GLYNNA KAYE: How I Write!

Good morning, Seekerville! I’ve been a long-time collector of story ideas. Have folders and binders stuffed with clippings, articles and notes. So I’m set for life, right?
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How I wish!
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In my beginning writing days, I’d excitedly pounce on a fabulous “idea.” Unfortunately, those were the too-many-to-count times I’d write two or three sparkling chapters only to discover the story wasn’t progressing. Then disappointed, frustrated and clueless about how to fix it, I’d set it aside and wander off until I found the next “great idea” and pounce again.
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Due to a day job, there’s limited and often unpredictable time available to write, so it was necessary--through trial and error--to learn what I need to do to lay a foundation that will carry the story beyond a few opening chapters. I’m still learning, but here’s what is currently working for me.
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I’m one of those writers to whom a full-blown story concept does NOT come overnight. Ideas, yes. A fully developed foundation you can construct the story house on, no.
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I start far away from my computer, pen in hand and an unlined 9” x 12” newsprint pad on my lap (the kind of scribble pads you buy for your kids at the grocery or discount stores). There’s something about those blank, unlined pages and the way the ink flows smoothly onto them that frees my imagination from the Inner Critic’s mental handcuffs.
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While I can’t tell you exactly which comes first (the chicken or the egg thing), I jot down potential situations, characters, log-lines, premises, GMC, verses, scenes and dialogue that have been bouncing around in my head. Page after page. Circling ideas. Drawing arrows. Posing questions. Cramming stuff into the margins. Gradually, prayerfully, I gravitate to ideas which generate related ideas and begin solidifying and connecting with each other.
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When the core “seed” idea evolves to where it captures my interest--and hopefully the interest of my READERS--then I home in on each facet I’ve uncovered and brainstorm those to a greater extent. I pinpoint (in just a few lines each) the basic story concept, premise, opening line, and GMC--what my characters want most, why they want it, and why can’t they have it! I document it in my Netbook or AlphaSmart (still as far away from my desk as I can get), then print it out for a 1- to-2-inch wide, slant-D binder so I can access it for quick reference even when I’m not near a computer.
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In snatches of time I’m also:
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- Collecting “art fact sheet” images that my editor will need for cover ideas.
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- Doing in-person or on-line research to flesh out an idea.
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- Brainstorming character backgrounds and scenes that will reflect the premise I’ve tentatively established. This helps me avoid “episodic writing”–-where you go from chapter to chapter with fabulously clever, action-packed, or romantic scenes that, unfortunately, don’t move the story forward, strengthen the conflict or reflect what the story is essentially about.
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Scene storming also helps me judge if I have enough ideas related to the premise to sustain an entire book and ensures I’ve thought through the major turning points. (My books usually have about 3 scenes per chapter--approximately 60 scenes per book--but I don’t brainstorm ALL 60 before I start writing.) Some writers are gifted at creating and retaining prep work in their heads, but if I don’t write stuff down, well, the ideas evaporate with almost embarrassing swiftness.
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It’s at round 4-6 weeks into this process (while also doing revisions, edits and such on the next releasing book)--that I’m chomping at the bit to launch into that first chapter. Because of my day job, I do my writing early in the morning, 90-120 minutes. While it doesn’t always work out, my goal is to write 1,000 words a day, six days a week--usually taking Sunday’s off (not because I’m legalistic but because I’m TIRED--Monday morning rolls around all too quickly). Sometimes that means 500 words in the a.m. and 500 in the p.m. if other things outside my control have crowded into my morning writing time.
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One thing I’ve found invaluable is an Excel spreadsheet to record my daily word count--and pinpoint a reason if I didn’t reach my goal. It’s a great way to evaluate at the end of a book how I used my time, to determine where I “lost ground” to unanticipated day job demands, edits, galleys, art fact sheets, proposal writing, blogs, non-writing-related commitments--and computer meltdowns. I can also see where I could have better applied myself and can improve next time.
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When I’ve completed 3-4 chapters, I ask a Seeker pal or two to read them. A proposal usually consists of 3 chapters (or around 50 pages) and a synopsis, so opening chapters are critical. Is the story situation compelling and the conflict strong enough to sustain a whole book? Are the characters likable? Did the reader want to keep turning the pages?
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One thing I’ve learned is how important a synopsis is. An editor or agent might love your opening chapters, but if the synopsis--the core of your story structure--appears weak, that’s not good news. I’ve struggled to write a lucid, untangled synopsis FOREVER. Finally finding a method that works for me has taken away the dread of writing one. I even find myself often referring to it to keep me on track.
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My synopsis method in a nutshell: At the top of the page I place (in bullet points of a line or two each) the concept, the premise, verse, and themes. This serves as a reminder of what the story is ABOUT as I write the synopsis. Then I introduce the heroine’s background, GMC, and the situation she’s in at the opening of the story. A paragraph or three. Same thing for the hero. Then I launch into the this-happens-and-then-that-happens business. Separating “back story” from the body of the current story adds clarity for my agent and editor, as well as ease of writing it for me.
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As I’m constructing the story in my mind and in the synopsis, I’m also documenting:
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- A timeline chart for each character. This is where I comparatively keep track of the hero/heroine’s background events. (When were they born? When did he enter the military and what was she doing at that same time? When did her folks divorce?)
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- A calendar that encompasses the time period of the story. On it I designate which scenes happen on which days. Did they argue in the park a week ago? Or two weeks ago? (The timeline and calendar docs are subject to change as the story evolves.)
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Here are a few more insights into how I write.
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- I keep an MS Word document “clips holder” for each story. That’s where I save a scene or dialogue that I’ve decided, for whatever reason, to remove from my manuscript. I may insert it elsewhere later--or in another book altogether.
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- I set my trusty timer for each writing session so I don’t keep interrupting myself checking the clock. (Can’t miss the day job or those appointments!)
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- I keep a small notebook by my computer where I jot down reminders of things to confirm or research, or things that must be woven into or deleted/modified from earlier scenes.
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- I sometimes sketch maps of a town or setting so I can keep in mind the relationship between places from scene to scene (or book to book if writing a series).
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- I print out the manuscript several times to red-line while reading it aloud. This not only helps with proofreading, but also to check on story flow/pacing, sentence rhythm, and dialogue.
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- My writing sessions go better if I find time the previous evening to pull out my newsprint pad, let my mind wander for a few minutes, and briefly sketch out the next scene so I don’t waste time the following morning.
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- By the time I draft the first third of the book, I’m panicking--certain I can’t possibly have enough ideas to sustain the rest of the story. By the time I get the second third drafted I’m panicking again--this time because how on earth can I get EVERYTHING in there that needs to be in there and still stay under the maximum required word count? There’s nothing quite like Writer Paranoia, is there?
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- When I complete the first draft (about 4 months), that’s when the FUN begins. Seriously! This is my favorite part! I review my reminder notes and synopsis, then read through the whole manuscript and red-line again before launching into the joy of cutting “deadwood,” fleshing out, layering, enriching and polishing. I also use a checklist to weed out that pesky passive phrasing and repetitive words.
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So that’s how I write, more or less! I’m not as super-detailed as some of the genuine plotsters or as freewheeling as the pansters. I’m probably something in between–-a planster--which provides enough structure to keep me on target, but allows me the creative freedom I crave as well.
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If you have any questions or thoughts about what I’ve shared, please leave a comment! And if you’re interested in being entered in a drawing for a copy of my upcoming release, “Second Chance Courtship,” please note that, too!
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Glynna
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ROLL OF DRUMS AND TRUMPET FANFARE! If you have a COMPLETED manuscript and would like to be entered in a drawing to receive a critique of your book proposal by a top industry professional, this may be your lucky day!

