The Place For My Writers Notes

Original Posting Dec. 5, 2016

I'll bet you thought I forgot about this! Outlining Your Novel by K. M. Weiland.

Chapter 9 is titled "The Extended Outline: Creating a Story." So now we're going to get into it! Just in case you lost track, so far we've talked about...

Chapter one was about should you outline?
Chapter 2 was about before you begin.
Chapter 3 delved into crafting a premise.
Chapter 4 was connecting the dots in general sketches.
Chapter 5 taught us about key story factors and general sketches.
Chapter 6 was Character Sketches, part one, about backstory.
Chapter 7 was the second part of the character sketches, about character interviews.
Chapter 8 was about settings.
Now we're about to do Chapter 9 on extended outlines.
Chapter ten takes on the abbreviated outline, aka roadmap.
And then we'll hit the conclusion, in chapter eleven, that talks about using the outline.

Whew! Lots of stuff. Okay...

K says that this is mapping out, in as much detail as possible, every road stop in your story. She suggests that this may take several months, but it's also very highly creative. She provides an example of how she does part of her extended outline, which she writes in her notebook. Dated and numbered, these are very much brainstorming, thinking pieces, where she considers different options and ideas. I would call these scene sketches, trying to work out the plot, but with lots of room for later work.

But before you dive into that, exploring the options and having all that fun, K suggest you should think about:

1. What kind of story are you writing? What about tone, pace? She suggests a simple approach. Think about what would you most like to read. Now write that! Look at the books, movies, or whatever that you enjoy. What elements do you really like?

2. Who is your audience? Age, gender, ethnicity, beliefs. Of course, one of the easy methods is to pick out a person, and write for them.

3. What point-of-view will you use? First, third, and of course there are the variations of third, limited and so forth. Some things to think about include how many POV's are you going to use? Who has the most at stake? Who has the most interesting voice? You may want to try playing with voice and tense.

4. Structure your story. Basically, K talks about three parts, beginning, middle, ending.
Beginning: introduce the main character, show the normal world, maybe a characteristic moment? Don't forget the action! Why should the reader care and empathize? What is the main characters desire/goal? Make sure the inciting incident changes the main character's life forever. Oh, let the main character react to the inciting incident.
In the middle: build that spiral of events that are outside the main character's control. Push the goal further out of reach. Let the main character set new goals. Finally, give the new character a decision that shifts them from reaction to attack.
Ending: let the main character achieve a new understanding of themselves and what they are trying to do. Stretch the main character's resolve, make it hard for them. The last-minute recovery is practically required here. Make the main character a hero. Give them a unique response. You may want to show the defeat of the opponent. Let the main character reach their goals. And make sure you have a memorable ending.

5. Consider the three fundamental elements. K says that's relationships, action, and humor. You want to include some of each, with a good balance for your book.

6. You might want to try framing. Often there is a starting and ending that are bookends, with the story in between.

7. The domino effect! Make every scene matter. They should follow each other like dominoes falling.

8. Try reverse outlining! The easiest way to layout dominoes falling is to start at the end. Then work your way backwards.

Finally, with all of that in your mind, scene by scene, bit by bit, lay it all out. There is your extended outline.

And, contrary to rumors, you still have room to maneuver. Yes, you now have a good understanding of the main points in each scene, how your plot is going to work out, but there's still a lot of detail to describe the background, the action, the dialogue, and all the other parts. With the overview in mind, it's a lot easier to do that.

So, outline! We'll write soon!
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Original Posting Oct. 19, 2016

Oho! Over here on her website, K. M. Weiland talks about getting ready for Nanowrimo! Just what we all need, right? Now, she's got three weeks worth of articles already, so let's catch up.

