How to Turn an Idea Into a Fully Fledged Novel

As I've already mentioned, there's no one way to write a novel; no right or wrong method. So, these are just a few tips and techniques that have worked well for me.

In my role as a ghostwriter, I'll often have clients come to me with an idea for a novel and not much else.

This has its advantages, in that it gives me some creative freedom, but it can also be intimidating, because I can never be absolutely sure that the way I expand upon the idea will create the result the client envisaged.

The method I'll explain below is helpful for both ghostwriting work and when penning my own novels, because it's about slowly building; adding layers and complexities.

For a ghostwriting gig, this gives a client the opportunity to see the gradual building process - and, hopefully, they'll point out anything they're unhappy with early on. When writing my own fiction, this steady approach helps to iron out any problems and ensure I've got the plot and characters 'down' before I even begin writing.

This preparation can be time consuming, but it makes the actual writing of the novel much quicker.

Your idea may well start like this, but, if it doesn't, try to simplify it, so that you can sum the main premise of the novel up in just one sentence.

This is a mini synopsis, a 'hook' or, as its known in the movie business, a logline.

For example:

• An independent and strong-willed, young Regency woman finds herself wooed by a wealthy, arrogant man she cannot stand. Pride and Prejudice
• After the suspicious death of his father, a grief-stricken Danish Prince vows vegence on his usurping uncle. Hamlet
• An orphaned boy is spirited away to a school for magicians, where he learns about the Dark Lord who killed his parents and threatens the world. Harry Potter and The Philosopher's Stone

Keep it as simple as possible.

So, if you're going for a Stephen King Under The Dome-style cast of thousands, stick with just one or two characters, and, usually, you won't even name them at this stage.

Make sure that this one-sentence summary tells you, in a succinct way, what the story is about. And, most importantly, ensure that it's interesting. Ask yourself, does it sound like the kind of novel I'd want to read?

Make a list of the main characters, or as many of them as are making themselves known at this point.

For example, you'll already have a protagonist and an antagonist. You might also have a foil and a few other characters floating around your imagination. 

Jot them down and give them a rough character sketch  At this point, it really can be very rough - they can be horribly 2D, mere caricatures. At this stage, it doesn't matter. What you do need to ascertain is a feel for who they are and what purpose they'll serve within the novel.

A rough character sketch could be something like this:

• 20-year-old woman: Kate? Laura?
• Is protagonist's best friend
• Slim and pretty
• Not very intelligent
• Nail technician

That might be all you have on her for now, and that would be absolutely fine, because we're going to build on her later - not 'build on her' in the Mafia sense, you understand.

The best way to add layers to your summary is to take each sentence of the paragraph and turn that sentence into a brand new paragraph of its own.

So, for instance, you had one sentence that explained the set-up: make that set-up a whole paragraph, filling in small details  which have, in all likelihood, been coming to you, while you've been focusing on the smaller summaries and creating a feel for your main characters. 

This may seem like we're flitting back and forth between plot and characters, and that's because we are.

On one level, this is helpful, as it will enable fresh ideas to come to you when you're not expecting them - your brain will be making links, so while you're filling out the summary, be sure to make notes for any character developments that strikes you and vice versa.

Now, as we move back to the main characters, what you should be aiming to do is create a one page description of each in turn. 

Some authors find it useful to create a sort of survey; containing information such as shoe size, eye color, childhood pet, etc., etc. This can then be filled in for each character - of course, some of this information will never find its way into the novel and that's fine.

What you're doing is creating a full picture of each character in your head. That way, when you come to write them, they seem more like 'real' people.

This time, you're aiming to turn each paragraph of your summary, which will now be approximately five paragraphs in length, into a page.

Your paragraph-long set-up should be lengthened to one page; each of your problems or disasters should also be extended to a page in length and, likewise, the details on how the novel will end.

This might come easy - you may already have had whole pages of the plot in mind before you even began. However, you might also find that you're beginning to spot little issues and problems you'll meet later on: How will 'A' get hold of the guitar? If 'B' had the knife in his chest, how can I bring it back into the final scene? I want to move the action to Hawaii, but how can I do that?

You get the idea. Now is an excellent opportunity to begin ironing out some of these little details. The answers may be obvious, or they might need some chewing over.

Be sure to keep hold of the long detailed description you wrote for each character  but what you're about to do now will create the 'bible' that helps you craft the character's moves throughout the novel.

How you go about creating a character chart is entirely up to you, I like to use a large sheet of paper, or even a flip chart. I make notes, draw sketches (though I'm certainly no artist) and even graphs that plot their emotional states, because I find that easier to reference at a glance, rather than reams of text. However, it really is a case of whatever works for you.

The important thing to remember when creating a character chart is to know the motivators and drivers within your character, the external forces that affect them throughout the novel and how these will change that person along the way.

Okay, so you've got a fairly detailed idea of what happens within the story - some five to eight pages, I'd imagine. So, now's the time to start breaking the events up into scenes.

Again, the manner in which you do this is entirely up to you. I know one author who favors a spreadsheet. This, for me, is far too clinical and technical. So, I either use a dry erase board - and split it up into sections (one for each scene) or I use storyboards.

I don't find it necessary to have the list of scenes particularly text-heavy. Instead, I'll use perhaps one sentence to sum up the action of each scene or I'll draw a little sketch - sometimes of an object that looms large in that scene.

What I invariably discover by doing this, is that, if I can't think of anything to draw or a snappy one line summary, then the scene probably doesn't need to be there at all. If there's no action - either literal or in terms of conflict within a character, then the scene is a waste of space.

There you have it, you're now ready to rock 'n' roll. Naturally, this is not to suggest that the writing of the first draft will be completely plain sailing 

You may still come across some blips; things that need altering and character's that need tweaking. However, you now have a really solid grounding for your novel.

You're initial idea is well on the way to becoming a fully fledged story, and any problems you do encounter now are likely to be fewer and much further between.