If you missed some of my posts on writing (or want to read them again), here they are. I'm not putting dates on them, but I will put them in order, oldest on top. I'll update this page each time I have a new article.
Ideas
Writing Flash Fiction
Friday Flash
Novel Ideas
Novel Writing: Pre-First Draft Part 1
Initial Construction of Characters
Outlining a Novel--Pre-First Draft Part 2
Outlining a Novel--Pre-First Draft Part 3
Final Outline--Pre-First Draft Part 4
How I Write My First Draft
Showing posts with label outline. Show all posts
Showing posts with label outline. Show all posts
Thursday, November 18, 2010
Wednesday, November 17, 2010
Final Outline--Pre-First Draft Pt. 4
Now that I basically have the story outlined, it's almost time to begin the first draft. But not quite. I still have a few things I need to do before I'm comfortable starting. It's now time to construct my working outline.
My working outline consists of 3x5 cards. I write one scene per card. I usually copy the scene directly from my notebook, though I occasionally need to modify them. I believe the scene description should fit on one side of the card, so if it's too long, I've been too wordy with the outline (meaning it'll suck the life out of the draft) or I need to break the scene into two parts. There are always exceptions (for example, I might be wordy in the outline because I need the scene to play out in an exact way for continuity sake), but one side of a 3x5 card is usually a pretty good indicator for me.
After I finish, I lay out my 3x5 cards in order. I want to see them all at once, so it takes a big space--I lay them out on the floor or a card table because my writing desk is too small. I then read through them to see if I like how the story flows. The reason I like all the cards laying out in view rather than flipping through them while I read is because it's easier to rearrange scenes if they're all out and visible. Even if I'm happy with the order, I'll still play around with moving a few cards to see if something brilliant comes from an unexpected place.
Once the order is set, I'll renumber the cards if necessary and stack them in order. This time I do read through them one by one to make sure I'm happy with the final order (or that I didn't make a clerical error). I'll then make any last minute notes, and I'm ready to start!
Next week I'll talk about my first draft process. Until then, keep writing and/or reading.
My working outline consists of 3x5 cards. I write one scene per card. I usually copy the scene directly from my notebook, though I occasionally need to modify them. I believe the scene description should fit on one side of the card, so if it's too long, I've been too wordy with the outline (meaning it'll suck the life out of the draft) or I need to break the scene into two parts. There are always exceptions (for example, I might be wordy in the outline because I need the scene to play out in an exact way for continuity sake), but one side of a 3x5 card is usually a pretty good indicator for me.
After I finish, I lay out my 3x5 cards in order. I want to see them all at once, so it takes a big space--I lay them out on the floor or a card table because my writing desk is too small. I then read through them to see if I like how the story flows. The reason I like all the cards laying out in view rather than flipping through them while I read is because it's easier to rearrange scenes if they're all out and visible. Even if I'm happy with the order, I'll still play around with moving a few cards to see if something brilliant comes from an unexpected place.
Once the order is set, I'll renumber the cards if necessary and stack them in order. This time I do read through them one by one to make sure I'm happy with the final order (or that I didn't make a clerical error). I'll then make any last minute notes, and I'm ready to start!
Next week I'll talk about my first draft process. Until then, keep writing and/or reading.
Wednesday, November 10, 2010
Outlining a Novel--Pre-First Draft Pt. 3
Last week I gave the framework for how I outline my novels (click here to see that post). This week I'm going to focus on how I use that framework. It all basically boils down to one technique: freewriting.
I tackle my ten scenes first. I don't plot these scenes at this point. Instead, I simply write a sentence, maybe two, about them. As I said last time, these are nothing but anchors to get me started. Later in the process is when I'll mold them into workable scenes.
I usually have a pretty good idea for a few of the ten scenes. I'll write them down first. Then, building on those I know, I'll freewrite ideas for the rest of the scenes. What I mean by this is I'll get a blank sheet of paper and write down ideas. I turn off my inner critic and go for anything, no matter how cliched or absurd. After awhile (sometimes an idea or two, sometimes ten or more), something will grab my attention, and I'll plug it into my scenes. I'll continue building until I've constructed the list of ten.
Once my ten scenes are complete, I'll see a pretty good framework for the story. But between each of those scenes are plenty of others that need to be imagined. Now it's time to freewrite some more. But I don't just wade in and hope something sticks; I like to play the "What if?" game.
If you are unfamiliar with the "What if?" game, it's when you ask yourself question after question about your story (usually starting with "What if") and come up with answers. I start with mundane questions and work myself up to the absurd. I then hone down my answers until I find something I'm happy with. I do this based on each of the ten scenes and everything in between until I'm satisfied I have enough material to construct a full outline.