Oct. 3

http://www.helpingwritersbecomeauthors.com/should-you-outline-your-novel/

K. asks the poignant question, should you outline your novel? Well, first, let's make sure we all understand what an outline is? First, it isn't really a list of scenes (which comes straight out of English classes where they said "Outline this story/book" and meant list the scenes). Second, it isn't necessarily about working out a viable story structure. This is kind of the improved version of list of scenes, but instead of doing scenes, you're focusing on major plot points. Better, but still not quite there. So, what is outlining? BRAINSTORMING! It's the process of discovery, of considering and exploring possibilities. So, yes, you may very well produce a story structure and list of scenes. But that's not the point, that's just a by-product. The process, the thing you are doing, is exploring what your story is going to be. Okay? So stay tuned, and we'll look at four questions to ask yourself.

Oct. 10

https://www.helpingwritersbecomeauthors.com/start-your-outline-with-these-4-questions-nanowrimo/

K. continues by tackling the question of where to start the outline! Not the linear beginning. Nope, start with the big picture. What is your story about? Who are the characters? What themes are in this conflict? Where are you going to end? What obstacles will there be in reaching that endpoint? So, we're going to do a general sketch.

1. What do you already know about the story? You probably have some ideas or even impressions. Write those down.

2. What are the existing plot holes and questions? Dang, there are things you don't know yet? What are they? What questions do you have about this story?

3. Ask the 3 important "what" questions? What if ...? What is expected? What is unexpected? That's right! Have some fun filling in the edges.

4 questions to get you going:

1. What general conflict does your premise provide? Write a premise sentence for your story. Now, what is the main conflict in there? Premise: situation, protagonist, objective, opponent, disaster, and conflict, in a nice pithy statement.

2. Who/What is your story's antagonistic force? What kind of global, international, national, public, and personal stakes are there? What is the goal, motivation, and plan for each kind antagonist?

3. What are the protagonist's goals and motivations?

4. What secrets are your characters hiding? For each character, think about what they are hiding.

Go for it! Get the big picture of your story down. Then come back, and we'll talk about the heart of the story.

Oct. 17

http://www.helpingwritersbecomeauthors.com/nanowrimo-guide-outlining-find-heart-of-your-story/

K. now turns to making sure that you've got the heart of your story, not just the skeleton. Plot, events and mechanics, are important, but what is the heart of your story? Theme! And... here are the questions to help you find that.

1. Plot: What is the external conflict of the story? What is the protagonist trying to achieve? Why? What is the antagonist up to, and why? What are the stakes for all this? How does the protagonist have to change?

2. Character: What is the internal conflict in your story? What is the character arc? What does the character want? What do they need?

3. Theme: What is the theme of the story?

Whoo! So we're going to lay out the plot, in big pictures, and take a crack at the theme.

And we still have a week or so before Nanowrimo clobbers us. So get cracking!

Sounds like a plan to me!
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Original Posting Aug. 22, 2016

So, here's another chapter from Outlining Your Novel by K.M. Weiland. This time, it's chapter 7, with the title Character Sketches, Pt. 2: Character Interviews. Here K recommends really drilling into each character, delving into who they are and why. Like many other descriptions of how to do this, K recommends a lengthy set of character questions. You can find the list in her free ebook Crafting Unforgettable Characters: A Hands-On Introduction to Bringing Your Characters to Life.

K suggests that you probably only want to delve into this depth for your main characters, protagonists and antagonists. Maybe one or two important minor characters -- major minor characters, if you like contradictions.

The list starts with the obvious, name, and then quickly delves into such the as background, friends, enemies, outlook on life, physical appearance, personality, and greatest success and biggest trauma. There's a lengthy list, but I'm not going to put it all in here. K recommends instead of just filling in the blanks, to do some freewriting and brainstorming about important questions.

And, if that doesn't seem to be doing the trick, K suggests a freehand interview. Put the questions away, and just talk with the character. Ask questions, and see what bubbles up!

Finally, K admits that she isn't a fan of psychological charting, such as the MBTI, but that if you want to, you might try the enneagram, with its nine categories and see if that works for you.

