as they overcome challenges and obstacles to reach their goal. This method involves several stages, including the call to adventure, the road of trials, and the ultimate victory.
The seven-point story structure: The seven-point story structure is a plotting method that involves dividing the story into seven key points, including the hook, the first plot point, the midpoint, the second plot point, the crisis, the climax, and the resolution. This method can help to create a well-paced and structured story.
The snowflake method: The snowflake method is a plotting method that involves starting with a single sentence summary of the story and then expanding it into a more detailed outline. This method can help to create a well-developed plot and characters.
The Save the Cat method: The Save the Cat method is a popular plotting method that involves dividing the story into 15 beats, or key moments. This method can help to create a well-structured and engaging story.
The Fichtean Curve: The Fichtean Curve is a classic plot method developed by Johann Wolfgang von Goethe’s mentor Johann Christoph Friedrich von Schiller. It is a simple structure that involves five stages: the exposition, the rising action, the climax, the falling action, and the resolution. This method can be useful for creating a well-structured and easy-to-follow plot.
The In Medias Res method: The In Medias Res method involves starting the story in the middle of the action, rather than at the beginning. This can create a sense of immediacy and urgency, and can hook the reader from the very first sentence. This method can be used in combination with other plotting methods to create a unique and engaging story.
The Epistolary method: The Epistolary method involves telling the story through a series of letters, emails, diary entries, or other documents. This can create a unique and intimate narrative voice, and can be used to explore the thoughts and feelings of different characters. This method can be challenging to execute, but can be very effective when done well.
The Multiple Perspectives method: The Multiple Perspectives method involves telling the story from the point of view of multiple characters. This can create a rich and complex narrative, with different characters providing different insights and experiences. This method can be challenging to execute, but can be very rewarding for both the writer and the reader.
The Non-Linear method: The Non-Linear method involves telling the story out of order, jumping back and forth in time. This can create a sense of mystery and intrigue, and can allow the reader to piece together the story as they read. This method can be challenging to execute, but can be very effective when done well.
The Mind Map method: The Mind Map method involves creating a visual representation of the story, with the main plot points and characters arranged in a branching diagram. This can help to create a clear and organized outline, while also allowing for flexibility and creativity.
The Beat Sheet method: The Beat Sheet method involves creating a detailed outline that includes all the major plot points and character arcs. This can help to ensure that the story is well-structured and engaging, and can also help to identify any plot holes or inconsistencies.
The Index Card method: The Index Card method involves writing each plot point, character, or scene on a separate index card, and then arranging the cards in the order they will appear in the story. This can help to create a flexible and adaptable outline, while also allowing for easy reorganization and revision.
The Chapter Outline method: The Chapter Outline method involves creating a detailed outline for each chapter of the story, including the main plot points, characters, and settings. This can help to create a well-paced and engaging story, and can also help to ensure that each chapter has a clear and focused purpose.
The Synopsis method: The Synopsis method involves writing a brief summary of the story, including the main plot points, characters, and themes. This can help to create a clear and concise outline, and can also help to identify any major issues with the story before it is written.
The Timeline method: The Timeline method involves creating a chronological timeline of the story, including all the major events, character interactions, and plot points. This can help to create a well-structured and engaging story, while also allowing for easy reference and revision.
The Scene-by-Scene method: The Scene-by-Scene method involves creating a detailed outline for each individual scene in the story, including the characters, setting, and action that takes place. This can help to create a well-structured and engaging story, while also allowing for easy reference and revision.
The Question-and-Answer method: The Question-and-Answer method involves creating a list of questions that the story must answer, and then creating an outline that addresses each question. This can help to ensure that the story is well-plotted and engaging, and can also help to identify any major issues or gaps in the story.
The Freewriting method: The Freewriting method involves writing a stream-of-consciousness outline that captures the key ideas and themes of the story. This can help to generate new ideas and perspectives, while also allowing for creativity and exploration.
The Sketching method: The Sketching method involves creating a visual outline of the story, using sketches and images to represent the key characters, settings, and events. This can help to create a unique and engaging story, while also allowing for flexibility and creativity.
The 9-Step Scene Method: The 9-Step Scene Method is a method developed by Elizabeth Sims that breaks down the creation of each scene into nine steps, including identifying the purpose of the scene, establishing the point-of-view, and determining the emotional level. This method can help to create scenes that are well-structured, engaging, and focused on moving the story forward.
