DrRita
09-04-2006, 10:34 PM
Outline My Novel? Not!
To outline or not to outline? You may think you're better off without an outline, that outlines stifle creativity or that it's just futile because when you sit down to write, it all comes out differently anyway. Well, you might want to reconsider . . .
What kind of writer are you? Do you thoroughly outline all of your chapters? Or do you pencil a brief sketch with a beginning, sort of a middle and a “changeable” ending then sit down and write, rewrite, pray, rewrite, re-plot, rethink and after the 5th draft you have a story you can work on? Or you might be one who sincerely hammers out a workable outline only to run off and leave it in the dust the first time you protagonist develops an urge to do what she wants. I understand, believe me. And there are many writer’s, famous and successful ones who do not follow an outline. But is that really you or are you just lazy? Or maybe afraid you will be boxed in and ultimately stifled?
I sat in a class at the 2004 Glorietta Writers Conference and listened as Chris Maselli shared his writing method. I inwardly snickered as he described his elaborate outlining process. He started with the basic plot premise, loosely outlined the events did his research and character sketches then organized his story into chapters. However, he still wasn’t ready to write. He then outlined each chapter and so on until he felt he had the entire story mapped out to his own satisfaction. Then he wrote the story. Mr. Maselli spent at least twice as much time on the outline than the actually writing. I remember thinking how different we were as writers.
Then I started writing screenplays. I tried my “moved by the moment” style of writing as described in the first paragraph with complete and utter failure. After the second attempt I realized screenplays need more preplanning than novels or so I thought. The next event to shake my methodology was NaNoWrMo (National Novel Writing Month or NANO.) I wrote 30,000 words by the seat of my pants and though the story is workable, found it to be a frustrating experience all in all. No outline, barely a plot and theme, characters who I barely got to know after 30,000 words and a half-finished project. I reconsidered my method.
After much thought, I decided to try something different (well, different for me at least.) I decided to adapt my screenwriting method to novel writing. I haven’t finished yet, but I have to say, I’m feeling extremely positive about this new experiment. Here’s how it works.
1.First, take your seed idea and work out the ending. Yes, the ending. The ending will give you the destination. You already know the beginning and once you work out the ending, you can work out the road map between the two. Also, make sure you know what your story is about . . . what your main character is after, wants to accomplish and who/what tries to stop him/her.
2. During this time, do your research. Research can actually help you with plot and character. It's amazing how facts and details can fuel your creativity.
3. Also, you will want to work on character sketches on your main characters and some development on your minor ones. Getting to know your characters is an essential of novel planning.
4. After the basic story is loosely developed, sit down and freely write the story synopsis, getting a feel for the flow, events, peaks and valleys, conflicts both inner (character) and outer (other forces), climax and ending. Since it is only a development tool, resist the pressure to be literary or prosy.
5. Synopsis beside your keyboard, begin your chapter organization. Each chapter opens with an event, builds, climaxes and closes on a high point to draw the reader to the next chapter.
6. With each chapter organized into events, the scenes can now be written. Each scene should move the story forward, reveal character and/or add information necessary to the plot. Each scene should also have an opening and climax.
7. Now, working backward, begin your evaluation. Scene analysis, chapter analysis and finally story analysis will test each part to make sure it all fits together. Think of your novel as a jigsaw puzzle. If all the pieces fit together it creates a beautiful picture.
The following questionnaire adapted from Robert McKee’s most excellent book “Story” (pgs. 257-259) works very well for evaluation.
1. Define the Conflict. Locate the goal/desire and the opposing force/person.
2. Define the Value*. Note the value at stake at the open and how it’s charged (pos or neg.)
3. Divide scene into beats**. Each beat will have textual (character’s outward action/reaction) and sub textual (character’s inward action/reaction) behaviors.
4. Note closing value. Did it change from the opening? If not, fix it.
5. Locate turning point. The scene should arc beginning at one point and ending at another. Locate the beat where this occurs and that’s the turning point.
8. Reorganize, rethink, fix change, etc. If you do it now, it will save you major rewrites later.
9. Now you’re ready to write. This will probably be the fastest part of the whole process. After it’s done, let it rest. When you return for the rewrite, you may be pleasantly surprised how little there is to do!
*Value: universal qualities of human experience that may shift from positive to negative such as love/hate, courage/cowardice, truth/lie.
