Barry Finlay set out to plot his thrillers the sensible way, then his characters staged a quiet rebellion and refused to follow the outline. His honest take on plotting versus pantsing lands somewhere delightfully in between, and it might just free up any writer who’s been white-knuckling their own storyline.

I’ve been a writer for about 14 years, though my experience goes back even further when you count the time I spent drafting financial policy. Financial policy isn’t exactly popular reading. Let’s face it, people only look at it when they have to. However, that work sharpened my writing skills and helped me learn how to research and explain complicated topics clearly. This has proven valuable, especially since some of my thrillers and mysteries tackle socially relevant issues like human trafficking, computer hacking, and post-traumatic stress disorder.

Before venturing into thrillers and mysteries, I authored two non-fiction books. Writing non-fiction felt familiar to me. My debut recounted climbing Mount Kilimanjaro in Africa with our son Chris, while my second book focused on travels with my in-laws. I drew directly from personal experience. I wrote what I had lived. Eventually, I wanted to push my boundaries and entered the realm of fiction, initially choosing thrillers as my genre. This transition brought a brand-new set of challenges: intricate plots filled with unexpected twists, shifting viewpoints, and complex storylines.

How was I supposed to keep track of everything?

I consulted the experts. The logical conclusion I drew from my research was that I should plot my story. It would provide clear direction for the book, a better understanding of my characters, and I would avoid that horrible disease that is the bane of every writer’s existence: writer’s block. I developed a plot to establish the storyline and outlined the characters. The plot, if well thought out, should keep me on track. There shouldn’t be any surprises, right? I started writing.

I quickly discovered something. The notion of predictability vanished like snowflakes on warm skin. My characters refused to cooperate; they seemed uninterested in following the path I had laid out for them. As I became more familiar with my characters, the more they insisted on heading their own way. This unexpected twist made me feel like I was at the mercy of the story. I questioned whether I should force them to adhere to the plan or let them roam freely like a toddler exploring their surroundings.

Experts warn writers about the potential pitfalls of flying by the seat of their pants or pantsing. The biggest concern is the possibility of getting stuck. Without a clear direction for the story, a writer can quickly encounter obstacles that slow the process. That sounded serious. There was also the possibility of forcing a plot to match the whims of the characters. It could turn the absence of a plot into a problematic one, which would be even worse.

I weighed the pros and cons, but in the back of my head lurked the thought that with my accounting background, I might not have the skills to write fiction. Maybe my brain doesn’t work that way. I enjoyed the writing process and thought I had a good story in my head. I tried changing the plot, but the same thing happened. The characters still wanted to go their own way. That left me with one solution. Plotting would not work for me, so as Frank Sinatra said, “I did it my way.”

My preferred approach turned out to be a hybrid method combining plotting with spontaneity. I set a general direction for the book, planned a few chapters in advance, and still let the characters follow their path. It kept me motivated while avoiding any blocks.

Although I continue to experiment with plotting, I always fall back on my hybrid approach. I love the creativity it allows, and it frequently leads to unexpected developments. I always tell people I don’t know how the story is going to end until it ends. That’s not quite true, but the method allows for a spontaneous immediacy. There are always those “I didn’t see that coming” moments. I always try to write each scene from the character’s perspective, whether protagonist or antagonist, even asking myself what I would do in their circumstances. When the scene is over, I ask myself what I would do next if I were them. That takes me into the next scene. This approach creates a logical progression throughout the story and avoids forcing the characters into the plot or the plot to fit the characters.

While this method works for me, I’m not advocating for plotting, pantsing, or the hybrid approach. I admire writers for their ability to plot for the reasons mentioned above. I admire writers who are complete pantsers, without an idea of where the story is going, for the unfettered spontaneity it brings. The method that works best for me is the hybrid approach, with a rough outline and planning a few chapters ahead.

My advice to aspiring writers is to experiment. Try developing a plot. If that doesn’t work, sit down and write and let your characters take the lead and the story develop as you go along. If that doesn’t work, try the hybrid approach. We are all different, and what works for one may not work for another. You just have to find the method that works best for you.

ABOUT THE AUTHOR

Barry Finlay is a fiction and non-fiction author. He is also a Chartered Professional Accountant, and, in his previous life, he had an extensive career in financial management. He retired in 2004 after thirty-two years with the Canadian federal government.

In 2009, Barry got off the couch and climbed Africa’s Mount Kilimanjaro with his son, Chris. The experience of climbing Africa’s highest mountain at age 60 with one of his sons and discovering the satisfaction of reaching a goal and giving others the opportunity to achieve theirs, was a non-fiction book waiting to be written. It led to the inspirational Kilimanjaro and Beyond: A Life-Changing Journey. His second book was a travel memoir called I Guess We Missed The Boat.

In 2014, Barry started working on the five-book Marcie Kane Thriller Collection, which he finished in 2020. He returned to where he started in 2023 by writing the nonfiction Just Keep Climbing featuring the stories of eight very inspirational people, and in 2024, he released the fourth book in The Jake Scott Mystery Series.

Barry has received multiple literary awards, and has been featured in the Authors Show book, “50 Great Writers You Should Be Reading.” He is a recipient of the Queen Elizabeth Diamond Jubilee medal for philanthropy. Barry lives in Ottawa, Canada with his wife Evelyn.

CONNECT WITH BARRY FINLAY!
Website www.barry-finlay.com
Facebook  www.facebook.com/AuthorBarryFinlay
Instagram  www.instagram.com/barry_finlay_author
Tik Tok www.tiktok.com/authorbarryfinlay

SEARCHING FOR TRUTH

The truth could be deadly for him and the people he cares about. Can this former reporter resist an enticing story despite the consequences?

Former journalist Jake Scott relies on his weekly breakfast gatherings with friends and a temperamental tabby cat named Oliver to keep his spirits up. He has lost his wife, retired from his job, and watched his daughter move to Toronto with her boyfriend.

Things change when one of the breakfast attendees, a beautiful and tenacious police detective with a troubled teenage daughter, suggests Jake should write a book. When he takes her advice and researches a convicted murderer’s case, he finds out something is terribly wrong. Could a member of the breakfast group be hiding a secret deadly enough to commit murder?

Jake follows leads that uncover a mysterious and disturbing rollercoaster ride of clues, all while his attraction for the detective grows. An attempt to force the true murderer out of hiding results in a terrifying ordeal on the coldest night of the year.