On this page
- 1. Turn an idea into a workable premise
- 2. Develop characters through decisions
- 3. Make setting affect the story
- 4. Choose and control the point of view
- 5. Plan enough structure to keep drafting
- 6. Draft scenes that change something
- 7. Revise in passes
- 8. Prepare the next project: publication and discovery
- Frequently asked questions
To write a novel, develop a workable premise, create characters with consequential choices, draft the story and revise it in stages. An outline can help, but there is no single structure or writing schedule every novelist must follow.
This eight-step guide includes a small original example and a revision checklist. Writing the manuscript and deciding how to publish it are related but separate projects.
1. Turn an idea into a workable premise
Start with a person, a desire, an obstacle and a consequence. Collect observations and questions in a notebook. Test whether the idea gives your character enough room to make meaningful choices.
Original fictional premise: Mara, an archivist in a flood-prone city, discovers that the evacuation map omits her neighborhood. To correct it before the storm, she must reveal a document that could cost her closest friend their job.
The premise creates a practical goal and a personal conflict. It does not yet determine the entire plot. Write a short scene to discover whether the situation interests you enough to explore further.
2. Develop characters through decisions
Record what each important character wants, fears, knows and misunderstands. Give them constraints that affect their choices. A biography can help, but the reader learns about a character through what they do and how they respond.
For Mara, protecting neighbors and protecting a friend pull in different directions. Her response can reveal values more effectively than a paragraph simply calling her loyal.
Give supporting characters their own reasons to act. An opposing force can be another character, an institution, a circumstance or an internal conflict. Avoid treating every character as either a hero or a villain.
The Open University’s Start writing fiction course offers further practice with character, setting and genre.
3. Make setting affect the story
Choose the place and time, then consider how they constrain movement, communication, work and relationships. Use details the viewpoint character would notice.
In the archivist example, rising water can close a route to the records office. A damaged radio can delay a warning. Those details change the decisions available; they do more than decorate the scene.
Research real places, occupations and historical details when accuracy matters. Keep a record of unresolved questions. Do not assume an AI-generated description is a verified fact about a location or community.
4. Choose and control the point of view
| Approach | Basic perspective | Revision question |
|---|---|---|
| First person | A narrator speaks as I or we | How does the narrator know or interpret this? |
| Second person | The narration addresses a character or reader as you | Is the intended perspective clear and consistent? |
| Third-person limited | Third-person narration stays with a chosen viewpoint’s access to events and thought | Have I slipped into another character’s private thoughts without a planned viewpoint change? |
| Third-person omniscient | A narrator can range beyond one character’s knowledge | Is the narrator’s movement and voice deliberate rather than confusing? |
Swipe the table to see all columns.
A novel can use multiple limited viewpoints with deliberate transitions. Limited narration does not mean unrestricted access to everyone’s thoughts within the same scene.
Example: “Mara watched her friend hide the envelope” describes something she can observe. “Her friend had already decided to betray her” requires access to the friend’s decision or a clearly established basis for Mara’s inference.
5. Plan enough structure to keep drafting
Some writers outline extensively; others discover the story while drafting. Try a short sequence of major events, then revise the plan as the manuscript develops.
- What disrupts the character’s ordinary situation?
- What do they try, and why does it not solve everything?
- What new information or consequence changes the plan?
- What difficult choice brings the main conflict to a head?
- What is different after that choice?
A three-part setup, development and resolution can be a planning aid. A hero’s-journey pattern is another optional framework, not a requirement for every novel. Keep subplots when they contribute something meaningful to the characters or main story.
6. Draft scenes that change something
Give a scene a purpose: a choice, discovery, relationship change or meaningful shift in the situation. Not every scene needs a fight or a cliffhanger.
For example, Mara could ask for the original map, learn it has been moved and choose between waiting for authorization or asking her friend for access. That sequence creates a new problem and a decision.
Balance dialogue, action, observation and summary according to the scene’s job. Remove exchanges that merely repeat information both characters already know.
Use a sustainable writing schedule. Keep notes for research and continuity problems so they do not derail every drafting session. Daily writing is one option, not a requirement.
7. Revise in passes
- Story: review the central conflict, decisions, sequence and ending.
- Characters: check motivations, relationships and meaningful change.
- Continuity: check dates, travel, names, objects and what each character knows.
- Scenes: remove repetition and clarify the consequence of each scene.
- Language: improve sentences, dialogue and distracting phrasing.
- Proof: check spelling, punctuation and formatting after substantial changes.
Ask beta readers focused questions, such as where they became confused or what decision seemed unsupported. Compare their observations without treating a small group as representative of every reader.
When hiring editorial help, define the work and deliverables. Structural editing, copyediting and proofreading address different needs. An editor’s involvement does not guarantee a publishing offer or sales.
8. Prepare the next project: publication and discovery
Use our publishing guide to compare routes, production responsibilities and current file requirements. Follow the actual agent, publisher or distributor’s instructions.
Keep the manuscript and its rights records separate from the promotional plan. If you maintain an author or business website, RankWell can support useful articles around the subject: plan the reader question, supply approved sources, review the draft and publish through a configured destination.
Frequently asked questions
How long should a novel be?
Expectations vary by audience, genre and submission route. Check the specific project’s needs and current submission guidance instead of applying one universal range.
Do I need a complete outline before starting?
No. Use enough planning to keep working and test the approach on a scene or chapter. You can revise the outline as the story changes.
How can I write with no experience?
Read closely, practice manageable scenes and seek specific feedback. Use revision to build skills rather than expecting the first draft to be publication-ready.
Will AI write a publishable novel for me?
Do not assume a generated manuscript meets your creative goals, factual needs or a distributor’s requirements. Keep authorship, review and any applicable disclosure responsibilities explicit.
Reviewed and updated October 6, 2026.
Written by
Julia McCoy has contributed articles to BrandWell on content marketing, writing, and search engine optimization. This archive retains her original bylines; individual articles may be updated by the BrandWell editorial team.
