13 Steps To Help You Write

So you want to write a book. I know the feeling I’ve been writing books for many years now. There’s a lot of people out there on the internet and elsewhere, that will try to tell you that writing a book is easy, you can do it fast, they’ve got five steps to writing a best-seller.

I do have 13 foundational steps that you’re going to need to follow if you’re going to write a book. Speed is not the point. Quality is the point.

The first thing you’re going to want to do is establish your writing space. You should never say that you don’t have a place to write, you can write anywhere, but you want to establish what you need. If you need solitude, make sure you find a place in your house where you can shut the door, turn off media and you can have privacy and silence or whatever you need to write. The more you can afford, the better you’ll do as far as equipment and space.

A second important step is to assemble your writing tools. All you need is a notebook and a pencil or your laptop and a comfortable chair. Learn what works for you: if you are out somewhere do you need to take cushion from home so you can sit up straight your back? Your neck are important to your writing too. You’re going to be spending a lot of hours with that notebook or in front of that computer, so don’t scrimp on your computer. When you’re home don’t scrimp on your chair. Make a list of all the things you’re going to need while you’re especially at home. If you need paper clips or a stapler or whatever make sure you have all those within arm’s length so you don’t get distracted by having to look for things.

A third important thing you want to do is to break the project into small pieces. The reason that writing a book seems so colossal is because it is writing a book. Break the task into as many small pieces as you can. Your manuscript in the end is made up of sentences, paragraphs, and chapters. Just doing one thing at a time, that’s the way to get a handle on it.

Number four is to settle on your big idea. It needs to be a big idea if it’s book worthy. It’s going to be big concept. We don’t have any room in the marketplace anymore for small concept book ideas. If it’s small, use it for a blog or an article. If you tryed to write a book before and you ran into a roadblock at the 20 or 30 day mark or maybe the 20 or 30 page mark, it could be because your idea wasn’t big enough. How do you know if your idea is big enough? If it has legs, it stays with you. If you tell your friend what your book is about and every time you tell them it gets bigger, that’s a book that’s going to last in the marketplace.

Step 5 is to construct your outline. Even if it is on one side of one sheet of paper, give yourself some direction of where you’re going. Now some people especially if you’re a beginning writer, your editor or your agent may need to see an entire synopsis of your novel idea so you’ll have to do more of an outline than you might have done later. Agents and editors demand outlines for nonfiction. There’s no writing a nonfiction book without an outline. They want to know what you’re going to say, how you’re going to say it, where you’re getting your information, and what your points are going to be. Now we often talk in fiction about the marathon of the middle and how that stops everybody. That’s one of the places that you might begin to wonder, why did I ever think I could do this? That’s the marathon of the middle. You can’t just survive it or endure it, you have to thrive in it because the reader is right with you. If it seems boring to you, your reader is asleep. This happens to be true of nonfiction as well. Now you’ll take care of that with your outline, and for nonfiction you’ll know that your middle has enough good stuff in it. In fiction be sure you’re saving a lot of big setups and payoffs for that marathon in the middle. You can do the same in nonfiction. In fiction you don’t have the same number of elements as far as tension and conflict and dialogue. You still need to set up in the payoff for your non-fiction book. Say you’re writing a nonfiction book about how to build a model ship. You need to set it up so that it looks impossible until your specific solution comes through, that’s your setup and payoff. Don’t be intimidated by an outline, your outline serves you not the other way around. If you’ve got an outline and you find yourself drifting from it or you think the book is working in a different, better direction, make your outline work for you.

Number six and that is: to set a firm reading schedule that includes a firm deadline. That hangs up too many beginning writers if they don’t have a publishers deadline. Set your own and notice if you we to fudge on our own deadlines. Make sure you don’t do that. Keep your deadline firm. The way you do that is to figure out roughly how many pages you’re going be writing for your book. 300, 400, 500 and divide that into the number of days you’re allotting yourself to write. This may change once you get started and realize how many or how few pages you can write per day. If you schedule yourself for 10 pages a day and you’re really not comfortable with more than four or five, change your schedule, change your deadline. Once you get it locked in, keep it firm. As a publisher I found that only about 1 in 100 writers literally meet their deadlines. If you just do that, you set yourself apart from ninety nine out of a hundred writers. Don’t make the mistake of thinking you’re going find the time to write. You need to schedule the time you need to get your writing finished. Schedule your days right on your calendar and keep those appointments.

