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Posts Tagged outlining your novel
Do you outline a novel before you write it or do you dive straight in? That’s the source of one of the great divides between writers, the ‘planners’ v the ‘pantsers’. To complicate matters, some pantsers are actually not as fancy-free as they appear.
And you might ask what counts as an outline. Is there a bare minimum an outline needs to do? Will an outline squash the creativity? Could you outline in a fresh way to give yourself more scope to be inventive? Does your outline even have to be in words? (Interpretive dancers, this is your chance to shine…’ I’m only half joking….)
Today I’m at the IngramSpark blog, because they asked me to talk about all the various and creative ways we can create outlines for our stories. There’s something for everyone. Do come over. There’s also a lot in my workbook, BTW.
And if you’re curious about what’s been going on in my own writerly lab, here’s the latest.
Some writers plan to the ennnnnth degree. Before they write, they prepare a trunkload of ideas, route maps and background. Then we have the scribblers who travel light. Just the barest plot twist, perhaps a skinnily-honed last line or a little black denouement. (Actually, I’m warming to this wardrobe theme.)
So if you’re in the former category, what mustn’t you forget? And if the latter, what’s the bare minimum you can get away with?
Today I’m at a festival called Chapter Book Challenge, a month-long event that aims to galvanise writers to write a chapter book in just a month. I’m zoning in on the essentials for the drafting process – and as an added bonus, commenters on the post (THAT post, not this one!) will get entered into a draw to win a paperback copy of Nail Your Novel, original flavour, which is packed with essentials for getting you from first idea to final draft. Come on over to find out what every well-dressed novel is wearing...
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As you saw last week, I’m plotting The Mountains Novel on cards. I know the big picture – how it begins, where the characters can go and what the final note is. I’m now shuffling the events to get the strongest order and viewing the results with a critical eye.
Here’s what I’m looking for.
1 Finding the logic gaps
Is a story beat missing? Should a character react to an event? Is there a consequence I should cover?
2 Characters fitting the plot
Am I forcing a character to do something to suit the plot instead of what comes naturally to them? Is anyone behaving for the plot’s convenience, instead of the truth of the story? For instance, is someone doing something dumb so that the plot can advance?
This isn’t always bad, by the way. Sometimes characters do things that aren’t in their best interests or that spoil things for themselves – and it’s part of their complexity. And if they do, I need to make a feature of it.
3 Is anything predictable?
Could I introduce more twists and surprises? While plotting step by step, it’s easy to follow an obvious pattern. Now I need to make sure everything happens in the most interesting way, and look for opportunities to misdirect the reader or reinforce my themes. I also need to watch out for convenient coincidences.
I’m wondering if I need comic relief? The Mountains Novel is quite elegaic, and too much might get monotonous or precious. I’m looking for opportunities to add lighter moments so that I don’t wear the reader out.
5 Other rethinks
I’ve realised I’ve called two characters by the wrong names. One of them started out as comic relief, a variation on a stereotype who would give the reader something familiar to follow in a bizarre situation. But he is now so much of an individual that the name seems crude. This is annoying, because when I invented it I was rather delighted. But funnily enough, it would suit another secondary character, whose role must change because of the character who has developed. Can I adjust my mental image of the name? Or should I (reluctantly) consign it to outtake history?
6 Reviewing my wrong turnings
While I was conceptualising The Mountains Novel, I wrote reams of notes for possible story directions. With each new exploration, I didn’t dare read the old material in case I lost my way. But now I’m confident in its direction, I can look back over those early conjurings and see if there is material that might be useful. Many of them won’t fit, but some will add richness.
You can find other tips on outlining and troubleshooting in Nail Your Novel, which writing teacher and literary agent Lisa Cron recently recommended as part of her shortlist of essential writing books (hooray!).
And – hooray #2! My Memories of A Future Life (nailed novel) has been given a Seal of Excellence for Outstanding Independent Fiction by Awesome Indies. This was a big surprise as they first assessed it two years ago and I never thought they’d even remember it. Thanks, guys!
Do you troubleshoot your outline? If so, what kinds of things have you changed that made a big difference?
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