Long-time readers of this blog will recall that while I now use an outline for my long-form fiction, I used to rebel against the very notion of outlining. When I was a teenager, especially, I preferred to think of the author's role as something like an archaeologist excavating the blank page to reveal the story. Sure, I'm in charge of the process, but that doesn't mean I know what's going to happen.
Over time, though, I realized that I needed an outline. Why? Essentially because as a working adult it helps me not forget what the heck I'm doing when I'm kept away from my writing for days or weeks at a time.
But I don't really outline in a traditional sense. To do so feels very forced and drums the creativity out of my process. Plus, for me there's no escaping it: as I flesh out details, I do change my mind about what's going to happen. A proper outline isn't very forgiving of that.
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| Puffin photo by Hanno |
Because of the way I write, I know how it's going to end, or at least, how I think I'm going to end it. Because I know that's not the case for many other writers, I'll assume I don't actually know this time.
The process always begins by identifying a starting and an ending point:
Start: Dr. Cavern builds a fish oil-powered time machine
End: Details uncertain, but there is a Roman Cult of the Puffin and the world has changed from that which we know.
Then I'll flesh it out into general chaptery bits, using completely arbitrary numbers:
1) Dr. Cavern builds a fish oil-powered time machine
2) Dr. Cavern travels back to the time of the Roman Republic -- brings along accidental puffin -- confused puffin flies into someone, interrupting an assassination
20) Details uncertain, but there is a Roman Cult of the Puffin and the world has changed from that which we know.
Then I figure out any major plot points and insert them, again with arbitrary numbers, based on roughly whereabouts in the story line I want them to happen. So, for instance, if I want this to happen around the middle, I will call it chapter ten:
10) The romans realize it was the puffin who stopped the assassination, not Dr. Cavern.
At that point it's a matter of running through connect-the-dots iterations, inserting the plot points that seem necessary to get from one point to another:
2) Dr. Cavern travels back to the time of the Roman Republic -- brings along accidental puffin -- confused puffin flies into someone, interrupting an assassination
3) The Romans assume it was Dr. Cavern who stopped the assassination.
6) Confused and on-the-run, Dr. Cavern seeks shelter near cliffs haunted by a single puffin.
10) The romans realize it was the puffin who stopped the assassination, not Dr. Cavern.
15) All the Romans unite against Dr. Cavern.
20) Details uncertain, but there is a Roman Cult of the Puffin and the world has changed from that which we know.
Rinse. Repeat.
6) Confused and on-the-run, Dr. Cavern seeks shelter near cliffs haunted by a single puffin.
8) Dr. Cavern bonds spiritually with the puffin
10) The romans realize it was the puffin who stopped the assassination, not Dr. Cavern.
13) Romans begin resented Dr. Cavern's special relationship with the puffin.
15) All the Romans unite against Dr. Cavern.
16) Dr. Cavern appeals to the puffin for mercy.
And so so on, until I have what feels roughly like a plot.
1) Dr. Cavern builds a fish oil-powered time machine
2) Dr. Cavern travels back to the time of the Roman Republic -- brings along accidental puffin -- confused puffin flies into someone, interrupting an assassination
3) The Romans assume it was Dr. Cavern who stopped the assassination.
4) Factions develop, one idolizing Dr. Cavern and the other resenting her.
5) While being honored by one faction, Dr. Cavern's life is threatened by the other.
6) Confused and on-the-run, Dr. Cavern seeks shelter near cliffs haunted by a single puffin.
7) Dr. Cavern tries to secure fish oil for a return time travel trip, but fails.
8) Dr. Cavern bonds spiritually with the puffin
9) Dr. Cavern takes to walking with and dwelling beside the puffin.
10) The romans realize it was the puffin who stopped the assassination, not Dr. Cavern.
11) The cult of the puffin begins to develop.
12) Dr. Cavern becomes inconsequential to both factions.
13) Romans begin resented Dr. Cavern's special relationship with the puffin.
14) Dr. Cavern tries to take advantage of the puffin's persuasive aura to secure her own safety and prestige.
15) All the Romans unite against Dr. Cavern.
16) Dr. Cavern appeals to the puffin for mercy.
17) Two groups of Romans encircle Dr. Cavern to kill her, but the puffin tried to intervene
18) Details uncertain, but there is a Roman Cult of the Puffin and the world has changed from that which we know
You'll notice that I'm not concerned about details of action, character, setting, or historical research. I'm just laying out the foundation for my story so that I have a coherent vision -- a foundation from which to attack those details, and a guideline to which I can appeal when I get lost or confused.
.Nevets.
Soundtrack for writing the post provided by Metallica, Fleetwood Mac, Yngwie Malmsteen, TV on the Radio.