Seven is to conduct your research. A lot of people miss the fact that research is just as important for fiction as well as nonfiction. If you miss a small detail of history or aircraft or weaponry, you can be sure readers are going to point this out specificity. Having the details correct lends credibility to fiction and fiction needs to be believable. Once you’ve done your research, you might be tempted to show that off to the reader. You want to resist that urge. Your research is not your main course, the story is the main course. Research is the seasoning that adds that specificity that gives you credibility and believability.

Number eight is to write a compelling reader first opener. Give it the time it deserves because if you can pull off an important compelling first line, it will set the tone for your entire book. You probably won’t write a more important line than that first one. Most first lines fall into one of these categories: surprising, dramatic statement, philosophical, or poetic. By making your reader first, every decision you make in your manuscript goes through that filter. Reader first not you first, not editor first, not agent first, not reviewer first, not critic first, reader first. You want that first sentence to be the best, most compelling, most moving, most emotional experience they’ve ever had. It will keep your reader reading more.

Number nine is to fill your story with conflict and tension, readers crave tension and yes, this applies to nonfiction as well. Almost every time a writer shows me their manuscript and says, “I don’t know where to go from here”, it’s because they got to a point where the people on the page are agreeing with each other too much. We like that in real life. It’s nice to have pleasant conversations, talk with your spouse or friends over a meal. There’s nothing more boring in fiction than that, so what you want to do is inject that. Have one of those characters say something totally off-the-wall, maybe once this isn’t it a beautiful day and the other one says “oh sure, you would say that”. All of a sudden the reader and that character are going, “what was that about? Where did that come from?” That’s conflict. What’s the problem in their relationship, what’s the underlying tension that caused that conflict? That will keep people turning the pages and you want to do that on every page even if it’s just a matter of someone setting up an appointment. They need to see the doctor tomorrow. There’s an implication there that something’s coming up otherwise why would the author put it in there? Now in nonfiction, how do you do that? You don’t want unpleasantness. It doesn’t have to be something negative. It doesn’t have to be a battle or a war or a fight. Conflict and tension come up in nonfiction simply by promising and then delivering, setting up and paying off. Some of the best nonfiction writers and ones who have spent the first several chapters promising you what you’re going to get when you finish reading this book and then they deliver.

Step number ten is to turn off your internal editor while you’re writing your first draft. Most writers I know are perfectionists. When you have that inner critic sitting on our shoulder telling you what’s wrong with every word you write, that inner critic just needs to be told to shut up. Now is not the time to be criticizing your own work. Always save your editing until the next day at least and the longer you can wait between when you write it and when you edited it the better for the end product. Turn off that internal editor, get your story down, and then tell yourself that the next day you can put your perfectionist cap back on and have at it.

Remember in point number five when I mentioned the marathon in the middle? I want to make that point eleven and hit that again because if there’s any place you’re gonna quit, it’s going to be during the marathon in the middle. This is the toughest spot for everyone. When you hit the marathon in the middle you begin to wonder why did I get into this business? The problem with the marathon of the middle is we’ve all got great ideas to start and we can’t wait to get to that big finish, but now we’ve got a couple hundred pages in the middle to fill. If you just start padding it in fiction with extra scenes or nonfiction with extra points your reader is going to drop off the page. This is where you don’t just survive, you thrive.

Number 12 is to write a resounding ending. You want your book to end the way a Broadway play ends when that curtain comes down with a satisfying thud. You make sure your ending doesn’t fizzle, you give it the time it deserves. Don’t settle for second best if it takes longer to write your ending than the rest of the book so what? Do whatever it takes to make it work. If you’ve got several ideas for how what might be best, go for the one that is the most emotional because readers remember what moves them.

Last and most important point step 13 is that you need to become a ferocious self. What does it mean to be ferocious? You know what it means, it means to be aggressive. Everything else is for naught if you don’t polish your manuscript to the point where you’re happy with every word. That doesn’t mean it’s going to be perfect or that you don’t need an editor or if you should place it with a publisher. You need to polish that thing until it sings. Why, because agents and editors can tell within two minutes whether your manuscript is going to be worth reading or rejecting. That doesn’t sound fair and maybe it isn’t fair, but they have so many things to read, the competition is so vast, they’ve learned to be able to tell within a page or two whether this has potential or not. That puts all the onus on you to self-edit. If you pay an editor, what is the publisher buying? Your work or someone else’s? Learn to edit yourself.

Steps for How to Write a Book

So you want to write a book I know the feeling. I’ve been writing books for many years now and I have a number of foundational steps that you can follow if you’re going to write a book. Speed is not the point, quality is the point.

