Normally I start with a plot, and write a synopsis, and the ideas come from the construction.
I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
I don't begin a novel until I have written, not just the last sentence, but usually, as a result thereof, many of the surrounding final paragraphs, so that in addition to knowing what happens, I know what the voice is.
At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
I guess that if I was a normal cartoonist who did things properly, I'd think up the background information first and then come up with the story. Saying that, you'd think that I don't really think through anything.
I look at the plotline and let my co-author basically write the book; first draft. Then they give it to me, and I totally destroy it and write all my stuff over it.
When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.
I tried writing out a plot with the second or third novel I wrote, and it was so boring, so desperately boring.
Typically, I have a fairly good grip on the plot of a suspense novel before I set about writing it. I must know beforehand how the mystery ultimately will be solved.
I just focus on getting the first scene right, with a few lines about the overall plot, and then the book grows organically.
I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint.
I know the relationships, and I already know my characters and how I'm going to reveal my characters to my readers - how I'm going to feed them information about that character. That stuff doesn't have to be in my outline.
I have a very basic notion of the structure the book might have - that's mostly it. The rest is luck and happenstance.
Writing a log line helps you define - for yourself - the essential elements of the plot. It will also let you know immediately if major components of the plot are missing.
Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.
I jump around in the plotting stage, where I basically just make a bulleted list of every damn thing that happens in the entire book.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
I know what I want to achieve in each book and the major points, but I don't plan right down to the chapters. I think that the characters write themselves in some degree.
I always have a basic plot outline, but I like to leave some things to be decided while I write.
So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.
I don't plot with huge detail, just big moments and important elements, and then I have a structure but can fly by the seat of my pants when I write.
After preliminary research, I zero in on an idea, and then I spend at least four months exploring the topic and in plot-building. I jot down every single detail of the plot as bullet points per chapter, and only when the skeleton is complete do I start writing.
I don't think they knew exactly where they were going with the character, but they lay those stories out ahead of time, so they had some idea where they wanted it to go.