The Character Arc method: The Character Arc method involves creating an outline that focuses on the growth and development of the main character. The outline should include the character’s starting point, their goals, their flaws, and the challenges they must overcome in order to achieve their goals. This method can help to create a character-driven story that is engaging and relatable.
The Heroine’s Journey method: The Heroine’s Journey method is a variation of the Hero’s Journey that is specifically tailored to female protagonists. This method focuses on the challenges and obstacles that women face in a patriarchal society, and includes steps such as “Refusing the Call” and “Reclaiming Power”. This method can help to create a unique and compelling story that resonates with female readers.
The One-Page Outline method: The One-Page Outline method involves creating a one-page summary of the story that includes the main characters, the setting, the major plot points, and the resolution. This method can help to create a clear and concise outline that is easy to reference and revise.
The Reverse Outline method: The Reverse Outline method involves creating an outline after the first draft of the story is complete. The writer goes through the story and summarizes each scene, and then uses these summaries to create a detailed outline that can be used to revise the story. This method can help to identify areas that need improvement and ensure that the story is well-structured and engaging.
The Story Beats method: The Story Beats method involves breaking the story down into a series of beats, which are individual moments or scenes that drive the story forward. This method can help to create a well-structured and engaging story, and can also help to identify any areas that need more development or focus.
The Hybrid Outline method: The Hybrid Outline method involves combining different outlining methods to create a unique and effective outline. For example, you might use the Snowflake Method to create a detailed summary of the story, and then use the Index Card method to organize the scenes and events. This method can be adapted to suit your individual needs and preferences.
The Visual Outline method: The Visual Outline method involves creating a visual representation of the story, using images, diagrams, or other visual aids. This method can be helpful for writers who think visually, and can be used to map out the story in a clear and engaging way.
The Mind-Body Connection method: The Mind-Body Connection method involves exploring the physical sensations and emotions that arise when you think about the story. This method can help to identify areas of the story that are particularly engaging or challenging, and can be used to create a unique and authentic story.
The Jigsaw Puzzle method: The Jigsaw Puzzle method involves creating small, interlocking pieces of the story that can be fit together like a jigsaw puzzle. This method can be helpful for writers who want to focus on individual scenes or events, and can be used to create a well-structured and engaging story.
The Discovery Writing method: The Discovery Writing method involves writing without a plan or outline, and allowing the story to develop organically as you write. This method can be helpful for writers who want to explore their creativity and let the story take them in unexpected directions. However, it can also be challenging to create a well-structured and engaging story without a clear plan or outline.
The Beat Sheet Plus method: The Beat Sheet Plus method is an expansion of the Save the Cat Beat Sheet, which breaks down the story into 15 beats. This method adds more detail to each beat, and includes additional information such as character arcs, subplots, and themes. This can help to create a well-structured and engaging story, while also allowing for flexibility and creativity.
The Reverse Discovery method: The Reverse Discovery method is a variation of the Discovery Writing method, where you write the story first and then create an outline after the fact. This method involves going back through the story and identifying the main plot points, character arcs, and themes. This can help to create a well-structured and focused outline, while still allowing for the creativity and spontaneity of the Discovery Writing method.
The Mindful Outline method: The Mindful Outline method involves creating an outline that is focused on the emotions and thoughts of the main character. The outline should include the character’s internal struggles, as well as the external conflicts and obstacles they must face. This can help to create a deep and engaging character arc, and can also help to ensure that the story is well-structured and focused.
The Three-Act Structure method: The Three-Act Structure method is a classic outlining method that divides the story into three acts: the set-up, the confrontation, and the resolution. Each act has its own distinct purpose and structure, and can help to create a well-paced and engaging story.
The Storyboard method: The Storyboard method involves creating a visual representation of the story, using a series of sketches or illustrations to represent each scene or event. This can help to create a clear and engaging outline, while also allowing for flexibility and creativity.
The Puzzle Pieces method: The Puzzle Pieces method involves breaking the story down into a series of small, interconnected pieces, much like a jigsaw puzzle. Each piece should represent a scene or event in the story, and should be able to fit together with the other pieces to create a well-structured and engaging narrative. This method can be helpful for writers who want to focus on individual scenes or events, and can be used to create a unique and creative story.

