How to Write a Book in 7 Steps: Advice From a Writing Coach

Imposter syndrome can kill books before they're written, so I think the first step is to realize that most authors experience it. Next, accept the fact that no story is ever 'original or good enough' when it's first conceived. That's because an idea isn't itself a book. A book takes time, patience, drafting, and revision. That process, slow as it may be, is what will ultimately make your book a success.

All that said, I think it's also helpful to remember that any number of successful projects can be based off of very similar ideas.

How many movies and romance novels are based off of woman leaving the big city for a holiday at home and finding love with someone she hated in high school, or some man who's just moved to town? Dozens! How many movies and horror novels are based off of a group of strangers somehow being forced or convinced to spend a given amount of time in a bad or haunted house? Again, the answer is dozens! But readers love those stories, and it's the writers who tell them that make them unique and interesting to readers because no two writers are going to write the exact same story.

What it comes down to is that if you get caught in the trap of over-analyzing your idea before you've begun writing, you're hamstringing yourself before you even get started. If you really want to push yourself to write a high-concept novel, then you can start with an idea and push/prod at it until you've given it enough detail in form or development that it feels unique to you, and then start writing, but don't give up on the idea before seeing where it might take you.

Worse comes to worse, if you're at a stage where you're brainstorming many different ideas, give yourself a cut-off point. Allow yourself to come up with five or ten ideas, setting a limit on that number in advance, and then choose one to push forward with. Otherwise, you'll forever be coming up with ideas, and forever judging those ideas as failures, without ever getting a book written.

Even seasoned authors struggle with imposter syndrome and doubt themselves. That said, doing your homework is not a bad idea. Find out what books are similar to yours and find out if there is a glut in the market for that topic or if there is a need or hole in the market, and your book might fill a need.

The reality is that good books are not written; they are rewritten. That's why it is so important to work with an editor who can help you revise the book and take it to the next level, so it can become the best it can be.

A pocket notebook and pen or pencil. You never know when an idea will come around, or you suddenly figure out a solution to a writing problem. I keep one on me all the time, even if I'm sitting at my computer, because sometimes in the time it takes to decide what app/document to open, the thought will just vanish. It also gives me a chance to think visually, which is how I often work through things: mind-maps, doodles, sketches, and other ways of expressing myself that are not always easy to pull off with a keyboard.

And they're handy for impromptu to-do or shopping lists to boot!

Your smartphone! The quickest way to make sure you don't forget an idea is to record a voice note – save yourself the scramble for a pen and paper. Snapshots of places, scenes, details, and skies that inspire you are great for reference too.

A notepad or a phone as a way of taking verbal or written notes for ideas as they arise.

I'm a sucker for a good pocket notebook. You never know when inspiration will strike, and while phone are great (and another note-taking device that works wonders) I've always found that physically writing something down helps the ideas flow more.

Pen and paper if you're old-school.

Laptop (or in a pinch, smartphone) if you're new-school.

Coffee if you drink coffee; tea if you drink tea.

And when the words just aren't coming, access to whiskey and rum. 😉

Books, books, books. Fiction, nonfiction, contemporary writing, classics, stuff you love, stuff you hate. When I'm "stuck" as far as not knowing where to start, or my work feels like it's lacking some sort of spark, I crack open a book and read the first few lines, or I'll flip to a random page and read until something gives me pause (in a good way).

Every writer has a style. Sometimes it's short, staccato sentences. Sometimes it's long, lyrical ones that seem to take the reader on a journey, like a river slowly twisting along a valley framed by serrated mountains. Paying attention to how a writer constructs their sentences can be eye-opening.

It's incredibly important, not because authors shouldn't be able to bend or break the rules, but because these "standard word counts" are systemic. It isn't agents insisting on word counts for no reason; it filters from book buyers to internal publishing salespeople, then to editors and agents.

Having too few words can be worse than having too many. Think about the end goal: you want readers to buy your book. If they feel like they're getting less than they paid for then they won't buy the book. For example, if you wrote 30,000 words when most books in your genre are more like 60,000-70,000 words, then readers looking at your book compared to a competitor might be inclined to think the book that has more words has more heft and therefore is more worth their money.