NATASHA KERN, literary agent extraordinaire (and agent of Seekers Julie, Mary, Myra, Missy & Glynna) has generously offered to critique the winner’s proposal for a book-length contemporary or historical romance, women's fiction or suspense.
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Natasha’s critique will include comments on plot, character, pacing, hooks, voice and other elements of a novel. The proposal should consist of:
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- first 3 chapters (up to 50 double-spaced pages)
- synopsis (4-5 single-spaced pages)
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If you want to be entered in the drawing, please e-mail the Seekerville e-address with “Natasha Critique” in the subject line and, in the body of the e-mail, include:
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- your name
- e-mail addy
- title of the manuscript
- genre (contemporary romance, historical romance, women’s fiction, or suspense)
- first paragraph
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Deadline is Thursday, October 28 at midnight PDT. The winner will be contacted as to where and how the proposal should be submitted. Please check The Natasha Kern Literary Agency website if you want to know more about Natasha! http://www.natashakern.com/

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Glynna Kaye’s Steeple Hill Love Inspired “Dreaming of Home” is a 2010 “Carol Award” and “Maggie Award” finalist, as well as a first place winner of the “Booksellers Best” and “Beacon” awards. Her next books (also set in Canyon Springs, Arizona) are “Second Chance Courtship” releasing February 2011, and “At Home In His Heart” debuting August 2011!