After spending so much time studying the various methods, I finally decided on two methods that I thought (together) would work for me. The One Page Outline and Discovery Writing. Discovery Writing (pantsing) is what I was already doing. The one-page outline was a very basic/simple outline to give me direction while still giving me a focus on discovery writing.

Based off a lot of research I put together a “Template Outline’ that I decided I was going to start using on all future novel ideas. It was something very simple and did just what i Needed to give me some ideas and a place to save my ideas, but still giving me the flexibility and freedom to be able to discovery write.

Here is the outline I finally decided on. It was a modified version of the One Page Outline template. I created a basis and then added onto it.

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Title: [Enter your title here]

Main Character: [Enter your character’s name here]

Goal: [Enter your main character’s goal here]

Conflict: [Enter your main conflict here]

Theme: [Enter your theme here]

Back Story:

[Backstory point 1]
[Backstory point 2]
[Backstory point 3]

Plot points:

[Plot point 1]
[Plot point 2]
[Plot point 3]

Characters:

Character name
Detail
Detail
Character name
Detail
Detail

—

This was the basic template. Some specific novels I may add other fields into it, so it does what it needs. One of them had a character with powers (a few did) so I added a “powers” field before back story with a list of their powers or a breakdown of them in bullet-point format. Overall, this is a small simple template I Can keep everything I need all in one page (whether it turns out really short ore ally long it’s all in one place) then I can discovery write to my heart content using that as general direction pointed and a place to keep future ideas when they come to mind.

I don’t want to give any practical examples from my own novels because they are ones I plan on writing, but below are a few random examples off the top of my head to give you an idea how the template looks in action.

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Example 1: Historical Fiction

Title: The Lady’s Maid

Main character: Jane, a young maid in the household of a wealthy Victorian family

Goal: Jane wants to escape her life of servitude and become a lady’s companion

Conflict: Jane’s desire clashes with the strict social hierarchy of Victorian England, as well as the expectations of her family and employers

Plot points:

Jane meets Lady Charlotte, a kind and empathetic noblewoman who takes an interest in her
Jane begins to educate herself, learning to read and write and studying the manners and customs of high society
Jane falls in love with Thomas, the footman in the household, but must keep their relationship a secret
Lady Charlotte dies suddenly, leaving Jane with a difficult choice: stay in her position as a maid, or risk everything to pursue her dreams

Resolution: Jane decides to take a chance and leave her position, using her knowledge and connections to become a successful lady’s companion

Themes: Class, love, ambition, sacrifice

Example 2: Mystery/Thriller

Title: The Silent Witness

Main character: Dr. Sarah Black, a forensic pathologist

Goal: Sarah wants to uncover the truth behind a series of murders that seem to be connected to her own past

Conflict: Sarah’s investigation puts her in danger and threatens to expose long-buried secrets

Plot points:

Sarah is called to investigate a series of murders that share a common trait: the victims all have a mysterious symbol carved into their skin
As she delves deeper into the case, Sarah realizes that the symbol is connected to her own family history
Sarah’s investigation is hindered by a corrupt police department, and she must work to uncover the truth on her own
Sarah discovers that the murders are connected to a powerful criminal organization, and that her own life is in danger

Resolution: Sarah confronts the leader of the criminal organization, who turns out to be a family member, and brings them to justice

