posted
I've been working at a book for some time now, dabbling off and on, and I think that the biggest reason I don't work on it more is because I have not managed to create the skeleton plot. I have the essence of the story, and alot of ideas, but I have no clue as to the story or what happens. I recently set myself to listing the main things that I want to happen in the story, but I feel that I'm still trying to create an animal a tooth and a hoof at a time. Is it better to go from vague and broad down towards the bare bones and then flesh it out, or is it possible to write tooth by tooth, so to speak?
Posts: 60 | Registered: Mar 2008
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posted
Some novelists outline the whole story in great detail and others completely wing it. Most combine these extremes. You have to figure out what works for you. Last summer I interviewed a novelist who said he starts with the idea of where he wants to end up and a couple of things he wants to occur in the course of the book. Then he just starts writing and sees where the story goes. It sounds like that is what you've been trying to do, but it isn't working so well for you. I personally like a great deal of structure and organization (and have been known to outline short story plots, which is an illness in itself ). Remember that, as you write, stuff happens on the page -- wonderful, cool stuff that will make you trash your outline -- so you have to be loose enough to go with the flow, too. K---
Posts: 195 | Registered: Feb 2008
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posted
That was pretty articulate, kathyton. I agree. A plot is a road map: Some authors need a gps to know where every turn is going to be and every short-cut comes out. Others like to explore those sidetracks, and if necessary cut new paths to the final destination. OSC and David Wolverton/Farland have said that the more you know about your characters (protagonist AND antagonist), the milieu they're in, and the conflict, the less often you need to rewrite. David Wolvertone explained that he has an extensive plotting system, color coded to know who and how much a character is involved. (Apparently, he color codes the text as well as the chart.)
Posts: 3687 | Registered: Jan 2007
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posted
What the others said. Here are some in betweens you might try.
The headlight version--some authors only plot out what's going to happen in the immediate future. So, after they write a section, they'll briefly note what might happen in the next few chapters and take it from there.
Scenarios. Write the story out in narrative format, rather than in outline. (i.e., like a mini story: Jezebel went to the store where she encountered an gnome who stole her wallet. She ran after the gnome, but he disappeared into a hole. Frustrated, Jezebel tried to reach into the hole but to no avail. Then her brother came by... etc.) This is easier for me, since I can't necessarily think in outline but I can think in story/ character arc. I often write out different scenarios for each character.
Graphs. Sometimes what I need is not textual but freer. So I get a big piece of paper, draw a slope that peaks and drops off. I mark my climax at the peak. If I know what it is, I'll write in the event. Then I sketch in some events leading up to it.
As the crow flies. If I can't think up a good way for characters to transition into the next plot phase, I'll just come up with the shortest or easiest route. I can always complicate it later if I can't come up with a scene. So I'll write in a filler: And then they got woke the dragon, but somehow and for some reason Jill gets captured. Later I'll expand it into a scene, or several scene.
Just write something. Even if I have no idea how to get here from there, I'll just write something. I'll write stupid stuff, like my character waking up, what he has for breakfast, what he decides to wear that day, who he encounters. Usually something will kick in and I'll think of something cool.
Backtrack. I've found that the better I know my characters the easier it is to write about them. So if the plot isn't coming easily, I'll go back to my initial character work and my world building. At some point, they'll start telling you where they need to go.
[This message has been edited by annepin (edited March 30, 2008).]
posted
I can't add much to the excellent advice that others have given already.
I once tried to plan an entire story in detail, but found that as I got into writing it, characters and events took over. Initially that was disquieting, but now I'm finding it's a heck of a lot of fun. The characters seem to develop their own minds--all inside mine!
One thing I have learned is that I have to care about the characters, and the story's main problem. If I don't, I don't write.
To this end I make lots of notes on the characters and their millieu. Not only can I then not forget them, the note-taking--and the research that goes with it--help me to internalise, to get to know the characters and their world. It's this that enables me to be not too concerned if the plot changes during the writing, because I like this imaginary world enough to keep going.
posted
So David Farland color codes, at least I have something in common with him. I started color coding my outlines to insure proper flow, character development, and foresee any plot problems. Of course, I am incapable of planning in advance so my outline comes after the first draft. But it helps with the rewriting
For me plotting in advance comes down to the MC and the changes in he/she that will occur. Other than that, before writing I like the beginning, the end, and a couple scenes within, then I let go, and see where the characters take me, and adjust on the fly.
posted
If you need more spontaniety in determining what happens next, try casting horoscopes or I Ching coins or reading Tarot cards, or somesuch system of forecasting. You get advice---and, really, that's all you get from these. And on this advice, you might figure out where to go from where you are in your story...
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posted
Organizing my worldbuilding and character notes is a huge problem for me. I haven't found any good way to do it. Heck I wouldn't even be able to figure out HOW to color-code it. That would assume that most stuff only had to do with one character.