To begin, establish your writing space. Establish what you need so if you need solitude make sure you find a place in your house where you can shut the door or you can turn off media and you can have privacy, silence, and whatever you need to write. The more you can afford, the better you’ll do as far as equipment and space.

The next important step is to assemble your writing tools. Learn how that works for you.Your back and your neck are important to your writing. You’re going to be spending a lot of hours in front of that computer so don’t scrimp on your computer and when you’re home don’t scrimp on your chair.

Make a list of all the things you’re going to need while you’re at home. If you need paper clips or a stapler or whatever make sure you have all those within arm’s length so you don’t get distracted by having to look for things.

Another important thing you want to do is to break the project into small pieces. The reason that writing a book seems so colossal is because it is writing a book. Break the task into as many small pieces as you can. You have to realize yes it’s a 4 or 500 page manuscript in the end. That’s made up of sentences, paragraphs, and chapters. Just doing a step one at a time that’s the way to get a handle on it.

The next step is to settle on your big idea. It needs to be a big idea if it’s book worthy. It’s going to be a big concept. If it’s a small idea use it for a blog or an article. It has to be big. I can’t overstate the importance of this. If you try to write a book before and you ran into a roadblock at the 20 or 30 day mark or maybe the 20 or 30 page mark it could be because your idea wasn’t big enough.

How do you know if your idea is big enough and if it has legs. If it stays with you, if you tell your spouse, or your friend what your book is about and every time you tell them it gets bigger that’s a book that’s going to last in the marketplace too.

Next construct your outline. If you are a pantser (one who writes by the seat of your pants) you can have some sort of idea where you’re going, even if it’s on one side of one sheet of paper. Give yourself some direction of where you’re going. Now some people especially if you’re a beginning writer, your editor or your agent may need to see an entire synopsis of your novel idea so you’ll have to do more of an outline than you might have to do later. Agents and editors demand outlines for nonfiction. There’s no writing a nonfiction book without an outline. The agent or editor want to know what you’re going to say, how you’re going to say it, where you’re getting your information, and what your points are going to be.

Every time you get to the halfway or 3/4 point (what is referred to as the marathon of the middle) remember the reader is right with you. If it seems boring to you, your reader is asleep too. If this happens you’ll take care of that with your outline.

In nonfiction, you’ll know that your middle has enough good stuff in it. For fiction, especially if you’re a panther, you better be sure you’re saving a lot of big setups and payoffs for that marathon in the middle. You can do the same in nonfiction. The same structure works for nonfiction. In fiction you don’t have the same number of elements as far as tension and conflict and dialogue and that type of thing but you still need to set up in the payoff. Make your non-fiction book say you’re writing a nonfiction book about how to __________. You need to set it up so that it looks impossible until your specific solution comes through. That’s your setup and payoff.

Remember don’t be intimidated by an outline. Your outline serves you not the other way around. If you have an outline and you find yourself drifting from it or you think the book is going in a different direction, better change the outline. Don’t change the book, make your outline and work from it.

The next step six is to set a firm reading schedule. That includes a firm deadline that you keep firm. This is a thing that hangs up too many beginning writers, they don’t have a publishers deadline so they have to set their own. Sometimes an author tends to fudge on our own deadlines. Make sure you don’t do that. Keep your deadline firm. The way you do that is you figure out roughly how many pages you’re going be writing for your book. If it’s 300, 400, or 500, divide that into the number of days you’re allotting yourself to write. This may change once you get started and realize how many or how few pages you can write per day. If you schedule yourself for 10 pages a day and you’re really not comfortable with more than four or five, change your schedule. Change your deadline. Once you get it locked in, keep it firm.

Statistics show that only about 1 in 100 writers literally meet their deadlines. If you just do that, you set yourself apart from ninety nine out of a hundred writers. Don’t make the mistake of thinking you’re going to find the time to write. When you have to write you have to have something taken out of your schedule. Is that an hour or two of sleep at night, is it a concert, is it a ballgame, is it a movie, is it a favorite TV show? How bad do you want this. Schedule your days right on your calendar or on your computer. Keep that deadline firm.

The next step is to conduct your research. Everybody knows that you need to do that automatically for nonfiction. You have to be an expert in what you’re writing about and not just drawing on your own experience. Show that you immersed yourself and all the writing in your field is accurate.

