Development of a Novel - Sabriya of Shanghai - Journal Entry 1

Not sure if I'll be able to keep up this journal, but I'll try.  Writing a novel is a long affair and there are many interruptions, blogging being one of them and staring at a blank page another. There's a solution to both. Starting today I try to share how you can eliminate the latter, and strengthen your linear storytelling mind. The foundation of this is my book The Moral Premise and the extensive resources of this blog, my on-line Storycraft Training series, and years of  experience working as a story and screenplay consultant.

The novel I've started and which this journal will follow is Sabriya. It's the story of an elegant Chinese woman, a skilled practitioner of the hidden martial art Wing Chun, who marries a young British diplomat to Shanghai, then risks her marriage and scandalizing Her Majesty's Diplomatic Service when she creates not a little mayhem around Shanghai trying to rescue her secret son from his ruthless father who has become the chief of a human trafficking syndicate dealing in youth for labor, sex, and  harvested organs.

Step 1 - Pick a Successful Antecedent

Sabriya of Shanghai (SOS) was originally a treatment for a martial arts thriller movie set in S.E. Asia. I wrote it on spec for a potential client, but when he went in another direction I retained ownership. The antecedent for the treatment is Taken, the 2008 thriller written by Luc Besson and Robert Mark Kamen, directed by Pierre Morel, and starring Liam Neeson. Taken was so successful there were two equally successful sequels. So, I designed the beats of the new story on Taken but I made it different—I changed the location from France to China; I changed the male lead to female; I changed the kidnapped victim from a daughter to a son, and I changed the lead's expertise from a being secret spy to a secret form of martial arts.  

Step 2 - Select a Practical Medium

Having no money to make a film, and having written several novels, and non-fiction projects, it was time to transform SOS from a film treatment into a motion picture thriller.  The first question was, how long of a novel?   My three previous fictional efforts were 30,000, 57,000, and 372,00 words. I could not get traditional agents or publishers to consider the 372.000 project, and no one was interested in a novella. Agents told me 70K–90K was an ideal length. So, I settled (arbitrarily) on 72,000 words, knowing I'd go long. 

Step 3 - Structure - Use a Successful Structure

I will use a high-level, generic structure used successfully in long-form stories of all genres, and which has proved accurate in hundreds of box office hits and best selling novels. The structural sequence uses 21 beats for the through-line. I describe these beats in various places and detail elsewhere on this blog and fundamentally in The Moral Premise. The percentages and word lengths (based on 72,000) were calculated with the Excel spread imaged below. Thus, this level of detail decision making was not made arbitrarily. I will write the first draft in Scrivener who allows me to set word limits for each document—in this case each of the 21 major beats that vary in length from 1,00 to 5,000 words. 

Step 4 - Create Template for Carding (or Breaking) the Story Beats

Over the  years, I have set up structural templates on door walls with 3"x5" cards and masking tape, on large wooden folding closet doors,  painted walls with the pictures removed, on black landscaped 4 'x 8' Gatorfoam Board with Post-It Notes, on portrait 4' x 8' Masonite on wheels with Post-It Notes, and in Apple's Keynote,  which I am using on SOS. (image below)

I have come to prefer Apple's Keynote (Appel's answer to PowerPoint for Mac users like me), with a single slide dimensions set to 6000 x 2500 pixels.  I can type, transform, and copy Keynote cards faster than writing with a marker on physical Post-Its. When other people are in the room for a story meeting, however, one of the 4' x 8' boards works best with physical Post-Its—we can all see the beats at once, and anyone can jump up and make a change on the large board (or wall).

Below is the beginning of the story breakdown. Each "card" represents a scene, each column is one of the 21 macro story beats. 

For SOS I've chosen to break the story into columns from left (beginning of story) to right (end of story). The column widths (defined by white lines) are the relative duration of the beat. The image above shows the first 10 beats, with "cards" filled in for the first 4 beats (Prologue through Reject the Journey).  The numbers 4.5, 9, 15, etc are the running total of words (in 000s) to the end of the beat where they're placed. These numbers will differ from the Excel chart as I've changed my mind about some lengths.

Step 5 - Card the Story

The first (or left) column is the Prologue. I have created cards for each micro beat (or scene) of the treatment, and placed them in chronological order from top to bottom, whereupon the story continues in the next column (Life Before).  The row of short color cards at the top is my color key for different characters. If I want to place a card for a character that is not already on the board, I can option-drag one of the color key cards to copy the card, stretch it as wide as the column and start typing. You'll notice most of the cards have gradated colors—the first time I've used them. The top and bottom colors indicate the two principle characters that appear in that beat. I will continue to fill in this story board based on each beat present in the treatment.  

Each card above begins with a number, which is the line number of the earlier written treatment. See image with "greek" words.

Step 6 - Analyze the Structure

Why do all this carding of each scene on a board with the macro beats? First, the board will act as a living outline that will be open while I write the manuscript. Second, it's important that I study the outline before I begin to write and look for plot holes that need to be filled. I might ask, "Does the antagonist appear ubiquitously and frightfully?  The display and spread of colors will indicate the presence or absence of a character in each beat. In the illustration above Sabriya is light yellow and the the antagonist is red. If there is part of the story where no red grading appears nor light-yellow appears, I know immediately where and what I need to fix. For example, Sabriya should be present in 75% of the cards. Does she? If not, I need to broaden her appearance before I start to write. 

Step 7 - Fix the Structure Before Writing

Based on the previous step, I will make changes to the story board before writing. Knowing what's going to happen and when, allows me to expertly place foreshadowing and resolution information and scenes that deepens the intrigue and reader's enjoyment. 

That's where I am. Please post your questions and follow my journey.