To create my outline, I return to freewriting. I put a 1 on my page and flesh out the first scene of the novel. Once I'm satisfied with that scene, I'll put a 2 on the page and do the same with the second scene. I continue this way until I have my entire manuscript mapped out. I use my ten scenes and "What if?" questions (along with the various other freewrites) as guides. Sometimes as I go I'll decide to add scenes (or subtract scenes), but that's simple at this point. I just add or subtract the numbers.
My outlines have a pretty good amount of details, but they don't have everything I'll want to say when I start writing. For example, if there is a fight scene, my outline will say something simple like, "So-and-so fights so-and-so." I'll leave the details to my first draft. I also don't do much describing in my outline (except for vital descriptions that need to be in the story) so I can be creative in the first draft process. Basically I don't want to have to worry about structure while I'm writing, but I still like to be creative. How I construct my outline lets this happen.
Once this process is done (and it can take multiple writing sessions), I still have a few more steps before I'm ready to write. I'll get to those next week. Until then, keep writing and/or reading.
I tackle my ten scenes first. I don't plot these scenes at this point. Instead, I simply write a sentence, maybe two, about them. As I said last time, these are nothing but anchors to get me started. Later in the process is when I'll mold them into workable scenes.
I usually have a pretty good idea for a few of the ten scenes. I'll write them down first. Then, building on those I know, I'll freewrite ideas for the rest of the scenes. What I mean by this is I'll get a blank sheet of paper and write down ideas. I turn off my inner critic and go for anything, no matter how cliched or absurd. After awhile (sometimes an idea or two, sometimes ten or more), something will grab my attention, and I'll plug it into my scenes. I'll continue building until I've constructed the list of ten.
Once my ten scenes are complete, I'll see a pretty good framework for the story. But between each of those scenes are plenty of others that need to be imagined. Now it's time to freewrite some more. But I don't just wade in and hope something sticks; I like to play the "What if?" game.
If you are unfamiliar with the "What if?" game, it's when you ask yourself question after question about your story (usually starting with "What if") and come up with answers. I start with mundane questions and work myself up to the absurd. I then hone down my answers until I find something I'm happy with. I do this based on each of the ten scenes and everything in between until I'm satisfied I have enough material to construct a full outline.
To create my outline, I return to freewriting. I put a 1 on my page and flesh out the first scene of the novel. Once I'm satisfied with that scene, I'll put a 2 on the page and do the same with the second scene. I continue this way until I have my entire manuscript mapped out. I use my ten scenes and "What if?" questions (along with the various other freewrites) as guides. Sometimes as I go I'll decide to add scenes (or subtract scenes), but that's simple at this point. I just add or subtract the numbers.
My outlines have a pretty good amount of details, but they don't have everything I'll want to say when I start writing. For example, if there is a fight scene, my outline will say something simple like, "So-and-so fights so-and-so." I'll leave the details to my first draft. I also don't do much describing in my outline (except for vital descriptions that need to be in the story) so I can be creative in the first draft process. Basically I don't want to have to worry about structure while I'm writing, but I still like to be creative. How I construct my outline lets this happen.
Once this process is done (and it can take multiple writing sessions), I still have a few more steps before I'm ready to write. I'll get to those next week. Until then, keep writing and/or reading.
Tuesday, November 2, 2010
Outlining a Novel-Pre-First Draft Pt. 2
As I've said, I need to outline my novel or the story won't get written. I've tried too many times to simply start writing, and each attempt has resulted in a few chapters that went nowhere. When I plot it out, however, I actually get a finished manuscript. Today I'll show you how I begin my outlining/plotting process.
I use a form of the three act structure. Act one goes from a strong opening scene to the first turning point--or first really big problem for the protagonist. Act two is obviously the large middle section of the book. For my purposes, I break it into two sections. Part one of act two goes from building on turning point one by intensifying the problem to the temporary triumph for the protagonist--it looks like he or she has won, but we'll soon learn that it won't last. The second part of act two goes from the reversal--where we see how the protagonist's triumph has gone sour--to the second turning point of the story--the lowest point for the protagonist, where it looks like it's all over. The third act goes from the protagonist discovering what the final obstacle is and moves forward to the final resolution of the story. Of course, for readers to really remember the story after they've finished the book, it should end with a bang.