So. Another chapter in outlining that doesn't feel at all like the old English class outlines. Instead, we're delving into the main characters and their backstory, or even sitting down and talking with them. Good stuff, but... Where's the outline?

Relax. There is one more chapter delving into the setting, and then K is going to get back to the outline. Chapter 9 is about extended or in-depth outlines, while Chapter 10 is about short outlines. And Chapter 11 talks about using outlines. I think K is helping us to develop our story, even if it isn't quite the dive into an outline approach that I might expect from the title.

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Original Posting July 15, 2016

Once more, from Outlining Your Novel by K. M. Weiland. This time, I'm looking at Chapter 5, General Sketches, Pt. 2: Key Story Factors. Chapter 4 was about making a scene list, and in this chapter, K recommends looking at five key factors: motive, desire, goal, conflict, and theme.

K starts with a discussion of three that are closely tied to characters: motive, desire, and goal. Why is this person doing these things? What are their intentions? What do they want to do? Why? Motives, or as the actors put it, what's my motivation? Motive fuels desire, desire sets goals, and then... The character acts. (Go read the book, there's a whole section that I'm shortcutting discussing these three factors).

K suggests:

1. Get a clear idea of who the character is at the start.
2. Usually, open your story with a character imperfect or incomplete, so that they can grow.
3. Give concrete examples of their behavior and what's behind it (motives, desires, beliefs) that needs to change.
4. Give the character tools to improve, such as a mentor's advice, or an unstable situation.
5. Save the revelation to coincide with the emotional and physical climax.
6. Prove their inner change through external actions.

All right? So think about the character arc, and how the character thinks about what is going on.

Next, K tackles conflict. Conflict is fundamental to a good story. So take that motivation, desires, and goals (MDG) of your character and start putting obstacles in the way. Keep it difficult for your character by:

1. Look for lags. Times that are happy and relaxed... Are good times for a problem to crop up!
2. Make a list of the 10 worst things that could happen. If that's not enough, go for 20!
3. Vary the intensity. Make your obstacle course a real pain, with water over here, hedges over there, and maybe a rock wall climb for fun.
4. Evaluate the scenes for frustration. Make sure that every scene has obstacles for your character to overcome.

Some options for obstacles? Sure! Personality clashes. Unexpected situations. High stakes, such as a tight timeline. Inner and outer battles. Look for a balance and increasing conflict. Use foreshadowing and tension to build.

Last, but not least, think about theme. You don't want to be heavy-handed, but let your theme shine through. Use your characters to show us theme. Consider some of these: what is the main character's internal conflict? How does the main character change in their views? Can you demonstrate that change? Do you want to use symbolism? What subtext, that strange implicit writing, can you use to support the symbolism and theme?

All right? So now K has opened up the outline, or the process that is building an outline, to cover thinking about what makes your characters do things, where is the conflict, and what do you think the theme is?

"Every so often, take a mental step back from the creative whirlwind you’re scribbling onto the page and evaluate these elements."

You might have been expecting a fairly linear, make up this outline and then start writing, approach. However, it seems to me that K is actually making sure that we think through our story from various directions, with scene lists, MDG of characters, conflict, theme...

Your exercise, should you chose to try it out, is to take this sketchy description of key story factors and give it a whirl! Take a story, your own or someone else's, and walk through this list. What is the main character's MDG? How about the conflict? And what's that elusive theme?

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Original Posting July 2, 2016

And, here we are again with another segment from Outlining Your Novel by K. M. Weiland.

In Chapter 3, K starts us into something more obviously writing related. Craft your premise! The key idea here seems to be that we should focus on developing a one sentence statement of what the story is about. This should include plot, theme, characters, setting, and central conflict. That's going to be one packed sentence!

K suggests several steps in getting to this. First of all, you might want to think about "What if?" That little question often helps to tickle our brains. Then brainstorm a bit, thinking about variations, possibilities, and so forth. Second, give yourself a kick in the brain by thinking about what is expected? You may decide to use that, or you may want to break out of that mold, but think about what the expectations are around whatever you dreamed about with "What if?"

