#outline tips

[thewriteadviceforwriters]

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

�� 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[banapsha]

Plotting like a Pro: The Only Guide You Need to Outline Your Next Novel

So, you've got this brilliant idea for a novel swirling around in your big monster brain, but you're not quite sure how to wrangle it into shape. *read this next line dramatically* Fear not, soldier, for I am here to guide you through the tumultuous journey of outlining your masterpiece. *you can stop now* But do get ready to dive into the wild world of outlining – where chaos meets creativity, and brainy think-think meets handy write-write.

What Exactly is an Outline?

An outline is basically like the blueprint for your novel – it's your roadmap to success, your guiding light through the abyss (too much?) It breaks down the events of your story in sequential order, ensuring that you stay on track and don't accidentally veer off into the land of plot holes and confusion. Think of it as your comic relief best friend (minus the comic relief), always there to keep you in check as you navigate the treacherous waters of writing. 

What Does an Outline Look Like?

Now, technically speaking, there are rules for outlining. But hey, as long as whatever you decide to do works for you, you need no rules. Some fancy folks swear by fancy formats like the skeletal outline or the flashlight outline (let me know if you need details on said fancy formats), but honestly, as long as it works for you, you do you, boo-bear (that’s definitely not my thing). Whether you prefer bullet points, numbers, or hieroglyphics (AKA code), the format doesn't matter as long as it's easy for you to understand. After all, the point is to simplify the process, not complicate it further.

Benefits of Outlining:

Oh boy, where do I even begin with this one? Let me count the ways outlining will change your writing game (maybe even your life. Okay, that was too much.): (TIP: read the headings dramatically for a better experience)

It’s Your Beakon Through the Murky Waters: Ever feel like you're navigating through a dense fog with no compass in sight? Fear not, my friend, because outlining is exactly that for when you enter the said forest to write your book; your guiding light. It's like having a trusty co-pilot by your side, whispering sweet plot pointers in your ear as you navigate the treacherous waters of storytelling. No more aimless wandering – with outlining, you'll always know which way to steer your literary ship.

Plot Holes? Not on My Watch: Say goodbye to those pesky plot holes that seem to pop up out of nowhere like weeds in a garden. Outlining is like a preemptive strike against narrative inconsistencies, ensuring that your story is as tight as corsets from start to finish. With each plot point neatly mapped out, you can rest easy knowing that your readers won't be left scratching their heads wondering what the heck just happened.

It Helps You Defy the Abyss: Picture this: your story is like a runaway train hurtling down the tracks at breakneck speed. Without proper guidance, it's all too easy for it to veer off course and crash and burn in a fiery wreck (That would be an awesome scene but not what we’re looking for.) Outlining is like the conductor that keeps that train chugging along on the right track. No detours, no distractions – just a straight shot to narrative greatness.

Crafting a Killer Climax: Ah, the climax – the moment we've all been waiting for. With outlining in your team, crafting a jaw-dropping climax is as easy as pie. No more floundering around trying to figure out how to tie up loose ends – your outline has already done the heavy lifting for you. So go ahead, crank up the tension, unleash those plot twists, and watch as your readers' jaws hit the floor.

Also, Adios, Writer's Block: Writer's block – the nemesis of every living writer. But not anymore, because outlining is like a magical antidote that banishes writer's block to the furthest corners of the earth. With each plot point neatly laid out before you, there's no room for procrastination or self-doubt. So grab that pen, flex those creative muscles, and get ready to slay the blank page like never before.

Less Revision, More Celebration: Let's face it – nobody likes revising their work. It's like trying to untangle a knot of Christmas lights – frustrating, time-consuming, and guaranteed to give you a headache. But with outlining, you can kiss those revision woes goodbye. By nailing down your story's structure from the get-go, you'll save yourself countless hours of agony down the line. So go ahead, pat yourself on the back – you've earned it, champ.

Stuck While Outlining?

Feeling like you're trapped in a maze with no way out? (Lucky for you, you're not Newt. Get it?) Don't sweat it, my friend. Because Mama’s about to drop some bombs! 

Work Backwards Like a Boss: Ever heard the phrase "it's easier to navigate a maze when you see the finish line"? Well, tiny, it's time to put that theory to work. When you find yourself stuck in the tangled web of outlining, start with the climax – the grand finale, the pièce de résistance. Then, work backward, asking yourself how the f*ck you got there in the first place. It's like retracing your steps through a labyrinth, armed with the knowledge of where you're headed. Suddenly, those tangled plot threads start to unravel, and you're on your way to outlining glory.

Outlining Ain't Easy, But Neither is Writing: Let's be real for a minute – outlining is hard. Like, really hard. But here's the thing: so is writing. You're basically creating something out of nothing, conjuring entire worlds and characters out of thin air (or neurons). But when you tackle outlining head-on, you're tackling that frustration right at the source. Instead of letting it simmer beneath the surface throughout the entire writing process, you're ripping it off like a band-aid and getting it out of the way upfront. Sure, it might be tough, but trust me – it's a heck of a lot easier than dealing with it later down the line.

Don't Skip Outlining, You'll Regret It: Now, I get it – outlining can be a pain in the @$$. It's tempting to skip this step altogether and dive headfirst into the writing process. But trust me when I say this: if you’re new and want to make your life easier in the long run, outlining is non-negotiable. Think of it like laying the foundation for a house – sure, it takes time and effort, but without it, your literary masterpiece is destined to crumble (with all the people still inside). So don't shoot yourself in the foot by skipping outlining just because it's difficult. (You shoot your foot now, something is gonna come bite you in your backside later.)

Does Outlining Ruin the Creative Process?

Ah, the age-old question. Does outlining zap all the creativity out of writing? Short answer: absolutely not. In fact, outlining is like flexing your creative muscles on steroids (or any other choice of d*ug). It's your chance to invent an entire world, complete with characters, conflicts, and plot twists in like a jiffy! Think of it as storytelling in shorthand – compact, efficient, and oh-so-satisfying. Outlining isn't the enemy of creativity – it's the ultimate wingman. It's like playing god in your own little literary universe, and let me tell you, it's a heck of a rush. 

Forget what you've heard about outlining being dry and boring – it's anything but. (This is your GOD era) Trust me, there's nothing more satisfying than seeing your world completely mapped out in full.

Embrace it, harness it, and watch as your dream narrative becomes a reality.

With an Outline, You Know What's Coming Next...But Does That Lessen the Excitement?

With an outline in hand, you're always in the know about what's coming next. But that doesn't take away from the thrill of writing the novel. Honestly, it's quite the opposite for me. I find myself even more excited to dive into my story because I have a roadmap of where it's headed. Knowing the next scene waiting to unfold keeps me on the edge of my seat, eager to see how it all plays out (I like to know that I am heading towards that one gut-wrenching bit that will make my audiences wish I was dead. It's really fun; sometimes waiting for deaths and stuff.) Plus, there's no room for boredom when you're constantly propelled forward by the anticipation of what's to come. Unless, of course, you've outlined a snooze-fest of a story – but let's be real, who wants to write that?

