When the Outline Holds—and When the Story Takes Over

Every novel I write begins with a plan.

I outline. I define my characters. I know where the story starts, where it’s supposed to end, and the major turns in between. Before a single chapter is written, I’ve already spent time understanding who these people are, what they want, and what they’re willing to sacrifice to get it.

Structure matters—especially in thrillers.

Pacing, tension, and consequence don’t happen by accident. An outline is my roadmap. It keeps the story grounded, the stakes escalating, and the momentum moving forward. It ensures that every scene earns its place and every decision has a cost.

But here’s the truth no outline ever tells you:

Sometimes the story has other plans.

There are moments while writing when a character refuses to do what I intended. A scene takes a turn I didn’t see coming. A line of dialogue opens a door that wasn’t on the map. Suddenly, a minor character demands more space—or an entirely new character steps into the frame and changes everything.

Those moments aren’t mistakes.

They’re discoveries.

I’ve learned not to fight them.

Some of the most compelling tension, emotional depth, and authenticity in my work comes from these unplanned destinations. When the story veers off the outline, it’s often because the characters have become real enough to take control. They react instead of comply. They surprise me—and if they surprise me, they’ll surprise you.

That balance—between discipline and instinct—is where my writing lives.

The outline keeps the story sharp.

The characters keep it honest.

And when the writing takes me somewhere unexpected, I follow—carefully—because that’s often where the truth of the story is waiting.

HAMMER was built this way. Planned. Structured. And shaped by moments I never saw coming.

Those moments are why I write.