When it comes to too-high word counts, then you run into a different issue and that's with publishing costs. it costs money to print pages, and if you've written 500,000 words, then that book is going to cost even more to produce (not only the paper in such an extreme case, but also in the binding of that book to make sure it holds up). If it costs more to create, then that can negatively impact publishers' profits. If a publisher is evaluating your work that's 500,000 words versus a similar work that's only 125,000 words, why wouldn't they choose the shorter book? It also takes up less physical space on a bookshelf, so bookstores might be able to keep more copies on the shelf.

Genre and target age range here are the great determining factors. Epic Fantasy, for example, which takes place in a world not our own, usually requires a higher word count for the simple fact that the world has to be built. Nonfiction business books, on the other hand, are usually around 60,000 words, as those readers don't need to be transported to another world, but instead need to have points clearly articulated.

If you're planning on querying agents and going the traditional route, then adhering to standard word count expectations is essential. Are there exceptions to the rules? Sure, but you never want to plan on being the exception to the rule when you're already going up against long odds.

Querying is incredibly competitive, and an agent seeing that your manuscript is already in the target word count range for your genre tells them that you're probably aware of market expectations and have given real thought to your project's development. On the other hand, if they see a word count that's 20k outside the realm of expectations, that tells them they're either going to have to work with you to get the word count down/up, or potentially have a more difficult time selling your project to publishers.

On the other hand, if you're planning on self-publishing, word count isn't all that important. You don't want to write something the length of a short story and call it a novel, but the important thing in the self-publishing world is to tell a good story. Whether your mystery novel is 30k words, 60k words, 90k words, or even 130k words, your readers won't care as long as the story is great, whereas an agent would likely say no immediately if they saw a query for a 30k or 130k mystery novel, without even getting past that first sentence of your query where they'd see the word count.

If you don't know whether or not you plan to publish traditionally, the best way to set yourself up for success is to research the target word count range for your genre/audience, and then adhere to that expectation as closely as possible. Do be aware that word count expectations can change over time, so you want to make sure that your source for target word count is fairly recent.

That said, if you don't want to put extra pressure on yourself to meet industry standards before you're even done drafting, then there's no reason to focus on anything other than writing the best story you can; then, once you're done, you can take a look at word count expectations, hire a developmental editor to get expert eyes on your novel, and decide from there what makes the most sense for a publication plan.

My number-one tip to combat writer's block is to experiment.

Whatever routine you've built for yourself as a writer, try getting out of that routine and see how it affects your ability to write.

If you normally write on your desktop computer, try using a tablet or even writing longhand. Maybe the blank page is affecting you, and dictation will be something worth trying. If you normally write at night after everyone else in your family has gone to bed, try getting up early and writing then, or even snatching breaks during the day for writing time. If you write in longer chunks of time at home, try a coffee shop or restaurant, or if you like to write in coffee shops, try writing at home or in a local park. If you normally write in silence, try putting on music in the background.

Generally speaking, routine is a good thing for most writers, but some books/ideas demand a change of pace, and since we as writers change by virtue of changing as people and growing in our craft, that sometimes mean a routine will change.

When writer's block or burnout arrives, move away from the page without shame. Creativity is not a faucet but a well that must be refilled. Do something that reminds you why you love about stories to begin with: Take a walk, read a treasured book, watch a film that moves you, or simply sleep. Inspiration has a way of returning once you stop trying to make it happen. Be kind to yourself in the process—writing is done most naturally when you permit your mind and spirit to gasp for air.

Take a break from the project and do something relaxing that gives you pleasure, especially something physical like a long walk. Sometimes, if you stop thinking about a book, you'll find ideas pop into your head anyway. I'd also advise doing a rough plan of how you see the next part of your book progressing -- this will make the actual writing part easier and less stressful.