Themes: Justice, family, identity, corruption

Example 3: Fantasy

Title: The Sorcerer’s Apprentice

Main character: Emily, a young apprentice to a powerful sorcerer

Goal: Emily wants to become a sorcerer in her own right and to use her powers to protect her homeland

Conflict: Emily’s teacher is keeping secrets from her, and the kingdom is threatened by a powerful and malevolent sorcerer

Plot points:

Emily begins her apprenticeship under the tutelage of the sorcerer, but quickly realizes that there are things he is not telling her
Emily learns of a powerful and malevolent sorcerer who is threatening the kingdom, and decides to investigate on her own
Emily meets a group of rebels who are fighting against the sorcerer, and joins forces with them
Emily discovers that the sorcerer she is fighting is actually her own teacher, and that he has been using her to further his own goals

Resolution: Emily confronts her teacher and uses her own powers to defeat him and save the kingdom

Themes: Power, loyalty, betrayal, identity

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Those are literally randomly off the top of my head but gives you an idea of a few practical examples of it in action.

So, I started researching what famous writers have used the “one page outline” or some rendition of it, in their own writing. Just to make sure it was feasible in practical. application.

J.K. Rowling: Rowling is said to have used a form of the One-Page Outline method when planning the Harry Potter series. She created a grid with seven columns (one for each book in the series) and several rows for each major plot point and event.
Stephen King: King is known for his “pantsing” approach to writing (i.e., writing by the seat of his pants without a plan or outline). However, he has also used a form of the One-Page Outline method in some of his work, such as in his book “On Writing,” where he describes using a single sentence to summarize the plot of a story.
Dan Brown: Brown is said to have used a highly detailed outline to plan his novels, including his bestselling book “The Da Vinci Code.” He reportedly created a 75-page outline that included the major plot points, character arcs, and research notes.

Also, another thing about Stephen King specifically. In his book “On Writing: A Memoir of the Craft,” Stephen King does not present a specific template for outlines. Instead, he emphasizes the importance of finding a writing process that works for you, and acknowledges that every writer has their own unique way of approaching the craft. King is known for his “pantsing” approach to writing, which involves writing by the seat of his pants without a plan or outline. However, he also acknowledges that some writers may benefit from more structured approaches, and encourages his readers to experiment with different methods to find what works best for them.

That being said, King does discuss the importance of creating a sense of momentum and forward motion in your writing, and suggests that a story should be “like a fossil in the ground, just waiting to be unearthed.” He also emphasizes the importance of staying focused on the story and avoiding distractions or digressions that may detract from the overall narrative. While he doesn’t provide a specific template or structure for outlining, he does offer a lot of valuable advice and insights into the writing process that can be applied to a variety of different approaches.

Once I finished figuring all of that out I started research the idea about writers rewriting their work. I wanted to get an idea on how many times most famous writers have to rewrite their work, or how many overall drafts they need to do.

