There is a pervasive myth in the creative world: the image of the “tortured artist” waiting for the lightning strike of inspiration. This is a romantic notion, but it is not a scalable strategy. If I relied on the muse to dictate my schedule, I would never have finished a single chapter of The Ahriman Legacy, let alone built an entire series.
Writing is not magic; it is a disciplined craft. It is a project that requires the same rigorous management as a renewable energy investment or a global IT infrastructure rollout. My life is a study in duality. In my consulting work, I manage high-stakes portfolios and advise on international development. As a writer, which I consider another job, and one that is equally important, I construct intricate plots of espionage and geopolitical tension. The secret to balancing these worlds isn’t finding more time; it’s about structuring your day to make sure you have a disciplined writing craft alongside other work, family, etc. And in the moments you are writing, it’s about optimizing the writing process steps to ensure maximum ROI on every minute spent at the keyboard. Here is the operational roadmap for writing a novel while managing a demanding career.
Before a single line of dialogue is written, the groundwork must be laid. In the corporate world, we call this the discovery phase or due diligence. In writing, it is Creating a Plan. You cannot build a complex narrative infrastructure on a shaky foundation. For some authors, this will be building a detailed outline that plots out every scene within every chapter. For others, it is a high-level skeleton of the story and/or characters. For me, it depends on the book. I’ve done detailed outlines and started from there, but I’ve also started from far less.
Even if you aren’t starting from a detailed outline, a novel needs a clear central idea or scope. What is the “Central Conflict”? For my thrillers, I usually start with a setting and its geopolitical circumstances. For example, “What happens if a corrupt Parliamentary official hires an assassin to take out his opposition?” This idea becomes the core of the story. Every scene must serve this central conflict.
The main characters that drive the story are essential to addressing this central conflict. Sometimes the protagonist shows up in my head prior to the setting, but I usually try to think through key characteristics of the 1-2 leading characters. Sometimes this involves detailed notes on their background, but for other books, I have a few key traits and an image in my head, and that’s enough to get started writing. The key here is to do what works for you. Give yourself some time and space to focus on thinking about your characters, and I’ve found they usually show up on command.
One of the most common debates in the writing community is “Plotter vs. Pantser”: those who outline extensively versus those who fly by the seat of their pants. Pantsing can be a really fun way to see where a story takes you, but it usually requires more extensive storyline revisions. It’s also easier to get thrown off track. However, rigid outlining can stifle innovation. Most of the time, I use an approach that sits somewhere between these two, but I give myself room to modify this depending on the book and what feels right. Giving yourself space to change is key, even while maintaining a disciplined practice.
In general, I plan out some kind of high-level outline that has the story’s key milestones. This would usually include mapping out the major events and confrontations, high-tension moments of moral ambiguity or physical danger that anchor the story. I know where the story begins, and have a plan for the midpoint crisis and climax.
I’d like to say I consider these major events and confrontations as non-negotiables. But sometimes the story still deviates. In general, the major milestones remain similar to my original idea, but they may have significant changes or transformations. Most importantly, the path between them is flexible. This allows my characters to surprise me and carry the story forward. If a character decides to take a different route to the next milestone, I let them. This balance of planning and improvisation keeps the novel flowing without killing the creative spark.
As part of the outlining and early writing process, I often conduct specific research. My brand is built on “lived-in” authenticity. When I set a scene in Kuwait or London, I am not just looking for street names. I am looking for the atmospheric pressure, the sensory data that makes a setting feel real. I pull from my own memories: like the heat and dust of the Gulf or the amount of trash in the London Underground at rush hour. If I don’t have the data, I find it. I read travel logs, study maps, and interview subject matter experts. Sometimes I use this immediately in a scene, and at other times, I use my notes to add details during the revision process. But this type of research is critical to bringing a novel alive.