You will know that your book is ready for professional editing once you have tried everything with it that you can do yourself. This means having done a first draft, sorted out serious plot or structural issues, and addressed glaring errors of consistency or weakness. You should have a feeling that the message or story is fully expressed, if not perhaps flawless. If you find yourself rephrasing sentences but no longer making noticeable improvements, that's a good sign you're ready. An editor's role is to lift your work from good to polished, not to finish half-thoughts. When you both love your manuscript and don't know how to improve it, it's time to bring in professional eyes.

A professional editor should respect your voice and project. Honestly, it's as simple as that.

The best way to be sure that will happen is to hire an experienced editor and also ask for a sample edit, especially with line/copyedits. Seeing that sample edit and thinking about how the editor engages with your voice should tell you everything you need to know. Chances are, you won't agree with everything an editor recommends because editing is a subjective business, but if the editor is keeping in mind your particular voice and project, and if they're experienced and aligned with your vision, you should probably expect to agree with 80-90% of their recommendations.

That said, there are exceptions! I once had an author tell me she only agreed with about 40% of my copyedits, and I was horrified. I immediately told her that meant we weren't a good fit...and then she told me that she'd had three previous editors, and she'd only agreed with about 10-15% of what any of them had suggested! In fact, she was thrilled with my work! This particular author was simply extremely attached to even the smallest nuances of her language use, and had a lot of trouble working with an editor at all. I came to realize that her taking even 40% of my suggestions was actually a pretty serious compliment, odd as that may sound.

With developmental edits, things get a little trickier, but respect is still the ultimate goal. An editor shouldn't be trying to rewrite your story. Ideally, you want a developmental editor who will respect your story and help you find its full potential without injuring your vision. If they point out plot holes, they might point out different ways to address those fixes (and you can talk to them in advance about whether or not you want them to), but they won't insist on you taking any of those fixes; they'll only strongly suggest you fix the plot hole. Similarly, if you've got a 180,000 word paranormal romance on your hands, they'll be right to talk to you about the realities of publishing and how difficult it will be for you to find an agent, but they shouldn't be rewriting the book for you or lecturing you. (In a case like this, I'd personally be having a conversation with the author to talk about their publication plans, the realities of publication, and options for how to go forward, whether that would mean splitting the book into two or cutting subplots...but it would be a conversation, and not a lecture). If an editor is telling you how to rewrite your book and you didn't ask them to do so, they're not the right fit for you, and you should move on--because yes, it's a matter of respect for your project and you.

A good editor of any kind—developmental, copyeditor, etc.—is going to honor your voice and want to help you hone it. It's good to keep in mind that your editors are not trying to make your writing less unique, they're trying to guide it to be the best it can be. With that understanding in place, make sure you're reading their feedback from a place of trust and open-mindedness. Once they've read a few hundred words of your manuscript, an editor will often have an idea of your voice and will do their best to work with your voice, not against it.

Editors will often offer an explanation for an opinion-based change, and it's important to hear their perspective. (And if your editor isn't offering an explanation for a particular change from the get-go, feel free to ask them for one.) If you find that you're declining a lot of changes in an ongoing partnership, try to afford your editor the same respect and offer an explanation as to why their changes aren't working for you. That will improve their sense of your goals for your manuscript and they can adjust their feedback accordingly. They'll probably be really excited to now be on the same page and might have some fresh new ideas!

Another thing to keep in mind is that sometimes—especially in creative writing—you may think you're doing something clever on the sentence level, and then your editor tells you they're confused by it and/or that it's wrong. As in grammatically incorrect, or conveying the wrong message, or illogical, or any number of things for which there is technically a black-and-white rule in the English language. In these instances, remember that in general the impression you want your reader to get is more important than being clever. Sometimes you may just need to be disappointed that the clever thing you thought you were doing wasn't so effective after all. And if you feel strongly about maintaining a style that's sometimes "wrong" (maybe it's important to your character building), work with your editor on how to make sure you're still being understood by the reader.

Above all, remember that your editors are on your side! They want to help your writing be its best, not be exactly like everyone else's. Your editors want to work with you. Make sure you're working with them, too!