What does your conceptualisation process look like?
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Even if I don't have anything good at the end of those 10 minutes, I definitely will once I have filled up the notebook.
Once I have an idea, spend a bunch of time trying to think up thematic principles for it and check it out from that lense.
Then apply plot structure of choice.
I don't know where the ideas come from. The little gremlin in my brain mines them, throws them into my thoughts, and then leaves me the arduous task of actually assembling them into a coherent narrative.
RenamedUser8903457 Wrote: In other words, where do your ideas for writing come from
Quote:how do you flesh them out?
Sometimes drugs (they're legal here after all);
sometimes getting out into nature and hiking around will do it, working in my garden or whatever.
Sometimes I'll think about story ideas and flesh them out while I'm in the shower.
There's no clear-cut answer.
How I flesh them out is two weeks of running the idea in my head. I don't write anything down. I don't commit to it yet. If my idea can get past the two-week stew, then I'll work on it and start the story prep. This keeps me from starting half-baked stories that go nowhere.
I generally don't visit old story ideas. If I like something that much, I tend not to forget it.
I really like to do my concepting as a social activity rather than something I do in isolation, but it seems rare for writers to be interested in that. Maybe because a lot of people concept faster than I do because they are more eager to start writing or they are more decisive.
What would you bring to a fantasy world and what would you bring back?
I answered this question for myself and then asked a bunch of friends the same question.
I started figuring out my characters while listening to music. Different songs spoke to me about different characters; what their personality was like or what their journey was going to be like. I fleshed out little profiles for them and then began writing out vignettes for each character to explore how they react to different situations. That helped me flesh them out and give them unique voices.
Then I move onto the first draft. Start with a hook. Jump into the most interesting part of the setup for the book. In this instance my four main boys driving through a portal to another world and fighting monster wolves alongside a dwarf.
Once I have the hook I will write my first draft as a stream of consciousness. Then create a reverse outline trying to figure out what scenes I wrote and what I attempted to do in each scene. With a clear layout of the first draft, I begin the second draft and try my hardest to hammer home the characters and the dialogue because thats what matters to me this time around. For someone on the outside reading it, the story might look like a script because it is so focused on moving from scene to scene to flesh out dialogue.
Third draft is interweaving the outline and the second draft with a detailed environment and much more description. Especially fight scenes. I love to come back to any conflict and really flesh it out. Because fights are my bread and butter.
Then I edit and revise until I'm dead inside.