What if I Need to Deviate from My Outline?

Ah, the age-old dilemma of sticking to the script versus going off-book. Here's the deal – your book, your choice. The outline you wrote is not carved in stone. It's more like a rough sketch, a guideline to keep you on track.

So what if you hit a snag and need to deviate from your outline? It happens to the best of us. Sometimes while writing you realize that you have something more interesting than what you’ve written in your outline. Do it. We’re all not perfect.

Now, a common gripe among writers is when their characters seem to have a mind of their own and they veer off script. But let's get one thing straight – your characters are as fictional as a unicorn riding a rainbow. They don't have any authority; you do. 

So when you say your character "decided" to go rogue, what you really mean is that your outline didn't quite sync up with their psyche. 

The solution? Plan your characters alongside your outline, ensuring they're in harmony with the plot. Build characters that fit snugly into your story's framework, and vice versa. 

How Long Should My Outline Be?

F*ck, I  don't know, ah, your outline should be as long as it needs to be. *nailed it* 

Some writers prefer short, concise outlines that just cover the basics, while others go full-on novel mode with lengthy tomes that leave no stone unturned. There's no right or wrong answer here, folks – it's all about what works best for you.

Some Famous Authors Don't Outline, Why Should I?

Well, here's the deal – you're the captain of your own writing ship, and nobody's forcing you to walk on the wooden plank. 

Sure, there are legendary authors out there who craft masterpieces without ever touching an outline. But unless you're a seasoned pro, it might be wise to outline before beginning to stay away from C.H.A.O.S. (not me foreshadowing my next book) (Follow me on Instagram for updates!)

Remember the writers you are comparing yourself to have likely got years of experience under their belts, while you might still be finding your Nemo.

Let's say that outlining just isn't you. Maybe you thrive on spontaneity and the thrill of discovery. Or perhaps you're still figuring out your writing groove. That's cool – we're all on our own journey. 

But do not forget: for every famous author who shuns outlines, there are plenty more who swear by them like a sailor (get it? Coz a sailer swears a lot). So instead of trying to walk in someone else's boots, lace up your own and run on that race track like no one has ever baby.

It's your story – so tell it your way.

Do I Have to Outline?

Nyet. (And Da)

See, in the wild world of writing, there are two main camps: the planners and the pantsters. Think of them as the yin and yang of the literary universe.

Now, there's no denying that there are some writers out there who can weave an epic novel out of thin air with the grace of a ninja. But let's keep it real – those folks are like The Avengers of our world. Sure, they exist, but they're definitely the exception, not the rule.

For us mere mortals, outlining is like a trusty lifeboat in the stormy seas of storytelling. It's the secret sauce that turns a plate of pasta into a plate of pasta; if you catch my drift.

If you're finding yourself drowning in a sea of plot twists and character arcs, maybe it's time to give outlining a whirl. If you're one of the lucky few who can thrive without a roadmap, more power to ya (you nasty little b*tch. Yes, I am jealous of you!) 

Just remember – if you ever find yourself shipwrecked on the shores of writer's block, the outline lifeboat is always there to rescue you. There's no shame in admitting you need a little help along the way.

How to Outline:

Step #0: Brain Dump: You're struck by a lightning bolt of inspiration, and suddenly, your brain is buzzing with a million ideas. What do you do? Simple – grab a pen and paper, or your laptop (or your phone, you lazy @$$) and unleash the chaos onto the page. Let it all out – every random thought, half-baked concept, and outlandish idea. It's like a creative free-for-all, with no rules and no judgment. It doesn’t have to make sense, that’s the whole point. This messy brain dump is your starting point, your raw material to mold into something magical. 

Step #1: Making Sense of the Madness: Now that you've got a heaping pile of ideas to work with, it's time to roll up your sleeves and get down to business. Think of this step as your personal pitch meeting with yourself. You've got a mess of concepts, characters, and themes swirling around in your head – now it's time to wrangle them into submission. Start by sketching out the basics – the premise, the characters, the vibe, the themes, the subplots – all of it. Keep it loose, keep it flexible, and above all, keep it open to change. Play around with different ideas and see what sticks. Once you've got some ideas that make sense and that you're happy with, it's time to move on to the next step and bring your story to life. Buckle up, Buttercup. 

Step #2: The Rough Sketch: This is where the real magic happens– where you take that messy somewhat sensible pile of ideas and start sculpting them into the masterpiece they are going to be. First things first, dig deep into the heart of your story. What are the main conflicts your characters are going to face? What obstacles will they encounter along the way? This is your chance to map out the twists and turns that will keep your readers on the edge of their seats. Now, break it down into four key areas: Who, What, How, and Why. Who are your characters? What drives them, what haunts them, what makes them tick? What's the basic premise of your story – the very thing that'll hook your audience in 30 seconds flat? How will your characters go on both internal and external journeys, and what will they learn along the way? And most importantly, why are you passionate about this story's theme? What do you want to shout from the rooftops, and what big ideas do you want to explore through your character's journey? At its core, the rough sketch is all about finding the story in the mess. It's about distilling your ideas down to their purest essence and uncovering the beating heart of your narrative. So don't be afraid to explore and experiment. Dream big, think outside the box, and create something truly extraordinary.

Step #3: The Outline: Now, after what seems like decades of work, it's time to take that rough sketch of yours and start turning it into something truly spectacular. I usually use the Three-Act Structure. This bad boy is like the backbone of storytelling – it's what keeps the narrative strong and sturdy. If you have any other story structures you swear by, use one of those. Basically, you’re grabbing a story structure that you believe suits your rough sketch and breaking down your sketch into the key story beats of your structure. For the Three-Act Structure, it is usually like this: Act One: the setup, where you introduce your characters and set the stage for the adventure to come. Act Two: the confrontation, where the action heats up and your characters face their biggest challenges head-on. And Act Three: the resolution, where everything comes together in a satisfying conclusion. You can choose to go as in-depth here as you want. (Maybe write like a 20,000-word outline, I don't care.) Now, if you’re not a big fan of writing a 20,000-word outline, the bullet-point outline is here to save your day. It's like the shorthand version of outlining – short, sweet, and to the point. This outline gives you a sense of your character arcs, internal conflicts, and transformative journeys, all without bogging you down with unnecessary details. The beauty of it all? You get to choose your own adventure. If you're happy with your bullet-point outline and ready to dive into drafting, go for it. But if you're itching to go deeper, to explore every nook and cranny of your story, then by all means, keep doing more. The important thing is that you feel confident in your outline, knowing that it's the solid foundation upon which your masterpiece will be built.

Tips and Extras: (some juicy details)

Brainstorming the Centerpieces:

If your story is a jigsaw puzzle, the key scenes are the biggest, boldest pieces. These are the moments that make your heart race, that keep your readers glued to the page, and that make your story truly unforgettable. So start with laying out those major scenes or events. Think big – we're talking key turning points, epic locations, and jaw-dropping plot twists. Don't worry about the order or details just yet – this is about getting those main parts out of your head and onto the page.