Posts: 1588 | Registered: Jul 2007
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posted
My stories all start the same way. I get a single image in my mind. Then I ask myself "what's happening in this scene?" "how did these characters get there?" "where will they go from there?" and that gives me the most basic outline. I have a beginning (how), a middle (image), and and end (where). Then I write some general information about my story. It ends up being a worksheet that has Title (though that rarely gets filled in until the story is done), Setting (in which other pages are sometimes needed to describe made up worlds), Main Character/ POV, and then a very vague synopsis.
After that, I toss all that aside and start my character sheets. For every character I have in mind, I make a character sheet. It has their name, gender, age, species (since I like working with mythical races), any special things about them (for instance if they're in a particular class in society, their job, the type of magic they use, something that is essential to every person in the world.) Then a separate section for emotions. I think of the main emotions that let you know what a person is really like (anger, fear, shame, happy, etc) and what causes them to feel each of those emotions. A Third section is for their appearance, hair color, eye color, height, build, clothing style, etc. It makes a nice "quick reference" for when you can't remember what color their eyes were, and then you don't have to worry about weeding out where they change every chapter. I also list the "fatal flaw" or the thing that keeps coming back to bite them in the but, make their life difficult, etc. I generally use a major personality trait for this. And finally I have a place to put notes I think of as I'm writing the story. How they relate to other characters, job, family, that sort of thing.
When I have all that done, I start outlining by chapters. I try to keep 5 key events per chapter, or things that need to happen. They aren't really major plot points, just things that will help me develop the story. If I'm missing something and feel like there needs to be something between event A and event C, I generally do a tarot reading on my characters. Since you can twist the cards to mean anything you want, by doing a reading you can come up with some really interesting stuff.
I also keep a separate page for when I think "ohh it would be cool if this happened" but it's not something that fits the next chapter or two.
OK, that was kind of long winded. But if anyone is interested in seeing a sample of a character sheet that I use to get a better idea of how it helps, let me know.
posted
If my worldbuilding were only a page or two would be easier (although I print very little of it out). But I'll have dozens of plant and animal descriptions and jpgs, many pages on the various religions and gods, the social classes (which don't tend to resemble the real world ones or why bother to make up a new world), weapons, armor, clothes, how trade works--who trades with whom, maps, the books people read, the songs they sing, what the buildings are like and how they're laid out, etc.
It gets a bit overwhelming.
I'm not big on extensive physical descriptions of my characters unless it is related to the plot--such as the blonde braids on one character being a big hint of what her blood was. Although come to think of it, of course I know what they look like just as I know what their personalities are like. I do make appearance notes on minor charcters in case I need to refer to them later.
My character sheets are more for keeping track of how I decided to spell the name, what their title is if they have one, if there is a nickname, if they have a heraldic device what it is, who their allies and enemies are, that kind of thing.
[This message has been edited by JeanneT (edited March 31, 2008).]
posted
General outlines of what might happen are good, but don't set it in stone. I find thinking in terms of intertwining relationships between characters more intuitive than a long, boring string of events.
Half the fun of writing for me is I don't know exactly what's going to happen next. Your character's reached a bridge--how's he going to cross? Who's to say he won't jump in and swim for it? Keep things fresh by not going into much planned detail where you're going. You don't need a map so much as a sturdy walking stick. Hope this helps.
quote:General outlines of what might happen are good, but don't set it in stone.
True dat. In my latest, I just had a character walk up out of nowhere and start talking to the main character...she wasn't in any outlines or notes...and I have to alter a good deal of what I've got, before and after, to keep her. (Why keep her? Why not? It's just words on a screen right now...)
An outline is like a road map---it doesn't stop you from taking a scenic detour or two, and maybe winding up somewhere else altogether...
posted
This is often a tough one for me too...plot was one of my worst fears, one of the things that kept me from writing for a long time.
Generally, I'm a Stephen King-esque, seat of the pants sort of writer. I often let things stew in my head for long periods, and then go for it.
Or, at times, I will identify certain things that I know I want to have happen, and then identify the questions attached to them. How does it happen, why is it happening, but if this is, then why that, etc. I've never really written a real "outline" but I will try to tackle some of the questions of motivation, consistency and logic that will crop up.
Now as a caveat, I have only actually writen short stories, and one short novella at this point, although I've worked on longer things. The novella actually started as a short story, and then got expanded. I think that method might be helpful some times too.
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). Remember that, as you write, stuff happens on the page -- wonderful, cool stuff that will make you trash your outline -- so you have to be loose enough to go with the flow, too. 
I agree. A plot is a road map: Some authors need a gps to know where every turn is going to be and every short-cut comes out. Others like to explore those sidetracks, and if necessary cut new paths to the final destination. OSC and David Wolverton/Farland have said that the more you know about your characters (protagonist AND antagonist), the milieu they're in, and the conflict, the less often you need to rewrite. David Wolvertone explained that he has an extensive plotting system, color coded to know who and how much a character is involved. (Apparently, he color codes the text as well as the chart.)
