How to Write a Novel

1. You can write a novel, but it's hard work.

This is because writing, when done correctly, is not always fun.

Believe in yourself. Lesser people have written novels; you can too. Don't aim for the worst or best, just write the novel you want to write. Strive for quality and love your work.

Embrace the difficulty. Writing a novel is challenging and arduous. There will be days you'd rather do anything else, but this is normal. It requires wanting it badly enough to push through the lack of fun.

Persistence pays off. The journey is difficult, but ultimately leads to a deeper, richer life. If the author, who struggled even after writing a guide, could finish, you can too.

2. Choose an idea you love, not a trend.

The only reason for choosing something to write about is because you love the crap out of the idea.

Avoid chasing trends. Writing based on what's currently popular is a mistake; by the time you finish, the trend will likely be over. Avarice makes the difficult process impossible. You likely won't make mountains of money anyway.

Love is essential. You'll spend years with this idea. Liking isn't enough; it will only get you to page fifty. You need an idea you love enough to sustain you through self-doubt and distraction.

Listen to yourself. Don't listen to others' suggestions or write what you think you should. Don't paralyze yourself trying for unprecedented originality; familiar archetypes with a unique spin are fine. Prime your brain and wait for the right idea you truly love.

3. Find your unique writing process.

The only thing they have in common is that they somehow, at the end of the day, find a way to get the words onto the page.

No single formula. There isn't one right way to write a novel. Great writers have vastly different habits and styles. Don't feel constrained by others' methods.

Discover your style. Are you a planner who outlines or an improviser who discovers the story as you go? Both are valid. Find what works for you and develop a diligent, productive rhythm.

Embrace freedom. You don't have to write every day or love every moment. Don't let stereotypes define you. Just be yourself and get words on the page consistently.

4. Flesh out your idea by asking questions.

Ask questions until your idea starts to make sense and you know what you have.

Start with an embryo. A novel idea often begins as a tiny shard. You need to coax it into an entire forest by asking questions. This helps flesh out the world, tone, and style.

Develop characters' desires. Think about what your characters care about, both external goals and internal needs. Give them competing desires for added depth.

Introduce obstacles. Don't make the journey easy. Put significant obstacles in the characters' way. This creates conflict and shapes the basic arc of the story.

5. Understand genre and word count expectations.

It’s thus very important to know where your novel will sit on the shelf (or virtual shelf), and it’s helpful to figure this out relatively early in the process.

Readers have expectations. Genre isn't just for publishers; readers browse by category. Knowing your genre helps you meet reader expectations for length and subject matter.

Word count matters. Different genres have different target word counts. Staying within these ranges is helpful, especially for debuts. Examples:

• Middle Grade: 30,000–60,000
• Young Adult: 60,000–80,000
• Fantasy: 80,000–120,000
• Literary Fiction: 40,000–120,000

Know conventions to break them. Even if you blur genres, have a base genre. Understanding conventions allows you to break them effectively, like George R.R. Martin did with fantasy.

6. Master perspective and stick to it consistently.

For something that is so inherently weird and devoid of real life analogues, a good perspective in a novel is totally magical.

Consistency is key. Choose a tense (past/present) and perspective (first, second, third limited, third omniscient) and stick to it. Inconsistent perspective is disorienting for the reader.

Understand constraints. Each perspective has limitations. First/third limited are constrained by the character's view. Third omniscient can make deep connection tricky. Choose based on how many characters you want to get close to.

Avoid head jumping. Don't jump between characters' thoughts within a scene in limited perspectives. If shifting POV, use section or chapter breaks. A strong, unifying voice is crucial for omniscient.

7. Develop dynamic characters with clear motivations.

Wanting something is what makes protagonists interesting.

Motivation drives plot. Every good book has a protagonist who wants something. This desire makes them interesting and keeps readers invested. Motivation should be clear early on.

Competing desires add depth. Characters wanting more than one thing, especially if they conflict, creates internal and external battles. This shapes crucial choices and reveals character.

Every character needs motivation. From protagonist to minor characters, everyone should have goals and motivations. This creates conflict when desires clash. Always ask what they want and put obstacles in their way.

8. Conflict is the novel's oxygen.

But make no mistake: conflict is essential.

Conflict gives life. A book without conflict is DOA. It doesn't need to be constant, but stretches without it will bore the reader. Conflict forces characters to make decisions and reveals who they are.

Surface vs. subsurface. Conflict can be overt action or implied tension between a character and their world/internal state. Both are highly desirable.

Pacing is tied to conflict. The frequency and intensity of conflict determine pacing. Introduce obstacles to create conflict and keep the reader engaged. Tie events back to main plot arcs if things wander.

9. Structure your novel with purposeful chapters and tentpoles.

A well-constructed chapter is almost a mini-novel.

Chapters are building blocks. Each chapter should have a beginning, middle, and end, building to a climax. Start by establishing the protagonist's mindset, mood, goals, and the setting.

Build toward a climax. The most important event should be near the end of the chapter. Obstacles should thwart the character's goals, creating conflict. Chapter breaks can punctuate climaxes or create cliffhangers.

Use tentpoles. Identify major turning points (tentpoles) that prop up the narrative arc. These are points of no return where stakes are highest. Plan these early to build towards them effectively. Spreadsheets can help track plotlines and character arcs.

10. Craft dialogue that reveals character, not exposition.

Good dialogue evokes the way people talk in real life without actually being like the way people talk in real life.

Avoid infodumps. Dialogue should not be characters unnaturally explaining things they already know to the reader. Exposition in dialogue only works when one character genuinely doesn't know the information.

Dialogue has purpose. Good conversation is an escalation, building towards something. Characters in novels never just talk aimlessly; there's always something more at stake.

Show, don't tell character. Dialogue reveals personality through attempts at articulation, not direct statements of feeling. Characters who talk around their emotions are more interesting. Use dialogue tags and gestures sparingly but effectively.

11. Plan and build towards a powerful climax.

If there is one piece of advice in this entire guide that you remember and act upon, it should be this: start planning your climax as soon as possible.

Climax resolves conflicts. The climax is where major plotlines and character arcs come to a head. It's where we find out if characters get what they want. All preceding events build stakes for this moment.

Test the protagonist. The climax presents the protagonist's most difficult external and internal obstacles. Their choices reveal their core values and who they truly are.

Maximize intensity. The climax should be the most dramatic and surprising part of the novel. Events should be intense, showing off your best writing and ideas. Don't rush it; savor the pinnacle.

12. Self-edit rigorously and seek outside feedback.

Novels are made and broken by the editing process.

Edit as you go. Don't just power through the first draft. Self-editing along the way prevents problems from snowballing. Listen to the quiet, nagging voice that spots issues.

Read critically. After finishing the first draft, take a break, then reread your novel slowly and critically. Imagine reading it through someone else's eyes to spot flaws you've become blind to.

Be systematic. Tackle major plot changes first, then smaller ones. Know your writing tics and eliminate them. When you've gone as far as you can alone, seek outside feedback from critique partners or freelance editors.

Last updated: May 19, 2025