What if you don't have all the pieces yet? Well, kitty-kitty, this is a quick, flexible way to brainstorm the centerpieces of your story. Don't stress about getting everything perfect on the first try – just let the ideas flow and see where they take you. 

Getting Specific:

Now that we've mapped out the key scenes, it's time to add some meat to these bones. Think of this step as adding color to a black-and-white photo – it's the step where your story starts to come alive. For each scene, jot down a sentence or a short paragraph that captures the essence of what's happening. No need to stress about getting every little detail perfect – just focus on what's being communicated in the scene, the location, and the characters involved.

As you add these high-level details, think about how each scene fits into the bigger picture of your story. How does it move the plot forward? What themes or motifs are being explored? And most importantly, how does it connect with the scenes that come before and after it? This is when you start weaving together the threads of your narrative, creating a tapestry that's rich with meaning and emotion.

Remember, there are no rules for how much detail to add – do what works best for you. Some scenes may only need a few words to capture their essence, while others may require a bit more fleshing out. Trust your instincts and let your creativity guide you. After all, this is your story – own it, embrace it, and let it shine.

Connecting the Dots:

Now that we've fleshed out those key scenes with high-level details, it's time to step back and take a bird's-eye view of your narrative landscape. This is where you can make connections between themes and concepts that you might otherwise miss if you dove straight into writing.

Grab your outline and give it a thorough re-read. Look for scenes that feel out of place, transitions that need a little extra love, or characters who make a sudden appearance without a proper introduction. These are the hiccups that can disrupt the flow of your story and leave your readers scratching their heads. Highlight these areas and make a note of any plot points or scenes that need to be moved around to get the sequence just right.

Think of this step like conducting an orchestra – every element needs to be in perfect harmony for the performance to truly shine. So don't be afraid to make some tweaks, to shift things around, to fine-tune your narrative until it sings. Listen to the rhythm of your story – it knows where it wants to go, you just have to follow its lead.

Unlocking New Ideas:

While it's true that imagery and videos won't make it into your novel, they can be incredibly powerful tools for sparking creativity and bringing your story to life. Think of it like adding fuel to the fire of your imagination – it's a surefire way to kick-start new ideas and breathe fresh life into your narrative.

Get experimental! Dive into Google Images, Pinterest, or anywhere you find a photo that might fit. Start saving images or movie clips that resonate with your scenes. Whether it's a striking landscape, a compelling character portrait, or a mood-setting photograph, let your imagination run wild and see where it takes you.

If you're the type of writer who loves to create mood boards, now's the perfect time to put those skills to good use. Take a look at your existing mood boards and see if any images could help evoke the feeling you're trying to capture in your scenes. Whether it's the warm glow of a sunset or the eerie silence of a deserted street, let these images serve as inspiration as you continue to shape your story.

The Importance of Feedback:

With any creative endeavor, whether it's writing a novel or painting a masterpiece, feedback is key. It's like having a fresh pair of eyes on your work – offering insights and perspectives that you might have missed on your own. So if you’re still not sure about the first version of your outline, it's time to seek out that invaluable feedback.

When asking for feedback, be specific about what you're looking for. Are you seeking input on the sequence of events? Plot points that need fine-tuning? Character development that feels a bit flat? Whatever it may be, make sure to communicate your needs clearly so that your reviewers can provide targeted feedback.

The important part is that you need to stay open to suggestions and improvements. It can be tough to hear criticism of your work but try not to take it personally. Remember, the goal here is to make your story the best it can be, and sometimes that means making tough decisions and embracing constructive criticism.

The Moment of Truth:

Now it's time to dive headfirst into the exhilarating world of drafting. This is where your story begins to unfold before your very eyes. Your outline and your drafts are perfect companions. They're like the dynamic duo of storytelling, working together in perfect harmony to guide you through the creative process. 

As you begin sketching out the details in your draft, remember to trust the process and let your creativity flow. Embrace the freedom of expression that comes with drafting – after all, this is your chance to bring your story to life in all its vivid detail. So don't hold back – let your imagination run wild and see where it takes you.

Comrades, now armed with the knowledge of outlining, you're ready for war. So go forth, brave souls, and let your imagination run wild as you craft worlds, weave characters, and spin tales that will captivate hearts and minds.

Remember, outlining is not just a tool – it's your secret weapon, your trusty guide through the wilderness of creativity. And if/when you find yourself lost in the midst of your writing, grappling with plot twists and character arcs, just remember these wise words originally said by yours truly: you've got this. 

Happy outlining, and may your pens never run dry!

(If all this helped you, please support me too; in the name of camaraderie. Follow me on Instagram by clicking here.

Comment what else you want to know?

And if you wish to buy my book click here!

That's all, see you later, soldier. 🫡)

[ne0n4ngel]

not very sure why i drew this honestly

and heres the scary high definition

[literaryvein-reblogs]

Writing Notes: Novel Outline

Novel outline - a document that includes important planning information about your novel’s structure, plot, characters, scenes, and more. It is the skeleton of your novel.

An outline can be anything from a one-page written document to a comprehensive visual mindmap that uses diagrams to represent the link between information and ideas.

If you have the space, you can write your sentences on index cards and post them on a wall to make it easier to view and manipulate the parts.

Each event should be a single, short sentence (e.g. Danny gets shot in the leg).

How to Create a Novel Outline

Grab your notebook (or index cards) and follow these simple steps:

1. Craft your premise

This is the underlying idea for your story.

A good way to find the premise is to ask yourself, “What would happen if…?”

For example: What would happen if a young man who survives a shipwreck spends months in a lifeboat with a large Bengal tiger? (Life of Pi, 2001) Or: What would happen if four strangers met in an Italian villa during World War II? (The English Patient, 1992).

Next, it might help to try and answer a few key questions to help expand on the premise and generate new ideas. Things like:

Who is the main protagonist?

What is the situation?

How will the protagonist change from the beginning of the novel to the end?

What is her/her objective?

What does he/she want?

How does he/she get or not get what they want?

Is there an opposing force that is stopping the protagonist from achieving this objective?

What is the central conflict of the novel?

What about the central theme—what are you trying to say?

Once you’ve worked out the answers to these questions, write a 1-paragraph summary of the novel. Think of it as an elevator pitch.

2. Determine your setting

In a novel, the setting (time, place) can be just as important as the characters. Readers need to feel a sense of where things are happening, just as much as why they’re happening.

Planning setting can depend on a number of things, depending on what kind of novel you’re writing. Get to know your setting intimately. Do as much research as you can. If your novel is set in the real world, find photos, descriptions, and other materials to inform your ideas.

Is your novel set in a boarding school? During a particular period in time?

Find as much information, both written and visual, about boarding schools in that time. Picture your settings in your mind, and write down as much detail as you can: everything from how something looks and sounds to how it might smell, taste, or feel.

3. Get to know your characters

Write character profiles. Visualize them. Pretend you’re introducing these characters to your friends. What would you say about them? What details would you include, and what details would you omit—and why? What kind of journey will each character undertake in the novel? Where will they start, and where will they end up? Who will be central to the novel’s plot, and who will just serve as color and background?