In order to start plotting, I use that three act structure and break it down into ten key scenes. These scenes are the anchors to my plotting. A novel, obviously, is much more than ten scenes, so these ten are an excellent place to put the initial dots I need to connect. I will list below the framework I use for the ten scenes. 1 and 2 are act one; 3 through 5 are act two, part one; 6 through 8 are act two, part two, and 9 and 10 are act three.
1) Decide what the opening should be (should be a strong scene).
2) Decide what turning point #1 is (what makes the story big, or the first huge problem for the protagonist).
3) Decide how the problem intensifies (how the story gets bigger, more meaningful).
4) Decide what big even can happen in the middle of act two, part one (relates to the protagonist solving the problem).
5) Decide what the temporary triumph for the protagonist is.
6) Decide what the reversal is (how the protagonist's triumph goes wrong).
7) Decide what big event can happen in the middle of act two, part two (relates to the protagonist solving the problem).
8) Decide what turning point #2 is (this should be the lowest point for the protagonist--it looks like he or she can't win).
9) Decide what the final obstacle is for the protagonist to overcome.
10) Decide what the resolution to the story is.
That's the beginning framework I use. Bear in mind that if the story later calls for it, I'll move things around. I'm only strict in my structure at this point because I don't yet know much about the plot--but more on that in weeks to come. Next week I'll give you a look at how I fill in the details of these ten scenes. Until then, keep writing and/or reading.
I use a form of the three act structure. Act one goes from a strong opening scene to the first turning point--or first really big problem for the protagonist. Act two is obviously the large middle section of the book. For my purposes, I break it into two sections. Part one of act two goes from building on turning point one by intensifying the problem to the temporary triumph for the protagonist--it looks like he or she has won, but we'll soon learn that it won't last. The second part of act two goes from the reversal--where we see how the protagonist's triumph has gone sour--to the second turning point of the story--the lowest point for the protagonist, where it looks like it's all over. The third act goes from the protagonist discovering what the final obstacle is and moves forward to the final resolution of the story. Of course, for readers to really remember the story after they've finished the book, it should end with a bang.
In order to start plotting, I use that three act structure and break it down into ten key scenes. These scenes are the anchors to my plotting. A novel, obviously, is much more than ten scenes, so these ten are an excellent place to put the initial dots I need to connect. I will list below the framework I use for the ten scenes. 1 and 2 are act one; 3 through 5 are act two, part one; 6 through 8 are act two, part two, and 9 and 10 are act three.
1) Decide what the opening should be (should be a strong scene).
2) Decide what turning point #1 is (what makes the story big, or the first huge problem for the protagonist).
3) Decide how the problem intensifies (how the story gets bigger, more meaningful).
4) Decide what big even can happen in the middle of act two, part one (relates to the protagonist solving the problem).
5) Decide what the temporary triumph for the protagonist is.
6) Decide what the reversal is (how the protagonist's triumph goes wrong).
7) Decide what big event can happen in the middle of act two, part two (relates to the protagonist solving the problem).
8) Decide what turning point #2 is (this should be the lowest point for the protagonist--it looks like he or she can't win).
9) Decide what the final obstacle is for the protagonist to overcome.
10) Decide what the resolution to the story is.
That's the beginning framework I use. Bear in mind that if the story later calls for it, I'll move things around. I'm only strict in my structure at this point because I don't yet know much about the plot--but more on that in weeks to come. Next week I'll give you a look at how I fill in the details of these ten scenes. Until then, keep writing and/or reading.
Wednesday, June 3, 2009
Writing Without an Outline Pt. 2
I've discovered something about myself that I sort of figured. I can't write a long piece without an outline of some sort. The novel I talked about last week that I was winging just isn't happening. I've written myself into so many corners that I have to keep pasting entire writing sessions in a different file (the I don't like but don't throw away file). This seems counter-productive to me. I want to have freedom to play with the words, with the story, with the characters, but I'm learning that no outline is just too much freedom. It works for some other writers, but not for me. I don't like the idea of making a huge, elaborate outline with no wiggle room for fun writing time, but I do need something to keep me on track. My little writing exercise experiment has failed, though it really hasn't because I now know what doesn't work for me. That's a good thing.
While I get back to the drawing board, if you feel so inclined, add a comment about how you write. Are you a seat of your pants writer? Do you use an outline? Is it a bare-bones outline, or do you outline each chapter/plot point? Until next time, keep reading and/or writing!
While I get back to the drawing board, if you feel so inclined, add a comment about how you write. Are you a seat of your pants writer? Do you use an outline? Is it a bare-bones outline, or do you outline each chapter/plot point? Until next time, keep reading and/or writing!
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