The drafting stage is all about execution. Set a daily goal for yourself. One that you can deliver on and hold yourself accountable to it. I started with NanoWriMo, so my daily goal was just under 1700 words a day, seven days a week. For me, this was super intense, especially while doing it as part of a full schedule. I’d say that level of intensity (or more!) is doable only in short bursts. But for a longer-term schedule, I usually do 600-1500 words a day, five days a week.
I don’t intend these word counts or number of days per week to be prescriptive. This is the process I’ve landed on after a lot of trial and error. You’ll need to find the best option that works for you. That said, here are some ideas.
Recognize that you can write in shorter time blocks: Waiting for a four-hour block of free time is a fantasy. When you have a ten-minute break, that’s enough time to make progress. Stack that on top of other short gaps in your day, and you’ll hit your word count goals. Consider these short time blocks an opportunity to write as a sprint.
Some days will be easy, others will be hard. If you’re on a regular work schedule, mornings are probably your best friend.
There are no emails or conference calls. Early mornings can allow for pure, uninterrupted output. For me, the morning is also when my brain is the freshest, meaning I am at my most productive.
Depending on your schedule, consider how best to use your weekends. When I’m on a writing retreat, I dive into every day, including weekends, with a much larger target: a minimum of 3,000 words. But for some of you, it may be best to consider part of your weekend like a long scheduled meeting. By time-blocking these sessions, I train my brain to switch into creative mode instantly.
Perfectionism is the enemy of completion. When you’re drafting, your only goal is word count and moving the plot forward. Do not edit. Do not second-guess the dialogue. Do not worry if the pacing lags. You cannot fix a blank page. It doesn’t need to be pretty; it just needs to exist. Storyline revisions, line editing, etc., can all be second-draft problems.
Once the draft is complete, we have to edit and refine it. This involves two different types of revisions.
My favorite way to start revisions is to build a new outline. Even if you started with an outline, the draft will have deviated from it to a certain extent. Write out the various scenes and look at them as a whole. This will help you find opportunities to heighten the tension, improve pacing, and/or character development, etc. Go to town to find the weakest parts and address each one. Be creative in how you address these problems. The best answer might be to reorder certain scenes, move parts of the exposition to later in the story, or write and add in some new scenes.
Every manuscript needs fresh eyes. A professional editor here is essential. Even though it generally requires an upfront investment, I believe it’s a necessary one. The editor can help flag story issues, plot holes, and do copy editing. When an editor raises a point, I may not always agree. The key is to think about the purpose of the note, or what I call the ‘note behind the note’. That’s what you have to address. For example, if they flag a section as boring or confusing, that’s something I need to address. However, if they suggest a way to fix it, that may not always feel right for the story. After I reflect on the note behind the note, I might find a different way to address it, one that resonates with me more. The key is not to ignore comments, but to reflect on them and then decide what you want to do.
The final phase is the transition from writer to author-entrepreneur. The product is finished; now it must go to market. If you are indie publishing, this involves strategic positioning, cover design (packaging), and marketing channels. If you’re targeting traditional publishing, you need to start with querying agents and go from there.
Regardless of the channel, it is not enough to write a great book. The book’s marketing has to help it find and reach its target market. But more on that in a different blog post.
Talent is a variable; process is a constant. The difference between an aspiring writer and a published author is rarely a matter of genius. It is a matter of discipline. By treating your writing like a job, you can create a structure to support your creative goals. Because, like it or not, writing is a job. You have to develop a roadmap or plan, deliver on your story milestones, and put in the work. Consistency is the key, which means you have to put in the time and work even when you are tired. Even when it’s a struggle. But with a disciplined process and structure, you can produce compelling fiction regardless of your other commitments: day job, family, etc.
Stop waiting for inspiration and start executing the plan.
If you’re curious about the series behind these examples…
The planning, plotting, and location research I’ve described here all went into building The Ahriman Legacy series—thrillers centered on espionage and geopolitical tension. If you’d like to see how these writing process steps translated into the final stories, you can find the books here. Thank you for reading.
Warmly, Puja.
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