Develop character backstories. Think of the moments in each character’s life that have led them to the point where they are introduced in the novel. What elements have shaped their personality and progression as characters? Do they have unresolved issues crucial to the plot?

One method is to conduct a Q&A with the most important characters, as a way of finding out more about them. Ask your characters a series of questions (get as personal as you want) and have him/her answer in his/her own words.

4. Construct your plot

Construct a timeline of events. Write down everything that happens in the novel, from the beginning to the end. Include details where you can, such as where the events take place, and who is involved. If you know the outcome of the events, and how they will impact the novel’s overall plot, include this as well (these can help form the foundation of additional subplots).

Beginning: The beginning of your novel has to accomplish a lot. It must introduce the hero, the villain, and the world of the story, as well as the story’s sole dramatic question, and it must do this with enough energy to grab your reader’s interest right away. A prologue can be useful for seizing the reader’s attention.

Middle: Often, tension evaporates in the middle of a novel, so it’s a good idea to figure out your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed. Having that destination will help you stay focused during the “middle muddle.” Write as many short sentences as you need to describe the pathway your characters will take to reach the climax.

End: While it may seem daunting to figure out the ending so early, just return to your sole dramatic question, which already has your ending hidden within it. For example, if your question is: Will Ahab catch the whale? Then your story’s finale will be the moment when he does.

5. Write your scenes

Once your plot outline is in place, you’ll have a better idea of what scenes will need to be placed where. Add them to the outline. Flesh them out as much as you want—everything from where the action takes place to who is involved, even dialogue if you already know what you want your characters to say. Don’t worry about things making sense at this point, you’ll have time later to go back and highlight anything that feels out of place. Just focus on getting everything down so you can see it in front of you.

Once your outline is complete, you’ll be free to start writing your first draft with the knowledge that if you falter, you can always turn back to the outline to see the big picture. As you begin the writing process, watch out for gaps in logic. Refer back to the outline, and update storylines, plot points, and the timeline as you go along.

While it’s necessary to have a basic grasp of your characters and your world when you start writing, it’s not essential to know everything up front. In fact, even with the most meticulous outlines, you may still find that your characters do things to upset your plans. When this happens, follow your instincts. Don’t be afraid to toss your outline or significantly revise it mid-way through your novel. A good rule to remember is that outlines involve plotting what will happen to your characters, but in the end, your characters should determine your plot.

Classic Methods for Creating Novel Outlines

No two outlines are ever the same, however there are myriad methods to kickstart the novel outline process.

Synopsis outline. This involves the creation of a short document, usually one or two pages long, that gives you a rough idea of the novel’s structure but also leaves room for flexibility. Think of this as a synopsis of the book, hitting all the major beats: what happens in the beginning, middle, and end? What are the major plot points and twists? What is the climax? What is the resolution?

In-depth outline. This is a more evolved outline that usually involves writing chapter summaries and outlining the different scenes within those chapters. This is more comprehensive and can take a lot more time. However, some writers swear by this method to stay on track. Some in-depth outlines can almost be mini-novels themselves, hitting around the 10,000-word mark.

Snowflake method. This method was created by author and writing instructor Randy Ingermanson. It begins with a one-sentence summary of the story you’re trying to tell. For example, the sentence could be something like: “Two teenagers discover a secret cave that contains treasures that a group of criminals has been hunting for.” The snowflake method would then require you to build that sentence into a paragraph, and then use that paragraph to create a series of character descriptions, and from there a series of storylines that involve those characters. The process spans outward until you have a fully outlined novel.

Bookend method. This method is for writers who prefer to leave some things to chance. It involves plotting the start and end of the story, as well as each of the main characters—but nothing more. This method is usually recommended for writers who already have a strong grasp of the characters and the kind of story they want to tell.

Basic Questions Every Outline Should Answer

Besides listing characters and plot points for story structure, your outline should give you a general sense of the direction of your story as well as the primary conflicts and tensions that will make it intriguing for readers. Keep the following questions in mind while creating your outline:

What is the main contract of the story? You must resolve the promises you made to your reader by the end of the novel.

What sort of time pressure is working on your characters?

What is at stake for the protagonist of the novel? Does the pressure on the main characters grow more intense as the story progresses?

Pros & Cons of Creating an Outline

Some writers are comfortable creating a detailed outline for a novel. New writers in particular find it helpful to have a road map.

Others feel that writing an outline diminishes the pleasure of discovering the story along the way. They argue that working from an outline means you’re not creating anymore, you’re translating your ideas.

In the literary world, novelists who use outlines are referred to as “plotters.” Example: Ernest Hemingway.

Those who don’t are known as “pantsers” — a reference to flying by the seat of their pants. Famous pantsers include Margaret Atwood and Stephen King.

While every writer is different, there are some general pros and cons to consider before creating your novel outline.

The benefits of creating an outline:

Helps visualize the big picture

Keeps the story on track

Logs which scenes go where

Clearly presents character arcs

Acts as a guide to ease writer’s block when you’re stuck

Clarifies the middle, to avoid the “muddle”

The drawbacks of creating an outline:

Can create a stilted narrative

If followed too closely, can feel formulaic

May lead to more showing rather than telling in the actual writing

Characters may seem to make inauthentic choices, solely based on plot points instead of natural results from narrative action

Bestselling author Stephen King supposedly swears by putting interesting characters in difficult situations and just seeing what happens. He famously said: “Outlines are the last resource of bad fiction writers who wish to God they were writing masters’ theses.”

That aside, both plotters and pantsers agree on one thing: there is no correct way when it comes to novel writing. It simply depends on what kind of writer you are, and what works for you.

Sources: 1 2 ⚜ More: References ⚜ Writing Resources PDFs

[biscuitsandspices]

If you hate writing outlines it's because of how they're taught in school. Toss out indentation and Roman numerals and map out your writing how you want to. Outlines are your FRIEND, dammit. This goes for everything, from political essays to fanfiction. If it's written you need an outline because the outline is for you. It can be general, vague, or a mixture of both! Be as informal as you want, who cares. They're to keep you on track and keep your writing flowing, so don't disregard them even if you dreaded making them in grade school. My outlines by chapter tend to look like this: 1. Character "P" goes to the diner to meet character "Q."

2. "P" tells "Q" about how the confrontation went. (dialogue I thought up on a bus ride) That's when shit goes DOWN. They're yelling, they're drawing attention to themselves, but before they can take it outside, "P" says (dialogue I thought up in the shower).

3. THEN "Q" SAYS THAT ONE LINE THAT "R" SAYS TO HIM IN CHAPTER FIVE BECAUSE THAT'S CALLED COHESION WOOOOO

4. idk they both leave??? you'll figure it out later

5. Self-reflection for "P." Keep your main point on how his moral compass goes to extremes and hurts others. He finally is realizing that HE is the PROBLEM

6. "P" drives to "Q's" house to apologize but GUESS WHO ANSWERS THE DOOR it's "R" and then just end the chapter there This is coming from someone who didn't write with outlines for years. Now I don't write anything longer than 400 words without one! Make them your own, make them so that they're useful to you. That's their purpose, so accept the help!