A lot of people miss the fact that research is just as important for fiction. It could be even more important if you miss a small detail of history or aircraft or weaponry. You can be sure readers are going to point this out specificity. It establishes credibility to fiction and fiction needs to be believable. Once you’ve done your research, you’re going to be tempted to show that off to the reader. You want to resist that urge. Your research is not your main course, the story is the main course. Research is the seasoning that adds that specificity. It is what gives you credibility and believability.
Make sure your research becomes seasoning and that it’s right, because readers notice.

The next step is to write a compelling opener. Give it the time it deserves, because if you can pull off an important compelling first line it will set the tone for your entire book. You probably won’t write a more important line than that first one. Most first lines fall into one of these categories: surprising, dramatic statement, philosophical, or poetic. A dramatic statement keeps the reader reading. The first decision you make in your manuscript should go through that filter of reader first. Not you first, not editor first, not agent first, not reviewer first, not critic first, reader first. Writa a sticky noteto yourself reminding you that you wanted to be the best, most compelling, most moving, most emotional experience your reader has ever had. Think reader first, not anybody else first, so think reader first, last, and always.
The next step is to fill your story with conflict and tension. Readers crave tension and yes, this applies to nonfiction as well. Almost every time a writer shows a their manuscript and says I don’t know where to go from here it’s because they got to a point where the people on the page are agreeing with each other too much. We like that in real life. It’s nice to have pleasant conversations or talking with your spouse over a meal. That you’re talking about how nice a day it is and what you’re going to do, there’s nothing more boring in fiction than that. What you want to do is have one of those characters say something totally off-the-wall. Maybe this isn’t a beautiful day and the writer writes in a conflict. What’s the problem in their relationship, what’s the underlying tension that caused that conflict. That will keep people turning the pages. You want to do that on every page, even if it’s just a matter of someone setting up an appointment. They need to see the doctor tomorrow, there’s an implication, something’s coming up otherwise. Why would the writer put it in there? In nonfiction, how do you do that, you don’t want unpleasantness, it doesn’t have to be something negative, it doesn’t have to be a battle or a war or a fight conflict. The tension comes up in nonfiction simply by promising and then delivering. Setting up and paying off are some of the best nonfiction writing and ones who have spent the first several chapters promising you what you’re going to get when you finish reading this book and then they deliver.

The next step is to turn off your internal editor while you’re writing your first draft. Most writers lean towards being perfectionist(s). That inner critic sitting on our shoulder telling you what’s wrong with every word you write. That inner critic is just you or me and that critic needs to be told to shut up. Now is not the time to be criticizing your own work. Always save your editing until the next day at least or longer. You can wait between when you write it and when you edit it the better for the end product. This is the opening pages of a work-in-progress.

Next if you wouldn’t show this first draft off to your worst enemy, don’t worry about cliches, redundancies, or lacks of logic. Get the story down and turn off that internal editor. Get your story down and then tell yourself that the next day you can put your perfectionist cap back on and have at it.

Remember the marathon in the middle? Look at that again because if there’s any place you’re going quit, it’s going to be during the marathon in the middle. This is the toughest spot for every writer. Yo will wonder and ask yourself, why did I get into this business? The problem with the marathon of the middle is we’ve all got great ideas to start and we can’t wait to get to that big finish but now we’ve got a couple hundred pages in the middle to fill. If you just start padding it in fiction with extra scenes or nonfiction with extra points, your reader is going to drop off the page. This is where you don’t just survive, you thrive. Set up your payoffs so well in the middle that you can hardly wait to get to the ending. The ending will work better because you didn’t just persevere through the marathon you arrived.

Next is to write a resounding ending. You want your book to end the way a Broadway play ends when that curtain comes down with a satisfying thud. Even nonfiction has to have that great ending. How do you make sure your ending doesn’t fizzle? You give it the time. If you rush it or just don’t know how to make it work keep at it, don’t settle for second best. If it takes longer to write your ending than the rest of the chapters do whatever it takes to make it work. If you’ve got several ideas for how what might be best, go for the one that is the most emotional. Readers remember what moves them.