Margaret Atwood, author of “The Handmaid’s Tale,” has said that she typically does three to four drafts of each of her novels. However, she notes that these drafts may be extensive and involve significant revisions.
Stephen King has said that he typically does two to three drafts of his novels. He notes that the first draft is usually “raw material,” while subsequent drafts focus on refining the story and making it more cohesive.
Neil Gaiman, author of “American Gods” and “Coraline,” has said that he typically does two drafts of his novels. However, he notes that he spends a lot of time planning and outlining the story before he starts writing, so his first draft is often more polished than some writers’ first drafts.
Donna Tartt, author of “The Secret History” and “The Goldfinch,” has said that she typically does six to eight drafts of her novels. She notes that each draft is focused on a different aspect of the story, such as character development or pacing, and that each draft is a significant revision.
Chimamanda Ngozi Adichie, author of “Half of a Yellow Sun” and “Americanah,” has said that she typically does between three and six drafts of her novels. She notes that each draft involves a significant overhaul of the manuscript, and that she often writes a completely new draft from scratch.
John Irving, author of “The World According to Garp” and “A Prayer for Owen Meany,” has said that he typically does five to six drafts of his novels. He notes that each draft is focused on a different aspect of the story, such as plot or character, and that he often gets feedback from trusted readers to guide his revisions.
Zadie Smith, author of “White Teeth” and “Swing Time,” has said that she typically does three to four drafts of her novels. She notes that she likes to spend a lot of time on the planning and outlining stages of the writing process, so that when she starts writing the first draft, she has a clear idea of where the story is going.
Colson Whitehead, author of “The Underground Railroad” and “The Nickel Boys,” has said that he typically does three drafts of his novels. He notes that he spends a lot of time on each draft, revising and polishing the manuscript until it’s as good as he can make it.
Kazuo Ishiguro, author of “Never Let Me Go” and “The Remains of the Day,” has said that he typically does four to five drafts of his novels. He notes that each draft is focused on refining the story and making it more cohesive, and that he often gets feedback from trusted readers and his editor to guide his revisions.
Toni Morrison, author of “Beloved” and “Song of Solomon,” has said that she typically does four to five drafts of her novels. She notes that each draft is focused on different aspects of the story, such as character development and pacing, and that she often spends a lot of time on the planning and outlining stages of the writing process to make sure her first draft is as strong as possible.
Haruki Murakami, author of “1Q84” and “Norwegian Wood,” has said that he typically does two to three drafts of his novels. He notes that he likes to spend a lot of time on each draft, revising and polishing the manuscript until it’s as good as he can make it, before moving on to the next draft.
George R.R. Martin, author of “A Song of Ice and Fire” series, has said that he typically does multiple drafts of his novels, but he doesn’t have a set number in mind. He notes that his writing process is very organic and that he often discovers new things about the story and the characters as he writes, which can result in significant revisions to the manuscript.
Celeste Ng, author of “Little Fires Everywhere” and “Everything I Never Told You,” has said that she typically does between five and ten drafts of her novels. She notes that each draft is focused on a different aspect of the story, such as character development or pacing, and that she often gets feedback from trusted readers and her editor to guide her revisions.
Jennifer Egan, author of “A Visit from the Goon Squad” and “Manhattan Beach,” has said that she typically does between five and fifteen drafts of her novels. She notes that each draft is focused on refining the story and making it more cohesive, and that she often spends a lot of time on the planning and outlining stages of the writing process to make sure her first draft is as strong as possible.
Michael Chabon, author of “The Amazing Adventures of Kavalier & Clay” and “Moonglow,” has said that he typically does between five and ten drafts of his novels. He notes that he likes to spend a lot of time on each draft, revising and polishing the manuscript until it’s as good as he can make it, before moving on to the next draft.
Margaret Mitchell, author of “Gone with the Wind,” famously did numerous drafts of her novel over a period of ten years before it was published. While there’s no record of exactly how many drafts she did, it’s known that she made significant revisions to the story and characters over that time.
Joyce Carol Oates, author of “We Were the Mulvaneys” and “Blonde,” has said that she typically does between five and seven drafts of her novels. She notes that each draft is focused on different aspects of the story, such as pacing and character development, and that she often revises extensively based on feedback from her editor.
Salman Rushdie, author of “Midnight’s Children” and “The Satanic Verses,” has said that he typically does between six and eight drafts of his novels. He notes that he likes to spend a lot of time on each draft, revising and polishing the manuscript until it’s as good as he can make it, before moving on to the next draft.
Emily St. John Mandel, author of “Station Eleven” and “The Glass Hotel,” has said that she typically does between five and ten drafts of her novels. She notes that each draft is focused on different aspects of the story, such as structure and pacing, and that she often gets feedback from beta readers to guide her revisions.