[criminal-sen]

Slid a bunch of bars around in photo edit and got it to a vague approximation of what it actually looks like😭 *shakes phone* WHY DO YOU HATE COLOR SO MUCH

(no idc what the technical reason is, Phone Is Shitty And Bad is only correct answer) also I'm just being dramatic, it looks fine🙄

[physalian]

You don’t have to pay for that fancy worldbuilding program

As mentioned in this post about writing with executive dysfunction, if one of your reasons to keep procrastinating on starting your book is not being able to afford something like World Anvil or Campfire, I’m here to tell you those programs are a luxury, not a necessity: Enter Google Suite (not sponsored but gosh I wish).

MS Office offers more processing power and more fine-tuning, but Office is expensive and only autosaves to OneDrive, and I have a perfectly healthy grudge against OneDrive for failing to sync and losing 19k words of a WIP that I never got back.

Google’s sync has never failed me, and the Google apps (at least for iPhone) aren’t nearly as buggy and clunky as Microsoft’s. So today I’m outlining the system I used for my upcoming fantasy novel with all the helpful pictures and diagrams. Maybe this won’t work for you, maybe you have something else, and that’s okay! I refuse to pay for what I can get legally for free and sometimes Google’s simplicity is to its benefit.

The biggest downside is that you have to manually input and update your data, but as someone who loves organizing and made all these willingly and for fun, I don’t mind.

So. Let’s start with Google Sheets.

The Character Cheat Sheet:

I organized it this way for several reasons:

I can easily see which characters belong to which factions and how many I have named and have to keep up with for each faction

All names are in alphabetical order so when I have to come up with a new name, I can look at my list and pick a letter or a string of sounds I haven’t used as often (and then ignore it and start 8 names with A).

The strikethrough feature lets me keep track of which characters I kill off (yes, I changed it, so this remains spoiler-free)

It’s an easy place to go instead of scrolling up and down an entire manuscript for names I’ve forgotten, with every named character, however minor their role, all in one spot

Also on this page are spare names I’ll see randomly in other media (commercials, movie end credits, etc) and can add easily from my phone before I forget

Also on this page are my summary, my elevator pitch, and important character beats I could otherwise easily mess up, it helps stay consistent

*I also have on here not pictured an age timeline for all my vampires so I keep track of who’s older than who and how well I’ve staggered their ages relative to important events, but it’s made in Photoshop and too much of a pain to censor and add here

On other tabs, I keep track of location names, deities, made-up vocabulary and definitions, and my chapter word count.

The Word Count Guide:

*3/30 Edit to update this chart to its full glory. Column 3 is a cumulative count. Most of what I write breaks 100k and it's fun watching the word count rise until it boils over.

This is the most frustrating to update manually, especially if you don’t have separate docs for each chapter, but it really helps me stay consistent with chapter lengths and the formula for calculating the average and rising totals is super basic.

Not that all your chapters have to be uniform, but if you care about that, this little chart is a fantastic visualizer.

If you have multiple narrators, and this book does, you can also keep track of how many POVs each narrator has, and how spread out they are. I didn’t do that for this book since it’s not an ensemble team and matters less, but I did for my sci-fi WIP, pictured below.

As I was writing that one, I had “scripted” the chapters before going back and writing out all the glorious narrative, and updated the symbols from “scripted” to “finished” accordingly.

I also have a pie chart that I had to make manually on a convoluted iPhone app to color coordinate specifically the way I wanted to easily tell who narrates the most out of the cast, and who needs more representation.

—

Google Docs

Can’t show you much here unfortunately but I’d like to take an aside to talk about my “scene bits” docs.

It’s what it says on the tin, an entire doc all labeled with different heading styles with blurbs for each scene I want to include at some point in the book so I can hop around easily. Whether they make it into the manuscript or not, all practice is good practice and I like to keep old ideas because they might be useful in unsuspecting ways later.

Separate from that, I keep most of my deleted scenes and scene chunks for, again, possible use later in a “deleted scenes” doc, all labeled accordingly.

When I designed my alien language for the sci-fi series, I created a Word doc dictionary and my own "translation" matrix, for easy look-up or word generation whenever I needed it (do y'all want a breakdown for creating foreign languages? It's so fun).

Normally, as with my sci-fi series, I have an entire doc filled with character sheets and important details, I just… didn’t do that for this book. But the point is—you can still make those for free on any word processing software, you don’t need fancy gadgets.

—

I hope this helps anyone struggling! It doesn’t have to be fancy. It doesn’t have to be expensive. Everything I made here, minus the aforementioned timeline and pie chart, was done with basic excel skills and the paint bucket tool. I imagine this can be applicable to games, comics, what have you, it knows no bounds!

Now you have one less excuse to sit down and start writing.

[deception-united]

Let's talk about story structure.

Fabricating the narrative structure of your story can be difficult, and it can be helpful to use already known and well-established story structures as a sort of blueprint to guide you along the way. Before we delve into a few of the more popular ones, however, what exactly does this term entail?

Story structure refers to the framework or organization of a narrative. It is typically divided into key elements such as exposition, rising action, climax, falling action, and resolution, and serves as the skeleton upon which the plot, characters, and themes are built. It provides a roadmap of sorts for the progression of events and emotional arcs within a story.

Freytag's Pyramid:

Also known as a five-act structure, this is pretty much your standard story structure that you likely learned in English class at some point. It looks something like this:

Exposition: Introduces the characters, setting, and basic situation of the story.

Inciting incident: The event that sets the main conflict of the story in motion, often disrupting the status quo for the protagonist.

Rising action: Series of events that build tension and escalate the conflict, leading toward the story's climax.

Climax: The highest point of tension or the turning point in the story, where the conflict reaches its peak and the outcome is decided.

Falling action: Events that occur as a result of the climax, leading towards the resolution and tying up loose ends.

Resolution (or denouement): The final outcome of the story, where the conflict is resolved, and any remaining questions or conflicts are addressed, providing closure for the audience.

Though the overuse of this story structure may be seen as a downside, it's used so much for a reason. Its intuitive structure provides a reliable framework for writers to build upon, ensuring clear progression and emotional resonance in their stories and drawing everything to a resolution that is satisfactory for the readers.

The Fichtean Curve:

The Fichtean Curve is characterised by a gradual rise in tension and conflict, leading to a climactic peak, followed by a swift resolution. It emphasises the building of suspense and intensity throughout the narrative, following a pattern of escalating crises leading to a climax representing the peak of the protagonist's struggle, then a swift resolution.

Initial crisis: The story begins with a significant event or problem that immediately grabs the audience's attention, setting the plot in motion.

Escalating crises: Additional challenges or complications arise, intensifying the protagonist's struggles and increasing the stakes.

Climax: The tension reaches its peak as the protagonist confronts the central obstacle or makes a crucial decision.