**Beat: An exchange of action and reaction. Example: He begged/she ignored or she accused/he denied.
To outline or not to outline? You may think you're better off without an outline, that outlines stifle creativity or that it's just futile because when you sit down to write, it all comes out differently anyway. Well, you might want to reconsider . . .
What kind of writer are you? Do you thoroughly outline all of your chapters? Or do you pencil a brief sketch with a beginning, sort of a middle and a “changeable” ending then sit down and write, rewrite, pray, rewrite, re-plot, rethink and after the 5th draft you have a story you can work on? Or you might be one who sincerely hammers out a workable outline only to run off and leave it in the dust the first time you protagonist develops an urge to do what she wants. I understand, believe me. And there are many writer’s, famous and successful ones who do not follow an outline. But is that really you or are you just lazy? Or maybe afraid you will be boxed in and ultimately stifled?
I sat in a class at the 2004 Glorietta Writers Conference and listened as Chris Maselli shared his writing method. I inwardly snickered as he described his elaborate outlining process. He started with the basic plot premise, loosely outlined the events did his research and character sketches then organized his story into chapters. However, he still wasn’t ready to write. He then outlined each chapter and so on until he felt he had the entire story mapped out to his own satisfaction. Then he wrote the story. Mr. Maselli spent at least twice as much time on the outline than the actually writing. I remember thinking how different we were as writers.
Then I started writing screenplays. I tried my “moved by the moment” style of writing as described in the first paragraph with complete and utter failure. After the second attempt I realized screenplays need more preplanning than novels or so I thought. The next event to shake my methodology was NaNoWrMo (National Novel Writing Month or NANO.) I wrote 30,000 words by the seat of my pants and though the story is workable, found it to be a frustrating experience all in all. No outline, barely a plot and theme, characters who I barely got to know after 30,000 words and a half-finished project. I reconsidered my method.
After much thought, I decided to try something different (well, different for me at least.) I decided to adapt my screenwriting method to novel writing. I haven’t finished yet, but I have to say, I’m feeling extremely positive about this new experiment. Here’s how it works.
1.First, take your seed idea and work out the ending. Yes, the ending. The ending will give you the destination. You already know the beginning and once you work out the ending, you can work out the road map between the two. Also, make sure you know what your story is about . . . what your main character is after, wants to accomplish and who/what tries to stop him/her.
2. During this time, do your research. Research can actually help you with plot and character. It's amazing how facts and details can fuel your creativity.
3. Also, you will want to work on character sketches on your main characters and some development on your minor ones. Getting to know your characters is an essential of novel planning.
4. After the basic story is loosely developed, sit down and freely write the story synopsis, getting a feel for the flow, events, peaks and valleys, conflicts both inner (character) and outer (other forces), climax and ending. Since it is only a development tool, resist the pressure to be literary or prosy.
5. Synopsis beside your keyboard, begin your chapter organization. Each chapter opens with an event, builds, climaxes and closes on a high point to draw the reader to the next chapter.
6. With each chapter organized into events, the scenes can now be written. Each scene should move the story forward, reveal character and/or add information necessary to the plot. Each scene should also have an opening and climax.
7. Now, working backward, begin your evaluation. Scene analysis, chapter analysis and finally story analysis will test each part to make sure it all fits together. Think of your novel as a jigsaw puzzle. If all the pieces fit together it creates a beautiful picture.
The following questionnaire adapted from Robert McKee’s most excellent book “Story” (pgs. 257-259) works very well for evaluation.
1. Define the Conflict. Locate the goal/desire and the opposing force/person.
2. Define the Value*. Note the value at stake at the open and how it’s charged (pos or neg.)
3. Divide scene into beats**. Each beat will have textual (character’s outward action/reaction) and sub textual (character’s inward action/reaction) behaviors.
4. Note closing value. Did it change from the opening? If not, fix it.
5. Locate turning point. The scene should arc beginning at one point and ending at another. Locate the beat where this occurs and that’s the turning point.
8. Reorganize, rethink, fix change, etc. If you do it now, it will save you major rewrites later.
9. Now you’re ready to write. This will probably be the fastest part of the whole process. After it’s done, let it rest. When you return for the rewrite, you may be pleasantly surprised how little there is to do!
*Value: universal qualities of human experience that may shift from positive to negative such as love/hate, courage/cowardice, truth/lie.
**Beat: An exchange of action and reaction. Example: He begged/she ignored or she accused/he denied.