As if proving what I said in my last post, Warren Ellis offered this piece of writing advice in his latest newsletter:
The only screenwriting “trick” I have is a tip picked up from John Rogers, who you probably know best from having co-devised and produced the show LEVERAGE. He builds every stage of the story from the one before. Rewrites the beat outline into the treatment. Rewrites the treatment into the screenplay. Just pastes it in and starts working with it. This particular job is the next stage of a treatment I wrote earlier in the year. It’s 5000 words long, twelve pages. The pleasure of this approach is that, after the roughest of outlines, you’re never working with a blank page. Just expanding and adapting (and fixing!) what you’ve already done.
I make notes at the top of every story document. Usually just two things. What’s it about, and what does each character want? It’s simple and simplistic, and doesn’t contain the entirety of the work in any way, but in a rigorously structured thing, it can help me keep on track.
From the latest Orbital Operations.
He’s talking specifically about screenwriting here, but it’ll work for prose too. If you’re the kind of writer who plans, split that outline up into (possible) chapters, and either space them out in your Word doc, or paste them into a separate Scrivener page (?) and build from there.
Another trick I use, is to put points I want to reach, or currently-disconnected thoughts in [square brackets], and write to them, deleting the bracketed thought once it’s been implemented into the manuscript. (I prefer square brackets because they’re not generally used in prose, but regular brackets can be used for asides.)
Personally the blank page isn’t much of a block for me, but I know it can stall a lot of writers when they’re starting a new project, so these couple of tricks can help to dirty that page up and give you an excuse to just start, get that first draft down, and worry about improving it later.