I thought it was worth a post.
Because I believe outlines don’t have to kill your interest in the book.
You could try the barest possible directions – an opening, a pivotal middle and a surprising but elegant solution at the end. Those three markers might be enough to keep you on piste and still let you explore.
Certainly I’m not a person who can tolerate boredom or predictability. If a writing session hasn’t confounded my expectations in some way, I’m disappointed. Yet I’m a fan of detailed outlines. Indeed, I find they don’t stultify or restrict at all. Au contraire.
I think it’s because planning is not the same mindset as drafting. Drafting is experiencing the story moment by moment – and that’s when the surprises come. Here are some examples.
- Immerse in a description and you discover certain practicalities that add more life to a scene.
- As you build a location, you realise it forms a resonance with what’s going on. You might then make your characters use it more frequently.
- As you flesh out a set-piece of dialogue, you realise it won’t work the way you assumed because there’s an interesting hitch in the characters’ attitudes to each other. Their reluctance to follow your orders – or vice versa – which you have not felt until this moment, opens rich possibilities.
- You might try to write a piece of action that seemed straightforward. But you realise you need more of a build-up. Or you know the character would do it but they need a stronger reason. Or maybe they won’t do it at all. Or maybe they do it and it’s not interesting enough.
All these moments seemed clear and logical in the outline. But everything might change when you’re with the characters breath by breath.
So I find that outlines are like a question. I think the character might do this? I put it in the plan and find out.
If the outline is most concerned with the ‘what’, the draft is interested in the ‘how’. And ‘why’. And whether the reader will care. If you like that kind of work – and I do – you might find outlines are not a hindrance but a stimulating provocation .
Here’s some provocation in action. Here’s where I wrote about a major twist I fell over in the first draft of Ever Rest. I had not considered it – even remotely – until I wrote something from the outline and decided it wasn’t enough. The characters had a sudden rebellion that kicked everything over. Amazingly, it worked very well with the rest of the book.
But why bother with an outline?
You might ask, why bother with the outline if it’s so likely to change? What’s all that planning for? I’m asking myself that. My gut reaction is that I need an outline or I’ll bolt madly off into my imagination and never finish.
But actually, there’s a good underlying reason. It’s structure.
Stories work by structure. Resonances, crescendos, misdirection, clue-planting. That’s what you’re really building when you work on an outline – a structure that is robust. And when you’ve done that, you understand what you can easily change, what the fallout will be and whether you’ll need other elements. There’s a lot more about structure in my plot book.
Your outline, your way
We’re all different. So this is the real secret. Write the kind of outline that gives you a star to follow, and makes sure you don’t forget the important steps, but still leaves you plenty to discover and enjoy.
Psst… There’s more about outlining in the original Nail Your Novel.
Psst 2… Outlining is one of the ways to nail Nanowrimo. Here’s my post of resources for that
Psst 3… If you’re curious to know how Ever Rest is doing, this is my latest newsletter.