Psst. In case it isn't obvious, fill in the "What if?" With whatever excites you. What if cats really were telepathic? What if there was a wildfire in town? What if... Whatever you like!

Then, with your thoughts all stirred up with "What if?" And what are the expectations? Sit down and write premise sentences. Include the main character, conflicts, and plot. Go ahead and write out several. Try to hammer out the best one.

Not quite there yet? Or maybe you just want to do a little testing of your premise? Okay, step back and make a list. What are the 4 or 5 big moments in your plot? Next, come up with at least 2 complications for each of those moments.

Still looking for some ideas? Stop and think about what will make the characters uncomfortable during those moments.

What are the settings for your moments?

Now, it's probably a good time to consider, who should be the protagonist of your story? Who has the most at risk, who hurts the most, who will grow the most? Also, who is affected most by the inciting event? Something kicks off your story -- who does it kick? What are two major problems or anxieties that face this protagonist of yours? How do these problems affect the others in the tale?

All right? Take all this stew of thinking, and boil it down to a one sentence statement of the premise of your story.

Keep track of all the brainstorming, ideas, and other odds and ends that you turn up in this stage! Some of it is bound to be useful as we go along.

The keys here are pretty simple. Start with a "What if?" That really reflects the story you want to tell. Then try to develop a premise statement. Use the questions as ways to help you make sure that premise the the best one for you.

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Original Posting June 18, 2016

I started reading an ebook with the title Outlining Your Novel: Map Your Way to Success by K. M. Weiland. I know it's available on Amazon. Anyway, these are some of my notes on reading through it. I'd be interested in whatever thoughts you might like to share.

Chapter one is Should you outline? Basically, K points out four major misconceptions that people often have about outlining that cause problems:

1. Outlines require formal formatting (and didn't we all hate those English teachers who insisted on 1a b etc, all properly indented and don't forget the punctuation?)
2. Outlines limit creativity (don't color outside the lines? Come on, it's your outline, you can modify it if you want to!)
3. Outlines ruin the joys of discovery (which is why no one uses maps and travel guides?)
4. Outlines take too much time (yeah, like writing the wrong thing and having to rewrite doesn't take any time at all?)

Then K goes into the benefits of outlining.
1. Ensure balance and cohesion (because you can see the whole picture before you dig into the details)
2. Prevents (well, helps avoid) dead-end ideas. Whack them while they are small, instead of spending a lot of time on them and then realizing it doesn't go anywhere!
3. Provide foreshadowing! Since you have a plan for the whole story, it's a whole lot easier to start foreshadowing earlier in your writing process.
4. Smoother pacing. Again, the broad view and plan ahead of time lets you do a better job of pacing.
5. Indicates the preferred POV. First person, third person, omniscient? Whose POV? It's hard to get right, but again, that overview can help you decide.
6. Maintain a consistent character voice. Since you have had a glimpse of the whole story, you can make that character more consistent.
7. Offers motivation and assurance. If you know what's going on across the story, it's a lot easier to keep the motivations straight, and you are more assured about what you are doing.

That's kind of a quick summary. The trick here, I think, is that if you are reading her book, you are probably interested in outlining and just need some support to try it. I doubt if hard seat-of-the-pants writers would even pick up the book, nor are they all that likely to be convinced by her arguments.

So... Next chapter is all about different styles or approaches to outlining. But I'll stop here for now.

Do you outline? Or discovery write? Oddly, the folks on Writing Excuses often say Dan is a discovery writer, but he's also explained the process of thought he goes through before writing, and it sure sounds kind of like outlining to me, even if he does it in his head instead of on paper. Brandon Sanderson used to claim he was a strict outliner, but then we found out he does three page outlines for 400,000 word books, and actually discovery writes his characters and other important parts of his stories. It seems as if the question might be how is your current writing process structured, and what frameworks or other methods do you use?

To outline or not to outline, was that the question?

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