Falling action: Following the climax, conflicts are rapidly resolved, often with a sudden shift or revelation, bringing closure to the narrative. Note that all loose ends may not be tied by the end, and that's completely fine as long as it works in your story—leaving some room for speculation or suspense can be intriguing.

The Hero’s Journey:

The Hero's Journey follows a protagonist through a transformative adventure. It outlines their journey from ordinary life into the unknown, encountering challenges, allies, and adversaries along the way, ultimately leading to personal growth and a return to the familiar world with newfound wisdom or treasures.

Call of adventure: The hero receives a summons or challenge that disrupts their ordinary life.

Refusal of the call: Initially, the hero may resist or hesitate in accepting the adventure.

Meeting the mentor: The hero encounters a wise mentor who provides guidance and assistance.

Crossing the threshold: The hero leaves their familiar world and enters the unknown, facing the challenges of the journey.

Tests, allies, enemies: Along the journey, the hero faces various obstacles and adversaries that test their skills and resolve.

The approach: The hero approaches the central conflict or their deepest fears.

The ordeal: The hero faces their greatest challenge, often confronting the main antagonist or undergoing a significant transformation.

Reward: After overcoming the ordeal, the hero receives a reward, such as treasure, knowledge, or inner growth.

The road back: The hero begins the journey back to their ordinary world, encountering final obstacles or confrontations.

Resurrection: The hero faces one final test or ordeal that solidifies their transformation.

Return with the elixir: The hero returns to the ordinary world, bringing back the lessons learned or treasures gained to benefit themselves or others.

Exploring these different story structures reveals the intricate paths characters traverse in their journeys. Each framework provides a blueprint for crafting engaging narratives that captivate audiences. Understanding these underlying structures can help gain an array of tools to create unforgettable tales that resonate with audiences of all kind.

Happy writing! Hope this was helpful ❤

Previous | Next

[cringefailcabitha]

Give me an F! Give me an A! Give me an N!

[vivsinkpot]

Plotting vs Discovery Writing: Should You Plan Your Story or Wing It?

Ah, the age-old writer’s dilemma:

Do you map every scene like a tactician drawing battle plans — or dive in with nothing but vibes and a chaotic sense of adventure?

Here’s a breakdown of the pros and cons of both approaches — and why the real magic might lie somewhere in between. 🖋️

Plotting (Outlining / Planning)

Pros:

✔️ Clear direction – You know where you’re going. No getting lost in the woods.

✔️ Foreshadowing magic – You can plant clues, callbacks, and payoff arcs with confidence.

✔️ Fewer plot holes – A roadmap helps spot inconsistencies early.

✔️ Less panic during writing – You’ve already solved some of the hardest narrative problems.

Cons:

✖️ It can feel rigid – The story may resist your outline or outgrow it.

✖️ Planning fatigue – You might lose momentum before the writing even begins.

✖️ Less room for surprise – Characters can feel boxed in by pre-decided fates.

✖️ Too much structure can kill discovery – Sometimes the magic is in what you didn’t see coming.

Discovery Writing (Pantsing / Writing as You Go)

Pros:

✔️ Creative freedom – You’re exploring in real time. Characters can surprise you.

✔️ Organic pacing – The story flows from instinct and mood.

✔️ Emotional authenticity – Moments feel raw, fresh, and true to how they unfolded.

✔️ Writing is more exciting – You’re discovering the story as a reader would.

Cons:

✖️ You might write into a corner – Plot knots are harder to untangle without a plan.

✖️ Revision may be intense – You’ll likely need more editing to fix structure, foreshadowing, and pacing.

✖️ Themes may be muddled – Without direction, your story can lose its core.

✖️ Momentum stalls – Getting stuck is common if you don’t know what happens next.

The Hybrid Approach (A Little Bit of Both)

Plot the skeleton. Discover the heart.

Many writers outline broad strokes (major beats, ending, key twists), but leave space to discover the emotional or interpersonal journey as they write.

You might:

Write a chapter, then outline the next.

Plan major events, but improvise how characters get there.

Start as a pantser, then reverse-outline what you’ve done.

There’s no “right” way — just the one that keeps you writing and enjoying your craft.

Final Thought:

Plotting is a compass.

Pantsing is a storm.

Every writer’s ship sails differently — but the goal is the same: reach the end, and love the journey.

[thewriteadviceforwriters]

📊 How to Use Tropes Without Turning Your Story into a YA Checklist

You can tell when a book was written by vibes and TVTropes alone.

It’s got: ☑️ the reluctant chosen one ☑️ the love triangle ☑️ the mysterious brooding boy™ ☑️ the sassy best friend ☑️ the dead parents ☑️ the villain with daddy issues ☑️ the scene where someone says “you don’t know what I’m capable of” and walks away dramatically

And like… that’s fine.

Tropes are tools. But here’s the thing: they are starting points, not story goals.

If your plot reads like it was drafted by a checklist in a Pinterest caption, it might be time to recalibrate. Here's how to actually use tropes without turning your book into a YA Mad Libs generator:

─────── ✦ ───────

🧩 Tropes Are Patterns--Not Presets

A trope is a pattern, not a requirement. It’s not a law. It’s not a plug-and-play feature. And it’s definitely not your plot.

The “enemies-to-lovers” arc? That’s a container. What you put inside it, that’s where the originality lives.

The goal isn’t to avoid tropes. It’s to do something interesting with them.

→ Why are they enemies? → What does the “love” cost them? → What happens if they fail to become lovers?

Tropes don’t carry the story. The conflict does.

─────── ✦ ───────

⚔️ Complicate the Familiar

Here’s a trick: if a trope feels too easy, break it in half.

Examples: → “Reluctant chosen one” → okay, but what if they wanted it, and then hated it once they got it? → “The mentor dies” → cool, but what if the mentor fakes their death to manipulate the protagonist? → “Sassy best friend” → no. Make them real. Give them pain. Give them depth. No more walking punchlines.

Tropes are scaffolding, not shortcuts. Add weight. Add doubt. Add betrayal.

─────── ✦ ───────

🕳️ Interrogate Why You’re Using It

Ask yourself: → Do I love this trope or do I feel like I have to include it? → Am I doing this because I’ve seen it done… or because it serves my story? → Is this trope the only interesting thing about this scene?

If your answer is “because that’s what YA stories do,” delete it. Go deeper.

─────── ✦ ───────

💔 Tropes Aren’t Substitutes for Character Arcs

You can’t use “grumpy x sunshine” and call it development. Tropes are flavors, not meals.

Give us: → Choices with consequences. → Conflicting values. → Character growth that costs something.

Otherwise? Your grumpy guy is just a Pinterest moodboard with a pulse.

─────── ✦ ───────

🧨 Use Reader Expectations Against Them

You want to use a trope and not make it predictable? Weaponize it.

Example: → Start with a love triangle. Let the MC fall hard. Then have both love interests realize they’re in love with each other. → Use the “chosen one” trope… but make it about dismantling that myth entirely. → Introduce the “villain redemption arc” and let them choose to stay bad because it makes more sense for them.

