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I would love to be able to write first drafts from an outline. When I write nonfiction pieces, I generally use an outline. But for some reason, my fiction Muse resists outlines with an allergic fierceness. If we were out for a drive, my Muse would refuse to ask for directions.
Here is a sample of how a book idea comes to me:
There's this character, and he has this problem, and oh, here are some first lines. Yes, and there are some other people there too. And then eventually (insert vague idea for climax and/or ending).
In the course of writing, my ideas about the characters and the subplots evolve, although the main plotline (such as it is) remains fairly stable. But the outcome may switch 180 degrees. For example, if the climax comes at a big decision point, I may think the character is going to choose the left fork in the road, but when I've written through to that point, I discover he goes to the right instead. That's not as bad as when he sits down in the road and can't decide which way to go.
In the course of the draft, some secondary characters disappear, while others elbow their way to the front of the stage. They start revealing secrets and backstories I never suspected. Oh, so A is secretly in love with B? And C is dreaming of going to clown school? And D is still angry about the Frog Incident that everyone else has forgotten?
After the first couple of drafts, when I've gotten to know these people and figure out what they want, I can start pruning out the brush and letting the flowers bloom. But right now, I'm wrapping up a first draft of a project, and here on the threshold of the ending, I'm STILL learning things about these characters. I still don't know exactly how this thing will end. I only know that it will end soon.
Some writers would break out in anxious hives, trying to write without an outline. I think it's rather crazy myself. But we all have our own methods; there's more than one road up the mountain.
Here is a sample of how a book idea comes to me:
There's this character, and he has this problem, and oh, here are some first lines. Yes, and there are some other people there too. And then eventually (insert vague idea for climax and/or ending).
In the course of writing, my ideas about the characters and the subplots evolve, although the main plotline (such as it is) remains fairly stable. But the outcome may switch 180 degrees. For example, if the climax comes at a big decision point, I may think the character is going to choose the left fork in the road, but when I've written through to that point, I discover he goes to the right instead. That's not as bad as when he sits down in the road and can't decide which way to go.
In the course of the draft, some secondary characters disappear, while others elbow their way to the front of the stage. They start revealing secrets and backstories I never suspected. Oh, so A is secretly in love with B? And C is dreaming of going to clown school? And D is still angry about the Frog Incident that everyone else has forgotten?
After the first couple of drafts, when I've gotten to know these people and figure out what they want, I can start pruning out the brush and letting the flowers bloom. But right now, I'm wrapping up a first draft of a project, and here on the threshold of the ending, I'm STILL learning things about these characters. I still don't know exactly how this thing will end. I only know that it will end soon.
Some writers would break out in anxious hives, trying to write without an outline. I think it's rather crazy myself. But we all have our own methods; there's more than one road up the mountain.
Side Note: Great job on the interview with Jessica!
p.s. Thanks!
Outlines
Re: Outlines
Yes, I'm Becky, and I'm a control freak. :)
What I did find, however, was that as I was writing the second half of the book, it was useful to make notes of 2-3 things I wanted to happen in the next 2-3 chapters (otherwise this would have gone on for ever). They'd chop and change depending on what happened as I was writings - sometimes bits got subsumed and cast off, but at least then I was less worried this would be ridiculously long.
Hee hee, "refused to die when he was supposed to!" I've known such characters.
novel vs. tv writers
I wonder if at least part of the difference has to do with the way TV production is organized. Since writers' rooms will "break a story" (produce an outline) together, you're always writing from an outline; this is essential, I think, because another group of people will be already working on the episode coming after yours while you're writing, so they need to know what's going to happen in it in some detail.
On the other hand, I'm not sure this explains it since movie script writing, from what I understand, doesn't have those constraints, but I think they're as adamant about the outlining. I wonder if it's driven by differences in training, in how the writing production is organized, or in something organic to the medium...
Re: novel vs. tv writers
Screenplays also have time constraints; certain things have to happen at certain times. I'm sure it's possible to write a novel that way (i.e., deciding that a certain event will happen on a certain page), and some people do. They probably have an easier time with pacing than I do!
(Anonymous)
LizsInk.Blogspot.com
Outliners are lucky, I think! It must make the process so much more coherent.