Now let’s talk about how.
Part 3 is the story of the heart of this entire operation: The Notebook.
“The Notebook” makes it sound portentous, like I spend hours searching for just the perfect vessel to hold my Great American Novel(TM) and I might die without it.
Not going to lie: I went through that phase, in my late teens. I still have the two Moleskines I filled back then. But it was only about eight months before I realized that putting The Notebook on that kind of shrine was actually making it harder for me to write.
These days, I use single-subject college-ruled notebooks I pick up during the back-to-school sale at my local big-box store for about $0.25 apiece. I buy at least a dozen every year, and I keep the unused ones within easy reach:
Back in the days before I published the vast majority of my work on the Internets, I filled a notebook a month. These days, it takes 1-3 months for the same amount of handwriting.
The used ones occupy several different shelves. This photo is the central repository but by no means the only one:
Once, in 2009, I went through all the notebooks I’d filled since 1998 and broke them down, discarded everything I thought wasn’t “useful,” and put the rest in a giant three-ring binder. I have regretted it ever since, which is why I will not be repeating the process anytime soon.
It took me quite a while to make the notebook work for me. I loved it from the start as a writing tool, but like a lot of folks with ADHD, I really didn’t grasp how to make it work as a planner and an extension of my memory. For years, I juggled The Notebook, notebooks for work, notebooks for school, a day planner, a to-do list, you name it.
I tried a Franklin planner. I tried OneNote. I tried bullet journaling. And it all made me even more confused.
Then, while browsing the Intertubes one day late in 2015, I stumbled across a system that was far simpler than keeping a bullet journal. The blogger I read this from claims to have learned it from a Japanese businessman he was sitting beside on a flight once.
I just know it works for me. Here’s how:
The very first thing I do with any new notebook is flip to the back side of the final page.
Here, I write the major categories of stuff in the notebook, and make a little “tab” by blacking in the edge. I like to space my categories widely because it makes the tabs easier for me to find.
Often, I’ll start with the first thing going in that particular notebook. This one, for instance, has outlines for Nahara and The Ambassador on the first few pages, so the top tab is “novel.” The first not-novel page I used had a to-do list on it, so that went under “personal and journal.”
You can tab as many things as you like, or as many as you have lines for. In theory, you could also flip to the second to last page and tab again in different colors, too. I rarely have more than five tabs in any notebook, and these four are always on the list.
Each page then gets a corresponding tab. Here are the first three pages in this notebook, all of which are outlines.
(I am sorry to report that the rumors are true: Nahara does not feature fully automated luxury gay space communism.)
Every time I start a new page, it gets a new tab. This is the page I started for the outline for this blog post series.
I love this system for two ADHD-y reasons:
- It cut me down to one notebook. Much harder to lose, especially since it lives with my wallet and keys on my desk. (Not impossible to lose, though, which is why my name and email address are always on the inside of the front cover.)
- I don’t have to care what order the pages are in anymore. I used to juggle two notebooks because I cared about page order. A lot. I hated having a to-do list pop up halfway through a chapter I was drafting, for instance. I found it super distracting.
Now I don’t have to care, because every page has its tab:
I also appreciate how the tabs help me see where my time went over the past month or two. This notebook, for instance, makes it obvious that I spent a huge chunk of time on marketing and “outside” writing smack in the middle of it, taking a pretty obvious hiatus from the novel to do so.
Those chunks, btw, include both the pieces I submitted to Spoon Knife 3: Incursions, which you’ll all get to see in a few months.
Here are two pages from the draft of Nantais:
When I sit down to write, I date the margin, just because I like to see my own progress. I tab each page as I start it. Notes about things I need to go back and fix, scenes that are relevant to this scene, or character background I don’t want to dig into here but that I’ll need for consistency later on all goes in the margin as well.
My goal, in my nightly two hour writing slot, is 350 words. That’s it.
They don’t even have to be story. If I’m particularly stuck on the story, I’ll spend time sketching what could happen next, or working out character motivation, or detailing someone’s history or mythology. As long as it’s related to the novel and written with the intent of helping me get unstuck, it counts.
After the Notebook But Before Editing: The Typing Stage
Approximately every ten pages, every chapter, or just when I’m starting to get a little lost as to what the heck happened to get me to this point, I’ll take the handwritten draft and type it up. But the first draft of all my fiction is always written longhand.
The reasons are a mix of practical points and straight-up “I like doing it this way so there”:
- I find the Intertubes distracting as heck. “I went to look up one thing and eight hours later I realized I had 422 Wikipedia tabs open and also it was Tuesday” isn’t a meme; it’s literally my life. If I drafted on the screen, nothing would ever get done.
- I revise as I type. The first typed draft is always my second draft. Rewriting the entire draft this way allows me to address a lot of mistakes and clunky text. It also lets me do things like write “[nearby star with habitable zone]” in the draft, then Google that when I get to the typing phase, saving me from the Wikipedia hole.
- I feel free to screw up. Since I know no one will ever see the handwritten draft, I can cross things out, rewrite entire sentences mid-draft, draw giant arrows to move pieces from one place to another, and write things like “FIGHT PIRATES, DO A SCIENCE” or “THIS BOOK DOESN’T EXIST WTF IS HE READING” in the margins (two comments that actually exist in the margins of the handwritten draft of Nantais).
…And, perhaps most selfishly but also most importantly, I just like the way it feels. I like the feel of writing and the look of my own handwriting covering pages and pages of notebooks.
Writing longhand greatly increases my joy in the process. It feels like making something. And that’s really the only reason I need to do it – and the reason I never insist other people do it the way I do.
The whole point of the entire system is to move the crap out of the way in order to find the joy in the work.
Ironic twist: While starting Ritalin has changed my life with regards to my work, my relationships, my ability to eat and sleep, and the general orderliness of my house, it has actually made fiction writing harder. I don’t write on Ritalin. I wait till it wears off first.
Why? I’m still trying to pinpoint the reasons, but the biggest one appears to be that having everything on the whiteboard of my brain at once, while a major challenge in ordinary life, is actually exactly what I need in order to keep track of all the moving parts of a story as it unfolds.
I wrote Nantais before I ever started Ritalin, and now that I have, I only write fiction after it wears off. Go brain!