Set up the pattern. Then snap it in half. That’s how you surprise a jaded reader.

─────── ✦ ───────

Final thoughts from your local trope goblin:

→ Tropes aren’t the problem. It’s treating them like a checklist instead of a narrative engine. → A good trope doesn’t make your story good. How you twist it does. → If a story reads like it was built from Tumblr quotes and nothing else—it’s gonna flop.

So go ahead. Use the trope. Then ruin it. Make it weird. Make it hurt. Make it yours.

—rin t. // story mechanic. trope thief. YA bingo card burner. // thewriteadviceforwriters

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

🕯️ download the pack & write something cursed:

[pumpkin-padparadscha]

thinking about a dynamic

aromantic janus needs someone to be his fake boyfriend when he goes home for the holidays so his well meaning parents don't try to set him up like they inevitably do every year

roman KNOWS he's hung up on remus, and he's sick of getting dumped over his fixation, or his prioritizing remus constantly, or his tendency to say remus' name in bed

roman wants a friends with benefits thing or a steady casual hookup. someone he can sleep with who won't expect anything from him romantically bc he is Not emotionally available for romance rn.

remus has clocked that roman isn't dating? or that whatever thing he has going on with his current "boyfriend" isn't his usual lovey dovey type deal, and he wants to meet the guy bc he's worried about roman. roman SAYS he's fine and has exactly what he wants from his relationship, but remus still wants to suss the guy out and make sure his brother isn't being strung along or taken advantage of.

roman's house of cards is about to come crashing down the minute janus learns "my twin brother" and "remus" are the same fucking person.

janus knew roman was keeping something from him but honestly it wasn't any of his business for the casual thing they had going on but this is honestly WAY more interesting than he thought his evening was going to be

remus is GOING to figure out what all the loaded pauses and pointed looks between janus and roman mean. half of janus' sentences are being cut off by roman or suddenly change halfway through when roman starts making frantic "stop" hand motions.

if you want virgil can be there too because i want him to show up partway through the evening and janus to introduce remus like "this is remus, he's roman's twin brother." and for virgil to be like ?! THAT'S remus? i thought he would. look different." and remus to be like "you thought that roman's twin. would look different. twins usually look alike!" and virgil can be like "yeah i get that! still wasn't expecting it though, given," gestures to roman, "everything"

remus is going out of his mind, what does that MEAN, what has roman been telling these people about him!!!

[diaryoku]

How to Outline a Story

#1. Brainstorm

Start with a blank document, usually titled something non-committal like “Free Write” or “Brain Dump,” and jot down any and all ideas you have. If it helps, you can start chronologically with the basic premise of the story and then build off of that. Eventually, you’ll have a whole bunch of little data points that you can start connecting. Try to keep things super short in this phase, but don’t limit yourself if you feel like writing more.

Here are a few examples of what that might look like:

MC goes to town, but then they meet someone else ("what are you doing here?”)

MC spills their coffee on their sweater in shock and embarrasses themselves in front of the whole town

TIP: Try to capture as much of the vibe and general tone of the story as possible. So if you think of any quotes, images, little scenes, etc., include those here to remind yourself of the tone later on.

#2. Basic Organization

So you’ve got the general idea, now it’s time to put it in the right order! There are plenty of story structures out there you can use, with varying degrees of complexity and difficulty. The only thing that matters is what works for you, your story, and your work style.

Here are a few examples:

3 Act Structure

5 Act Structure

Save the Cat Beat Sheet

Dan Harmon’s Story Circle

NOTE: Sometimes the structure of your story will already be obvious by the time you’ve finished brainstorming. If that’s the case, go forth and outline as you see fit! If not, start with a story structures, and then branch out as you become more familiar with the story and where you want it to go.

#3. Get Inspired

At some point in the outlining process, you will realize that your plot is missing something, or you don’t know what to write for a key scene. IMO, there are two ways to handle this:

Start writing: Sometimes you just need to start writing the story, and the plot hole will sort itself out! You may start writing, and a piece of dialogue or object will inspire you.

Look for inspiration: Read, watch a show or movie, listen to music, go for a walk and people watch, whatever you do, you need to be receiving some fresh input that gets your creative gears turning. Your brain will keep working on the story in the background, and you can return to your outline with fresh eyes and new ideas.

Other useful tools: Pinterest, Instagram, Libby, TikTok, Spotify

#4. Key Story Elements

Every story will vary, but these are things every plot should have (in my opinion):

An interesting beginning: Captivate your reader from the first page!

Conflict that matters: The central conflict of your story must matter to readers, or they won’t keep reading.

Related subplot: What’s better than one plot? Two! This adds complexity while still furthering the main storyline.

A satisfying ending: It doesn’t have to be happy, but it must leave your reader with a sense of satisfaction, or they won’t want to read anything else you write.

For more information, check out my “Things Every Story Should Have” post (coming soon!), where I go into each of these in more depth (and with examples!).

[luvnotpercival]

a bad photo in bad lighting - WTNV patch I embroidered

[literaryvein-reblogs]

Writing Notes: Outline

Outline - a skeletal representation of the sequence of the main ideas in your essay.

The sequence of ideas/topics also serves as a guide for the reader(s) of your paper.

2 Purposes of an Outline

For You as a Writer (this is the “working outline”)

You may draft a working outline in order to organize the sections of your paper as you list the major ideas/topics you plan to discuss.

You may add minor topics and supporting details as your research continues.

In the research and drafting processes, you may need to revise the information included in your working outline as new information comes to light.

For Your Instructor (this is the “final outline”)

The most important aspect of the final outline is that it is truly representative of your actual paper.

If a topic is in your outline but not adequately discussed in your paper, revision is necessary.

To serve as a guide for the reader, the final outline must accurately reflect the content of your paper.

About the Working Outline

The working outline does not need to be written in any specific format.

It is for your own use, an informal rough draft of tentative information that you may use or discard later.

You may write a working outline in whatever form seems most helpful for you.

By the time you have finished your research and begun your paper, you should have a nearly complete outline to edit and use as your final outline.

About the Formal Outline

The standard format for a formal outline includes large Roman numerals for the main headings, capital letters for subtopics and Arabic numerals for the sub-subtopics.

To find specific information regarding correct spacing and alignment, consult your university's handbook.

Example

OUTLINE

Thesis Statement: There are benefits as well as drawbacks to purchasing a home.

I. Benefits of purchasing a home

A. Financial investment B. Personal privacy

II. Drawbacks to purchasing a home

A. Financial commitment B. Costly maintenance

Things to Consider About Outlines

Thesis Statement

Most outlines begin with the thesis statement, aligned to the left and placed directly below the heading (Title) of your outline.

Sentence Outline OR Topic Outline

Consistency is the key to writing your outline.

If your outline is in sentence form, all parts of it (major topics, minor topics, supporting details) must be in sentence form.

If your outline is written in words, and phrases, all of it must be in that form.

The main point to remember is that your outline will be one or the other, all sentences or all words and phrases, not a combination of both.

