So you’ve got your idea– this glistening, glowing idea wrapped in half visualized scenes and a general feeling of awesomeness. Steampunk panda romances will revolutionize the market– you’re sure of it. You nod to yourself as you purchase stock in bamboo figurines.
You could throw yourself into writing the novel, figuring out if your protagonist is a male panda or a female sheep, possibly both, and deleting entire sections with a steely gaze. I’ve been assured such things tend to work out for the Pantser novelist the same way that movies tend to work out for Adam Sandler: kind of.
I’m a Plotter, in case you can’t tell, and I’ve found that there are three critical components of outlining your story: the word vomit, the scene list, and the character sheets. Order isn’t important, though I’ve found that everyone does better once they’ve done it my way first– feel free to adulterate it in the way that pleases you once you think you know where I’m going.
The Word Vomit
The word vomit is step one, because, it is, in essence, the first true story outline you’ll do– free of any structure than the order in which the ideas came to you. The point of this exercise is to just get it all out– tell that huffing OCD child within you to shut the fuck up for a minute, because he’ll get to Lysol wipe and alphabetize it all later.
Open your word processor. Stare at the blank page before you. Feel it’s purity penetrate your soul. Now….
Barf up every idea you have about the book, in roughly chronological order. Don’t even let yourself bunch things into paragraphs.
This can be hard for a lot of people, who get intimidated when I mention the word ‘vomit’. If that particular bit of charming vernacular doesn’t speak to you, then try to think of it like this: write your story like you’re a five year old who just saw a movie and won’t shut up about it (“–then she ran away and there were explosions. Then she almost got eaten by a horse, but then bad guys came and she had to–”).
See how that goes? It’s just a list of events without more than a gasp or two of context– as it should be. You’ll fill in the details later– this is just a loose framework. The word ‘then’ should be all over this draft like dicks on a middle schooler’s notebook because this is never going to be seen by another human being anyway
BLARGABLAHBLAH. Now What?
So you’re feeling tired and dehydrated, staring at the blinking cursor by the words THE END. Feel free to allow your OCD brain child peek it’s head out the door of your mind cage. Now’s the time to break things into paragraphs and rearrange the order of sentences in ways that can be understood by sane creatures. Fill in any details as the occur to you.
This next part is entirely optional, depending on how classical of a writer you like to pretend to be as you sip your cheap scotch. Sometimes I do this part, sometimes not, though I’ve found that the earlier you are in your development, the more it helps to understand your overall flow. Break your storyline into acts I, II, and III.
For those of you who flunked high school English class:
ACT I: THE SETUP
- Introduces main characters
- Introduces setting and time period
- Introduces character’s problem
- Ends with the character attempting to deal with problem (to no avail, typically).
ACT II: THE CONFRONTATION
- Character’s problems are bad and actively getting worse.
- Contains any character arcs
- Ends at the climax.
ACT III: THE RESOLUTION
- Starts with the climax
- Resolves any plot lines or arcs, answers questions.
- Completes the story.
If you’re still not sure about where parts of your story fall into the three act structure– Google it, you asshole. This is the internet.
Crammed It In. And Now?
Onwards to the next step: scene list!