A common debate among writers centers around whether or not they plot. Do they begin writing with a detailed outline or simply write off the tops of their heads.

I am a plotter. For my first book, my initial outline was quite long, broken down chapter by chapter, scene by scene. I've never plotted so thoroughly since, but it did help me get through my first book. Now I start out with a synopsis and move from there.

I often think back to the words of my college Psychology professor who stressed the importance of outlining quite heavily. He would say you wouldn't set out on a long trip to a place you've never been before without a map, so why would you set out to write without an outline. And Lord knows, as easy as I get lost on the road, I need a map, a GPS system and another person to call out each turn. So it should be no wonder that I did such a ridiculously detailed outline for the first book.

So, while I spout all the virtues of plotting, I must admit that I'm the only plotter I know. Every other writer I've ever talked process with has claimed not to plot. They say they lose interest in the story when they already know what's going to happen. It's so much more exciting for them to just start putting words on the page and see what happens.

And this does sound exciting. But, I clearly was not made to live on the edge. I always wear my seatbelt, I'll never ride a motorcycle, and I plot. If I don't know what I'm about to write, I write nothing. I need a plan that I can stick to or veer from at will. I know there must be other plotters out there, but I don't know any of them. All the famous and successful authors I've heard speak of this are Non-Plotters. All my friends are Non-Plotters. So, we the Plotters must be the minority.

But it doesn't matter, plotting or no plotting, the magic works the same. Either you make your road map ahead of time, or you stumble your way through correcting along the way. I rewrite a lot less than the Non-Plotters, but they may be able to barrel through a lot faster, and the story always stays fresh for them. Plotting strategies are like belly-buttons, you're either an inny or an outty and they're both just as good.

This July I went to the Romance Writers of America conference in Reno, Nevada. Since it had been five years since I'd last attended an RWA conference, I was very careful in choosing which workshops I attended. I wanted to dip my feet in slowly. For the workshops that I did attend, I primarily sat and absorbed information rather than taking notes.

On the first day, I listened to a PAN (Published Authors Network) speech given by Randall Wallace, the writer of the screenplay for Braveheart. Mind you, I've not seen this movie, despite the fact that it's my husband's all-time favorite. Well, listening to this man speak made me want to watch it for the first time. He was very dynamic and charming as a speaker. Most of what he said was annecdotal, but he did say one thing that was profound, so I wrote it down below.

Another workshop I enjoyed was given by one of my favorite writers, Susan Elizabeth Phillips. She gave workshop on writing bestselling novels. I took copious notes in this workshop. But, my best conference experience came when it was time to board the motorcoach to the HarperCollins Author dinner. I got on alone, certain after so many years there wouldn't be any other writers I knew. So there was an empty seat beside me, and guess who got on next and took that seat. Susan Elizabeth Phillips. That made my night. She was so sweet and we chatted the entire ride. I was able to tell her how much I appreciated the tips (below) that she emparted:

Randall Wallace: Write what moves you.

Susan Elizabeth Phillips: Keep the reader in the story!

Write a compelling story that you can’t put down:
• Riveting plot
• Characters we care about
• Writing about an unfamiliar world in a interesting way
• Distinctive voice/writing style

Master good craft

Create dazzling characters
• They are sympathetic but not perfect - Keep their heart pure
• Realistic and larger than life
• Well-motivated by their own strengths and weaknesses
• They develop and grow
• They have strong individual voices

Read all the scenes the hero is in only to make sure he’s consistent. Do the same for the heroine.
Fix relationships in each scene (consistent).

Plot should move fast. Leave the boring parts out.
• Long passages of research can bog a story down
• Flashbacks should begin with the highest point of action, be kept brief and in context with the story
• Avoid too much internal dialogue
• Make every word count
• Cliffhangers - don’t resolve things at the end of the chapter. Always leave the chapter at a point that will make the reader want to read the next chapter immediately.
• Subplot - don’t leave the main plot at the point of highest action

Everyone says writing skills are like muscles... use 'em or lose 'em.

Well, I'll be the first to stand up and say I don't like using my muscles, either. I'm a couch-potato at heart. Therefore, even knowing I should write every day to keep my writing skills sharp, I don't always do it.

At least, I didn't realize that I was writing every day. I thought I had to write fiction or book chapters to be "writing." The fact of the matter is, this is the information age of e-mails, text-messaging, instant messaging, blogs, message boards and the like. Based on this, I do write every day. I express myself, possibly, even more in type than I do verbally. It's the nature of business.

So, this assuages my writing every day guilt just a bit. Now, all I have to do is try and wax poetic when forwarding e-mails and discussing The Amazing Race 5 on message boards.