The last and most important point is that you need to become your ferocious self. What does it mean to be ferocious? You know what it means it means to be aggressive. Everything else is for naught if you don’t polish your manuscript to the point where you’re happy with every word. That doesn’t mean it’s going to be perfect or that you don’t need an editor. If you should place it with a publisher, you need to polish that thing until it sings. Why because agents and editors can tell within two minutes whether your manuscript is going to be worth reading or rejecting. That doesn’t sound fair and maybe it isn’t fair, but they have so many things to read the competition is so vast, they’ve learned to be able to tell within a page or two whether your manuscript has potential or not. That puts all the pressure on you to self-edit. Learn to edit yourself, cut, or add power. go you

How to Write a Book: 12 Foundational Steps

So you want to write a book? Here are 12 good foundational steps that you can follow.
1) Establish your writing space. Decide what you need: solitude? Make sure you find a place where you can have privacy and silence. Set up your equipment and space so you can easily write.
2) Assemble your writing tools. Make a list of all the things you’re going to need: EX: paper clips or a stapler. Have those within arm’s length so you don’t get distracted by having to look for things if you need them.
3) Break the project into as many small pieces as you can. Realize it’s a 4 to 500 page manuscript in the end but that’s made up of sentences, paragraphs, and chapters. Do one step at a time.
4) Settle on your big idea or storyline.
5) Construct your outline to have some sort of idea where you are going. Outlining ideas are covered in another post for you. Give yourself some direction of where you’re going. Your outline serves you not the other way around. If you find yourself drifting from it, change the outline, don’t change the book.
6) Set a firm writing schedule that includes a definite finish time. The way you do that is figure out roughly how many pages you are going to write for your book, (300, 400, 500,etc) and divide that into the number of days you are giving yourself to write. This may change once you get started and realize how many or how few pages you can write per day. Schedule yourself for the number of pages you can comfortably write. Be determined so you will stay on schedule. It can be adjusted as needed. Only about 1 in 100 writers literally meet their deadlines. If you just meet your finish goal, you set yourself apart from ninety nine out of a hundred writers. Don’t make the mistake of thinking you’re going find the time to write because without a dedicated time schedule you will be distracted by a concert, a ballgame, a favorite TV show or other events in your life.
7) Draw from your own experience and research the details you are using in your content. If you can pull off a compelling first line, it will set the tone for your entire book. Every decision you make in your manuscript should go through the filter of your reader first, not you first, not editor first, not agent first, not reviewer first, or not critic first. Reader first.
8) Fill your story with conflict and tension when it is appropriate for your story line. Readers crave tension and yes this applies to fiction and nonfiction as well. What will keep people turning the pages.
9) Turn off your internal editor while you’re writing your first draft. Most writers I know are perfectionist s and have that inner critic sitting on our shoulder telling us what’s wrong with every word we write. That inner critic is just you or me and that critic needs to be told to shut up now. Always save your editing until the next day at least and the longer you can wait between when you write it and when you edit it the better for the end manuscript.
10) The marathon is in the middle. If there’s any place you want to quit it’s going to be during the middle of your book. We have great ideas to start and we can’t wait to get to that big finish but now we’ve got all those pages in the middle to fill. Keep yourself encouraged as you go through this section.
11) Write a resounding ending. To make sure your ending doesn’t fizzle, you give it the time it deserves. Do whatever it takes to make it work. Try several endings to see what will fit the best with the whole story.
12) Polish your manuscript to the point where you’re happy with every word. If you are going to a publisher they can tell within a few minutes whether your manuscript is going to be worth reading or rejecting.

How To Come Up With Story Ideas For Your Book

Some writers ideas randomly come to them and they write them down in a notebook and start creating subplots, weaving everything together to make a well connected story. For other writers coming up with story ideas can actually be really tough. Your story ideas need to be original. Avoid copying other writers and their plot lines.

It is worth brainstorming some new ideas you may be thinking. Determine what makes your story unique and different. It is the spin that you put on all of those little subplots that make the relationships and connections between your characters stand out are actually really important. Add your own twist to the story.

Here are 7 tips for coming up with story ideas for your book.
1) Determine what genre you want to write in.
2) Determine your audience: how old will your readers be EX: children, young adults, new adults, adults.

  • If your main characters are 12 years old and younger that you are technically writing a children’s book.
  • If your characters are ages 13 through 18 think high school age then you are writing a young adult book.
  • If your characters are 19 through 30 think more college age coming into being an adult, then you’re writing a new adult book.
  • If your characters are older than 30 then you are probably writing an adult book.

Remember that by determining your audience you are setting up the tone and the theme for the book you’re going to write.