James Baldwin, author of “Go Tell It on the Mountain” and “If Beale Street Could Talk,” famously did numerous drafts of his novels, sometimes going through several versions before he was satisfied with the final result. He notes that he liked to spend a lot of time on each draft, revising and refining the manuscript until it was as good as he could make it.
Octavia Butler, author of “Kindred” and “Parable of the Sower,” has said that she typically does between four and six drafts of her novels. She notes that each draft is focused on different aspects of the story, such as character development and plot, and that she likes to get feedback from trusted readers to guide her revisions.
Jennifer Weiner, author of “Good in Bed” and “In Her Shoes,” has said that she typically does between two and three drafts of her novels. She notes that she likes to spend a lot of time on the planning and outlining stages of the writing process, so that when she starts writing the first draft, she has a clear idea of where the story is going.
David Mitchell, author of “Cloud Atlas” and “The Bone Clocks,” has said that he typically does between six and ten drafts of his novels. He notes that each draft is focused on different aspects of the story, such as character development and pacing, and that he often spends a lot of time on research to make sure the story is historically and culturally accurate.
Ernest Hemingway, author of “The Old Man and the Sea” and “For Whom the Bell Tolls,” famously rewrote the ending of “A Farewell to Arms” thirty-nine times before he was satisfied with it. While there’s no record of exactly how many drafts he did of each of his novels, he was known for his meticulous attention to detail and his commitment to getting the story just right.
Jeffrey Eugenides, author of “The Virgin Suicides” and “Middlesex,” has said that he typically does between six and eight drafts of his novels. He notes that each draft is focused on different aspects of the story, such as character development and pacing, and that he often spends a lot of time on research to make sure the story is historically and culturally accurate.
Margaret Atwood, author of “The Handmaid’s Tale” and “Alias Grace,” has said that she typically does three to four drafts of each of her novels. She notes that each draft may involve significant revisions, and that she likes to get feedback from trusted readers to guide her revisions.
Donna Tartt, author of “The Secret History” and “The Goldfinch,” has said that she typically does six to eight drafts of her novels. She notes that each draft is focused on a different aspect of the story, such as character development or pacing, and that each draft is a significant revision.
F. Scott Fitzgerald, author of “The Great Gatsby” and “Tender Is the Night,” famously rewrote the ending of “The Great Gatsby” numerous times before he was satisfied with it. While there’s no record of exactly how many drafts he did of each of his novels, he was known for his meticulous attention to detail and his commitment to getting the story just right.
Arundhati Roy, author of “The God of Small Things” and “The Ministry of Utmost Happiness,” has said that she typically does between 20 and 30 drafts of her novels. She notes that each draft is focused on different aspects of the story, such as structure and language, and that she often spends a lot of time on the research and planning stages of the writing process.
Junot Díaz, author of “The Brief Wondrous Life of Oscar Wao” and “This Is How You Lose Her,” has said that he typically does between seven and ten drafts of his novels. He notes that each draft is focused on refining the story and making it more cohesive, and that he often gets feedback from beta readers to guide his revisions.
Jane Austen, author of “Pride and Prejudice” and “Sense and Sensibility,” famously revised her novels extensively, sometimes going through several drafts before she was satisfied with the final result. While there’s no record of exactly how many drafts she did of each of her novels, her meticulous attention to detail and her commitment to getting the story just right is well-documented.
Alice Walker, author of “The Color Purple” and “Meridian,” has said that she typically does between four and eight drafts of her novels. She notes that each draft is focused on different aspects of the story, such as character development and pacing, and that she likes to get feedback from beta readers and her editor to guide her revisions.
Margaret Drabble, author of “The Millstone” and “The Peppered Moth,” has said that she typically does between four and five drafts of her novels. She notes that each draft is focused on different aspects of the story, such as character development and plot, and that she often spends a lot of time on research to make sure the story is historically and culturally accurate.
Zadie Smith, author of “White Teeth” and “On Beauty,” has said that she typically does between three and four drafts of her novels. She notes that each draft is focused on different aspects of the story, such as character development and pacing, and that she often gets feedback from beta readers to guide her revisions.
Michael Ondaatje, author of “The English Patient” and “Anil’s Ghost,” has said that he typically does between six and eight drafts of his novels. He notes that each draft is focused on refining the story and making it more cohesive, and that he often spends a lot of time on the planning and outlining stages of the writing process.
Neil Gaiman, author of “American Gods” and “Stardust,” has said that he typically does between three and six drafts of his novels. He notes that each draft is focused on different aspects of the story, such as character development and pacing, and that he often gets feedback from beta readers and his editor to guide his revisions.

