My Writing Methods: Discipline, Flexibility, and Iteration

Writing a novel is a marathon, not a sprint, and my work methods have developed over time to reflect a blend of discipline, flexibility, and relentless iteration. Having penned works like Nuff Sed: A Novel of Desert Steve, Mortals As They Walk, To and Fro Upon the Earth, and Onesimus, I’ve developed a process that balances structure with creative freedom. This approach allows me to craft stories that are both meticulously planned and vibrantly alive, which I hope resonate with readers across these genres.

A Structured Foundation

Once my research is finished (or enough for the story to take shape), my writing begins with structure. Before typing a single word of prose, I create a detailed outline. For Nuff Sed: A Novel of Desert Steve, I charted Steve Ragsdale’s journey to the desert, pinpointing key events and emotional beats. For Mortals As They Walk, I mapped the arcs of Pate, Salim, and Eris, ensuring their paths converged meaningfully, since they were three separate, but connected, narratives. Outlines serve as my roadmap, providing clarity on plot, character development, and themes. I typically divide the story into acts or chapters, noting major turning points and resolutions. This framework keeps me grounded, especially in complex narratives like To and Fro Upon the Earth or  Mortals As They Walk.

Yet, structure doesn’t mean rigidity. I view outlines as living documents, open to revision as the story evolves. In To and Fro Upon the Earth, Jay’s philosophical musings took unexpected turns during drafting, prompting me to adjust the outline to accommodate deeper themes. This balance of planning and adaptability is crucial to my method, allowing me to stay on course while embracing serendipitous discoveries.

Daily Writing Rituals

Discipline is the engine of my process. I write daily during the week, aiming for 1,000 to 2,000 words, though quality trumps quantity. Sometimes I write on the weekends, though I usually save that for my nonfiction writing or just a rest period.

Mornings are my most productive time, when my mind is fresh and distractions are minimal. I start with a brief review of the previous day’s work, tweaking sentences or jotting notes for revisions. This ritual primes me for the day’s writing, ensuring continuity. For Nuff Sed: A Novel of Desert Steve, I often wrote in bursts, working to capture the desert’s stark beauty in vivid passages, then paused to refine dialogue or pacing.

I work in a various spaces—a quiet corner with a desk, a notebook, and a few inspirational objects, like a weathered stone from a desert trip or a Roman coin replica. These tactile reminders ground me in the worlds I’m creating. I also like change my setting, so often seek out cafes or bookstores, especially while traveling. This gives me fresh perspectives and insights into people and places.

I also limit digital distractions, silencing notifications and using tools like the Ulysses app to focus on the words.

Research as a Springboard

Research is integral to my method, particularly for historical and science fiction works. For Mortals As They Walk, I explored ethics and genetic engineering, grounding the speculative elements in plausible science. Research isn’t just about accuracy; it’s a wellspring of inspiration. A detail about Roman marketplaces or a breakthrough in CRISPR technology can spark a scene or subplot.

Onesimus and Nuff Sed: A Novel of Desert Steve required the most research, being historical fiction novels. I wanted to create a world as close to the original as possible, with accurate historical events, timelines, cultural artifacts, speech/language, and more. Onesimus required a a great deal of research into the Roman Empire and slavery, transportation, culture, politics, religions, and more. Similarly, Nuff Sed: A Novel of Desert Steve required research into the flora and fauna of the desert, life in the late 1800s and the 1900s, desert communities and life, politics, historical events, new technologies (radio, Model-Ts), and so much more.

I organize research in Notion, with text, images, links, and relational databases of chapters, scenes, characters, locations, timelines, and research notes on everything from historical timelines to futuristic jargon. I’m careful not to let research overwhelm the writing, ensuring it informs rather than stalls the creative process.

Iterative Drafting

My drafting process is iterative, employing six drafts. The first draft is about getting the story down, flaws and all. I don’t aim for perfection; I aim for momentum. In To and Fro Upon the Earth, Jay’s early chapters were rough, with clunky prose and vague motivations. But by the second draft, I refined his voice and sharpened the philosophical undertones. Each draft focuses on a specific aspect of the writing:

1. The Shit Draft. “Just get it out!” Ignore plot holes, fragment sentences, typos, etc.
2. The Story Draft. Develop the main problem, protagonist/hero, action, obstacles, stakes and goal. If any of these are missing, return to Vomit Draft.
3. The Character Draft. Work through every character’s scenes and dialog. Clear motivations, point of views, dialogue, world-building.
4. The Copyediting Draft. Analyze each chapter for emotion/satisfaction/structure/adverbs/“was” verbs. Copyedit and proofread.
5. The Beta Read. Feedback from trusted editors and readers.
6. The Voice Read. I have an AI read the entire novel out loud, keeping the reader foremost in my mind.
   

Feedback is a vital part of iteration. I share drafts with trusted beta readers or writing groups, seeking honest critiques. For Nuff Sed: A Novel of Desert Steve, feedback highlighted areas where Steve’s quirks needed more nuance, prompting revisions that enriched his character. I also self-edit rigorously, reading drafts aloud to catch awkward rhythms or overused words.

Tools and Technology

I rely on a mix of analog and digital tools. Notion is my go-to for brainstorming and character sketches, while Ulysses helps me organize complex projects like Mortals As They Walk, with its multiple POVs and timelines. Once I finish may copyediting and proofreading (Draft 4), I move the entire manuscript from Ulysses to Apple Pages, where I share it with the beta readers for inline feedback through the “Collaboration” function. It’s also a good way to get a different look and perspective on the novel, because it’s now presented more like a final print book.

Balancing Multiple Projects

I often juggle multiple projects, a method that keeps my creativity sharp and publications frequent. While drafting Nuff Sed: A Novel of Desert Steve, I was revising  and researching my next novel, Seven Planets. I’m also always makes notes, ideas, or drafting/editing short stories. To manage this, I dedicate specific days or weeks to each project, ensuring none stagnates. This approach also allows cross-pollination of ideas—Jay’s existential struggles in To and Fro Upon the Earth echoed themes I later explored in Mortals As They Walk.

The Role of Reflection

Reflection is woven into my method. I take breaks to walk, journal, or revisit inspirations like music or art, which often unlock new perspectives. I travel a lot, taking “writing sabbaticals,” which allow to to experience new places, ideas, people, and more.

A melody might evoke the mood of a scene in Nuff Sed: A Novel of Desert Steve, or a painting might shape the imagery in To and Fro Upon the Earth. Someone I meet along the way might inspire a character. A new location might inspire a setting. These moments of pause recharge my creativity and deepen the work.

Promotion as Part of the Process

Promoting my novels has become an extension of my method. Crafting press releases and social media posts for Nuff Sed: A Novel of Desert Steve and  Mortals As They Walk taught me to distill a story’s essence into concise, engaging snippets. This discipline sharpens my writing, as it forces me to clarify themes and hooks. I also enjoy engaging with readers on platforms like Goodreads, where their questions often inspire new ideas.

Evolving with Each Novel

My work methods are not static; they evolve with each project. Nuff Sed: A Novel of Desert Steve taught me to embrace quirky, larger-than-life characters. Mortals As They Walk pushed me to master intricate world-building (and Seven Planets even more so). To and Fro Upon the Earth deepened my approach to philosophical narratives. As I look to future projects, I’m excited to refine my process, perhaps experimenting with new genres or even collaborative writing.