3) Your book can have more than one theme, just like you can have more than one plot. You can have sub themes, just make sure you have one major theme and one major plot. Then you can add in subplots and sub-themes to keep your story from falling flat.
4) Brainstorm now that you have your genre, target audience, and theme. Most likely you have already had a few ideas that have been floating around in your head that you’ve jotted down in a notebook somewhere. If not that is okay, you can start from scratch. Grab a large piece of paper and write your main theme in the center with a large circle around it. Underneath the theme you can write in smaller letters what challenge your main character is going to have to face and overcome. If you don’t know what challenge yet that is okay. Sometimes it is actually easier to brainstorm how you want your book to end and then work backwards to craft your story. Draw branches out from that main circle like a tree and start writing down any ideas that come to mind for your story, good or bad. Write every idea down on this large sheet of paper even if they don’t make sense at the time you are brainstorming. You may be surprised how later some of those nonsense ideas can actually be added into your story or reworked a little bit to add more depth to your plot or a subplot and it actually ends up really helping you out. There is no such thing as a bad idea.
5) Use resources. The writers idea thesaurus by Fred white gives you endless ideas at your fingertips. It can be fun to open up the writers idea thesaurus to a random page and just read one of the random ideas that’s in that book. Don’t use exactly what’s written on the page but sometimes it can give you a spark of inspiration.
6) Use your ideas to make a rough outline. In another post there is a great way to outline your book ideas.
7) Just begin writing even if it’s terrible, even if your story doesn’t fully make sense to you just yet. The writing process is all about discovering your story. You as the writer take yourself on a journey to discover your story’s potential. You discover your story as you write. The first draft is for your eyes only anyway. Write, have fun and enjoy the process as your story unfolds.

How To Outline Your Books 5-Stage Process

Some writing advice to aspiring authors as well as how to manage your time. Here is an outlining and highlighting process that might help you with your writing. It is best to have some idea as to where your story is going to go. Most people can not just sit down and start writing. Outlines can help you when you write your first book or your first series. As you start to get more comfortable with your writing style and your flow, you can get into your own groove and rhythm. You start to learn what works best for you.

In the beginning, just a very basic outline so you have the beginning, middle and end is helpful. Then some scenes may be thrown in here and there to help you remember your ideas. By no means have every scene or act completely written out and figured out before you write. With a basic outline you can add in, create and just imagine. There is no right or wrong way to do this.

Five stage outlining process:
1) a major brain storm of all the story ideas that you have in a notebook, or on the notes function in your phone or on your computer.
With those ideas written down, it is fun to play the what-if game like a) what if this happens b) what if this were to happen. The ideas can be vague in the beginning. Make sure to write them down. Ideas can be for one book or for multiple books. Any character ideas, scene ideas, chapter ideas anything that comes to mind. Write all of it down because if you don’t write it down you may not remember.
2) Try the poster board method. Take a large piece of paper or poster board, divide that poster board up by drawing two lines, then label each section chapter 1 and chapter 2 to begin. If you know the ending before you know anything else, start with chapter 3. Write down how the book is going to end or how you imagined it. Add theme or feelings you want to draw out for the reader. Ideas or characters conflict or the resolution is normally what is happening in chapter 3. Some authors like to work backwards and write down any ideas that might lead up to that you have in chapter 3, plot twists that are happening in chapter 1 or 2 that will bring you to your chapter 3 content.
3) Use index cards to write everything that you wrote down on your poster board. Write down each scene or idea and organize them a little bit more. Add a little more detail if it comes to you or if you have a new idea, write it on a new index card. Place them on the floor or on a table, and start moving them around to where you think they would fit. It will give you an idea as to how the story is going to flow. Refer to the beginning, middle and end you have already written down. This will help you get into the nitty-gritty of your book and all of the things that you want to have happen in your story. Take a picture of it before you pick up the cards. You can pin the cards on the poster board so you can see everything. Add index cards with new ideas into the story. Go ahead and write the first chapter when the whole story is really fresh in your mind.
4) Start to write and see what comes up as you write. Once you have written the first chapter you can go to your outline. Update the outline with the chapters as you go. Update chapter 1. Write chapter 2 then update your outline with the chapter 2 information. Then do it for chapter 3 and so on.
5) Update your outline immediately after writing or as soon as you can.

Using Color
Use the color yellow to highlight where you last left off in your manuscript, also highlight the chapter on your outline so you can remember exactly where you were working on your document.
For things that need to be added in later you can highlight in green.
Highlight in orange when you want to check facts or for accuracy.
Highlight in pink for character or setting details that need to be fleshed out a little bit more. Pink can also be used for a new character or a new setting, region or place.
If you are having a scene or a chapter that you are having a hard time writing about or are not feeling motivated to write, highlight those areas in blue so it reminds you to circle back and either write that chapter, paragraph, or scene over.
Use the same highlighting tool in your outline so it is easier to reference when looking at the outline. You can easily go to your manuscript find the chapter and then find the highlighted area and know exactly where you left off and what you need to do next.