write a novel in a month: The line-by-line method
It’s November again. And once again, I’m attempting to write a novel in 30 days.
But this time, I think I’ve found the method that fits the way my brain works. I call it the line-by-line method. The idea is simple: build the story one line at a time.
This time, I’m convinced I’ll do better. Starting at 9:00 a.m. sharp, on Friday, November 1, I’ll brainstorm story ideas for an hour, likely landing on a mystery written in first-person, past tense.
Write action, not prose.
I’ll write down the main turning points of my story.
Choose a number: three acts, four parts, five milestones, one circular narrative, whichever feels natural. The structure shouldn’t dictate the story. It should simply divide it into manageable sections. Each major plot point becomes a chapter or a section.
Then, I’ll write each action in its simplest form, in chronological order. Each line would be a step forward in the story. Each line is like a thread: insignificant on its own, valuable when woven into a larger structure.
The outline and the first draft will take shape together. I’ll figure out the story as I go, adding details, refining transitions, and keeping an eye on the big picture.
Each line will become the topic sentence of a paragraph. The paragraphs can be one sentence or a few pages long. Length doesn’t matter. Rhythm does.
Short paragraphs speed things up. Longer paragraphs slow things down.
The outline will remain visible, like an external skeleton, anchoring every paragraph. It will keep the content organized, easy to skim, and easier to revise.
Groups of paragraphs will become scenes. Each scene will take place in a specific time and place, and involve at least two characters (or the one character and their conscience) and an object—the basic ingredients for conflict.
I will keep the ideas flowing from one to the next without the need to add bridges or transitions
Once the draft is complete, I’ll add depth by rearranging events, layering subtext, and introducing subplots: just enough to make the story engaging without losing readers. Like creating a garment out of story fabric.
First, weave the text line by line, then cut the patterns, then shape it into a garment.
Time management
Think in days, not hours.
You’re not at your best every hour; but over a week, it balances out.
Write when inspiration shows up, morning or night.
Afternoons are useless. Use that time for something else: go for a walk, go shopping, or take a nap.
Note to self:
—USE ONLY ONE SINGLE GOOGLE DOC,
No scattered notes.
No separate outline.
No to-do lists.
Everything stays in one place, with regular backups in case of an alien attack. Nothing should interrupt my focus or divide my attention. Keeping everything together will make it easier to see the progression, the connections, and the flow.
—WRITE YOUR IDEAS IN THE SIMPLEST FORM POSSIBLE.
Who does what.
Don’t try to sound smart or poetic. Novels are already complex enough. You don’t need to paint polka dots on a checkered pattern.
—DON’T WRITE NONSENSE.
Leave that to non-fiction. In fiction, every word should serve a purpose.
—IDEAS ARE DISPOSABLE.
They’re everywhere. Everyone has them. Throw them away if they become a nuisance.
—SAVE THE OPENING AND THE ENDING FOR LAST.
Work them out together. Don’t stress about them while drafting. Start in the middle, or anywhere in between.
Progress Log
Project Title:
Haunted House At Param
Synopsis
[Mystery, Suspense, Paranormal] A misfit team of self-employed and self-proclaimed influencers travels to a tropical city after being hired by a mysterious person to investigate rumours surrounding an abandoned colonial house said to possess unusual powers.
A haunted house in the tropics–an uncommon setting.
The heavy, humid heat becomes a character of its own. It keeps you in a state of lethargy and makes you powerless against the dark presence surrounding the house.
One Week Later:
I realized I work best at night, in bed.
I start by visualizing the story and talking it through in my head. The words don’t come out exactly the same on the page, but I’ll keep refining the process.
Two Weeks Later:
I’ve adjusted my approach.
I’ll review and clean up the 8,400 words I’ve written so far so I don’t end up with a 50,000-word mess. Revising helps me move forward.
I’ll also spend time reading for inspiration. That counts as writing.
The constants are the three main characters (I don’t know their gender yet, so I’ve given them neutral names) and the setting, which shifts between JFK Airport and a small fictional South American country inspired by Suriname.
Final thoughts
When writing a novel, the focus should be placed at the scene, not the sentence – and definitely not on individual words. Match your method to the scale of the project. If you’re designing an entire town, don’t obsess over the doorknob on every house.
Another half-failure: I reached just below 25,000 words.
But I’m happy with what I learned, and will apply it.
In the meantime, I’ll keep practicing the one skill that matters most: writing hard-hitting simple sentences and stitching them together like a weaver.