Paired Headings

If you have a I., you must have at least a II. If you have an A., you must have a B.

If you have a 1., you must have a 2.

There is never a division without at least two headings, although you may have several more than two.

Comparable Numerals or Letters

Like headings are also of equal significance to your paper.

The B or C following an A is of comparable importance to the A.

If the paired headings do not seem aligned, one being a minor point and the other a major area of discussion, you may need to move headings and subheadings around in the working outline to create smooth transition of ideas and information.

Coherence

Your outline will reflect the progression of ideas in each section of your paper, from major topics to minor topics to supporting details or further information.

In organizing your outline, you should find that you have grouped topics in a logical order, and you will be able to see at a glance if you have done so.

Source ⚜ Writing Notes & References

[physalian]

“How do I know if my story needs work or if I’m just being hard on myself?”

As I sit here accepting the fact that at 70k words into Eternal Night’s sequel while waiting for my editor for Eternal Night itself, that I have made an error in my plot.

Disclaimer: This is not universal and the writing experience is incredibly diverse. Figuring this out also takes some time and building up your self-confidence as an author so you can learn to separate “this is awful (when it’s not)” and “this is ok (but it can be better)” and “this isn’t working (but it is salvageable).”

—

When I wrote my first novel (unpublished, sadly), years ago, I would receive feedback all over the chapters and physically have to open other windows to block off parts of the screen on my laptop to slow-drip the feedback because I couldn’t handle constructive criticism all at once. I had my betas color-code their commentary so I could see before I read any of it that it wasn’t all negative. It took me thrice as long as it does today to get through a beta’s feedback because I got so nervous and anxious about what they would say.

The main thing I learned was this: They’re usually right, when it’s not just being mean (and even then, it’s rarely flat out mean), and that whatever criticisms they have of my characters and plot choices is not criticism of myself.

It did take time.

But now I can get feedback from betas and even when I hear “I’d DNF this shit right now unless you delete this,” I take a step back, examine if this one little detail is really that important, and fix it. No emotional turmoil and panic attack needed. I can also hear “I didn’t like it” without heartbreak. Can’t please everyone.

The only time I freak out is when I'm told "this won't need massive edits" followed up by, in the manuscript, "I'd DNF this shit right now". Which happened. And did not, in fact, require a massive rewrite to fix.

So.

What might be some issues with your story and why it “isn’t working”.

1. Your protagonist is not active enough in the story

You’ve picked your protagonist, but it’s every other character that has more to do, more to say, more choices to make, and they’re just along for the ride, yet you are now anchored to this character’s story because they’re the protagonist. You can either swap focus characters, or rework your story to give them more agency. Figure out why this character, above any other, is your hero.

2. Your pacing is too slow

Even if you have a “lazy river” style story where the vibes and marinating in the world is more important than a breakneck plot, slow pacing isn’t just “how fast the story moves” it’s “how clearly is the story told,” meaning if you divert the story to a side quest, or spend too long on something that sure is fluffy or romantic or funny, but it adds nothing to the characters because it’s redundant, doesn’t advance the plot, doesn’t give us more about the world that actually matters to the themes, then you may have lost focus of the story and should consider deleting it, or editing important elements into the scenes so they can pull double-duty and serve a more active purpose.

3. You’ve lost the main argument of your narrative

Sometimes even the best of outlines and the clearest plans derail. Characters don’t cooperate and while we see where it goes, we end up getting hung up on how this one really cool scene or argument or one-liner just has to be in the story, without realizing that doing so sacrifices what you set out to accomplish. Personally I think sticking to your outline with biblical determination doesn’t allow for new ideas during the writing process, but if you find yourself down the line of “how did we get here, this isn’t what I wanted” you can always save the scenes in another document to reuse later, in this WIP or another in the future.

4. You’re spending too long on one element

Even if the thing started out really cool, whether it’s a rich fantasy pit stop for your characters or a conversation two characters must have, sometimes scenes and ideas extend long past their prime. You might have characters stuck in one location for 2 or 3 chapters longer than necessary trying to make it perfect or stuff in all these details or make it overcomplicated, when the rest of the story sits impatiently on the sidelines for them to move on. Figure out the most important reasons for this element to exist, take a step back, and whittle away until the fat is cut.

5. You’ve given a side character too much screentime

New characters are fun and exciting! But they can take over the story when they’re not meant to, robbing agency from your core characters to leave them sitting with nothing to do while the new guy handles everything. You might end up having to drag your core characters along behind them, tossing them lines of dialogue and side tasks to do because you ran out of plot to delegate with one character hogging it all (which is the issue I ran into with the above mentioned WIP). Not talking about a new villain or a new love interest, I mean a supporting character who is supposed to support the main characters.

—

As for figuring out the difference between “this is awful and I’m a bad writer” and “this element isn’t working” try pretending the book was written by somebody else and you’re giving them constructive criticism.

If you can come up with a reason for why it’s not working that doesn’t insult the writer, it’s probably the latter. As in, “This element isn’t working… because it’s gone on too long and the conversation has become cyclical and tiring.” Not “this element isn’t working because it’s bad.”

Why is it bad?

“This conversation is awkward because…. There’s not enough movement between characters and the dialogue is really stiff.”

“This fight scene is bad because….I don’t have enough dynamic action, enough juicy verbs, or full use of the stage I’ve set.”

“This romantic scene is bad because…. It’s taking place at the wrong time in the story. I want to keep it, but this character isn’t ready for it yet, and the vibe is all wrong now because they’re out-of-character.”

“This argument is bad because…. It didn’t have proper build-up and the sudden shouting match is not reflective of their characters. They’re too angry, and it got out of hand quickly. Or I’m not conveying the root of their aggression.”

—

There aren’t very many bad ideas, just bad execution. “Only rational people can think they’re crazy. Crazy people think they’re sane,” applies to writing, too.

I just read a fanfic recently where, for every fight scene, I could tell action was not the writer’s strong suit. They leaned really heavily on a crutch of specific injuries for their characters, the same unusual spot getting hit over and over again, and fights that dragged on for too long being unintentionally stagnant. The rest of the fic was great, though, and while the fights weren’t the best, I understood that the author was trying, and I kept reading for the good stuff. One day they will be better.

In my experience beta reading, it’s the cocky authors who send me an unedited manuscript and tell me to be kind (because they can’t take criticism), that they know it’s perfect they just want an outside opinion (they don’t want the truth, they want what will make them feel good), that they know it’s going to make them a lot of money and everyone will love it (they haven’t dedicated proper time and effort into researching marketing, target audiences, or current trends)—these are the truly bad authors. Not just bad at writing, but bad at taking feedback, are bullies when you point out flaws in their story, and cheap, too.

The best story I have received to date was where the author didn’t preempt with a self-deprecating deluge of “it’s probably terrible you know but here it is anyway” or “this is perfect and I’m super confident you’re going to love it”.

It was something like, “This is my first book and I know it has flaws and I’m nervous but I had a lot of fun doing it”.

And yeah, it needed work, but the bones of something great were there. So give yourself some credit, yeah?