When I started writing, I thought I would be this big outliner. I always like to feel in control and hated sitting in front of the computer not knowing what to do next so I figured I will sit down with this excel sheet and everyday I’ll know I’m doing this this and this. I don’t know why my brain hates me while writing, but it absolutely won’t work this way.
The funny thing is that up until this current book I still believed I was an outliner. I don’t know where I got that since I wasn’t actually outlining. I think I convinced myself that I was doing it in my head because I usually sort of know the ending. Anyway, so not the case.
I know this because I made a huge mess of my WIP by having no idea what the heck was going on. Y’all don’t even want to know how many versions of this book I’ve had. And even if you do want to know, I don’t. Now, who knows, maybe I needed those versions to find direction. I’m still sort of holding my breath that my current direction is working. Nobody jinx it!
And I still can’t seem to outline. However, I hear this is an acceptable way to work. Except for when you actually get a book deal and you need to sell on proposal. Very tricky.
For now, though, I’m trying to ease my way in. This is a very half-hearted attempt at outlining, but hey, it’s all I’m capable of right now.
So, this is what I do:
Start with my premise
What type of character would create the most conflict in that situation?
What initial decision by the MC gets the ball rolling?
What are the consequences of this decision?
What are the consequences of that decision?
Now, what is the worst possible thing that could happen to the main character? Make sure that the worst possible thing is tied into the personality that creates the conflict.
What personality trait of the main character will cause more trouble?
What personality trait of the main character will help to solve the problem?
Rinse and repeat over and over and over again.
I ask these questions and the responses will probably cover a couple chapters. I find that I can’t do the whole book, but I’m trying to know about a chapter or two head vaguely what will happen by answering these questions. Sometimes the questions don’t help me think of the next scene or chapter, but do light the path and give me a few scenes down the road so I know where to aim. More importantly, I find that these questions result in a more cohesive plot in which the characters and actions tie together.
Maybe some great writer’s don’t outline or plan ahead in some form, but I can’t imagine writing without a story skeleton.
For me, conflict and emotional connection is crucial. I have to know when and where the action is going to raise the stakes and make the heart race. I just can’t pull off a coherent story without leaving a trail of plot breadcrumbs. (Not that I can pull it off, even with pages of outlines, hee, hee.)
I think Robert McKee is the zen master at this. His screenwriting bible, Story, deals a lot with how a great story develops.
McKee’s take on story structure:
http://www.associatedcontent.com/article/617845/book_talk_robert_mckees_story_substance.html?cat=38
I found much to my surprise, that creating even the most basic outline (about three short bullet points) helped me out of a 1 1/2 year logjam on a particular story. I was able to refocus, rewrite and complete the story in one month.
Hmm. It’s funny, but that is soooooo not how I outline. Not that I’m a big outliner, either, but I do use an organic-in-the-head method that’s actually some form of outline. When I write it down, I’m always surprised at how many specific scenes and plot threads I have mapped out.
For me, I usually start with an incident or question.
I turn that into a premise.
Then I frame my premise–okay, so here’s my idea, but how does it work? What kind of plot do I need to write about this premise? What’s the world of the story, the medium, the kind of story I’m writing? What is the coolest, best, most entertaining way to explore this premise?
Then I begin writing while constantly thinking about two chapters ahead. And like jmartinlibrarians, I can’t help but leave the plot breadcrumb trail. I just hit all these points where I go, “oooh, that would be so cool if this connected to this…”
When I’m nearing the end of the beginning, I start to think longer term, and tend to plan out my ending a little bit. It’s much like how I frame my premise–I pretty much complete the frame. What’s the coolest, best, most entertaining way to tie up this premise? How will the plot work to do that?
Then I work my way back and get an idea for the middle.
Then I continue writing a chapter at a time, planning about two chapters ahead, and change a LOT of it as I continue with the story.
(wow, that’s a lot. Okay. Ahem.) I don’t know if any of this will help you, Chan, and I can tell you’re trying all sorts of various things. Your experience is reminding me a bit of my experience writing Shatterbox. The only real way I handled that was to keep coming back to my premise–sometimes it changes as you write, and you have to make sure you change it accordingly so that it reflects your new values.
Best of luck, and sorry for jabbering,
-CA