Once I got done I did more research specifically Stephen King’s approach.

Stephen King, one of the most prolific and successful writers of our time, is known for his candid and practical advice on the writing process. He has spoken at length about his approach to rewriting and revising his work, and his insights have been widely quoted and studied by writers of all levels.

One of King’s most famous quotes about rewriting comes from his book “On Writing: A Memoir of the Craft,” where he famously stated, “To write is human, to edit is divine.” In the same book, he also advises writers to “kill your darlings,” meaning that they should be willing to cut or revise any part of the story, no matter how much they may love it, if it doesn’t serve the larger narrative.

King has also talked about his own process of rewriting and revising his novels. In an interview with The Paris Review, he noted that he typically does three to four drafts of his novels, with each draft focused on a different aspect of the story. He also mentioned that he likes to take a break between drafts, so that he can come back to the story with fresh eyes and a new perspective.

In another interview, King noted that he often gets feedback from his wife, fellow writer Tabitha King, as well as his longtime editor and publisher, to guide his revisions. He also noted that he likes to read his work out loud during the rewriting process, as it helps him identify awkward phrasing or dialogue that doesn’t sound natural.

Overall, King’s advice on rewriting emphasizes the importance of being willing to revise and cut ruthlessly, while also taking the time to step back and approach the work with fresh eyes and a critical perspective. His practical and no-nonsense approach has resonated with writers around the world, and his insights on the writing process continue to inspire and inform writers of all levels.

On top of all that, Stephen King has said that he typically takes a break of at least six weeks between drafts of his novels. This break allows him to step away from the story and return to it with fresh eyes and a new perspective, which helps him to identify areas that need work and make more significant revisions.

Regarding how many projects he works on at the same time, King is known for being a highly prolific writer who has written dozens of novels, short stories, and non-fiction books throughout his career. He has said that he often works on multiple projects at the same time, alternating between them as he finishes drafts and revisions. For example, while working on one novel, he may take a break to work on a short story or an essay, before returning to the novel with a fresh perspective. This approach allows him to stay productive and avoid writer’s block, while also keeping his writing fresh and varied.

Stephen King has been known to work on multiple novels at the same time. In an interview with The Paris Review, he mentioned that he often has more than one project going on at the same time, and that he likes to alternate between them as he finishes drafts and revisions. This approach allows him to keep his writing fresh and varied, and to avoid writer’s block by switching between projects when he feels stuck.

King has also noted that he typically has a backlog of story ideas and concepts that he’s excited to explore, which he can draw on when he’s ready to start a new project. This approach has allowed him to be highly prolific throughout his career, with dozens of novels, short stories, and other works to his name.

While Stephen King is known for his stream-of-consciousness writing style and his preference for exploring characters and situations in a more intuitive way, he does not consider himself a full “pantser” with no plotting.

In his book “On Writing: A Memoir of the Craft,” King talks about his process of writing “organically,” which means that he likes to start with a situation or a character and see where it takes him. However, he also notes that he typically has a general idea of where the story is going and how it will end, even if he doesn’t have a detailed plot outline in advance. He has also said that he spends a lot of time thinking about his characters and their motivations, and that he likes to get to know them on a deep level before he starts writing.

So while King may not plot out his stories in advance in the same way that some writers do, he does still engage in a certain amount of planning and preparation before he begins writing. His approach is a balance between intuition and structure, with a focus on letting the story develop in a natural and organic way while still maintaining a sense of overall direction and purpose.

Overall this process took me several hours to work through. But I finished up with a one-page template that is useful for handling basic plot outlines and character sheets for upcoming novels in a simple way. I also had a lot more motivation in regard to rewriting and learning the craft.

One pattern that was apparent was new writers take more rewrites and everything but as a writer gets more experience, they can start finishing them with less drafts. Typically, each novel you finish is a world worth of experience you can use when moving on to your next novel.

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