Fiction Outlines III

Donna Conger, author of Forgotten, had this to say about “Fiction Outlines,” my previous blog article:

“Frank, Good information. For me, an outline is extremely necessary, because it helps me keep the story organized. It shows me where I’m repeating myself, where the story is contrived, etc. Often, when I’m writing an outline, I get so deep into the story and characterization that I start writing actual dialogue and mixing it with the chapter synopsis. When that happens, I get a much stronger handle on the whole project. I remember the story better, so that when I don’t get the chance to work on it, it’s still with me quite strongly.”

For those who outline in depth, Donna’s method must be a wonderful tool. Such a detailed outline would mesh well with the subconscious mind for creative inspiration. Because of a mental handicap that cripples my short-term memory, I’m stuck with re-reading pages of notes plus my chapter-in-progress in order to “tune-back-in”. My own inspiration only comes either in light-bulbs throughout the day (that I scribble down and transfer into my three-ring-binder), or, more productively, as my left-brain is running SO full throttle that I can’t type fast enough to capture all my thoughts.

Reflecting upon Donna’s technique brought back a conversation that my father (who was also a writer), and I had years ago. He’d been experiencing a period of writer’s block. As he lamented about his problem, it occurred to me that because I’m so used to troubleshooting ways around my mental condition, I’d been manhandling writer’s block for well over a year!

This was my e-mail reply to Donna:

“I’ve experienced that detailed kind of hyper-outlining before, but this topic leads into my definition of writer’s block. I don’t believe in it. Creative writing is left brain stuff. If I find myself sliding into creativity, I open my WIP and go-to-it. When word-count refuses to turn a phrase, that means my right brain is switched “on”. That’s when I work on my marketing plan or pull out my writer’s notebook and organize thoughts.”

A writer’s best quantitative standard of productivity is word-count; we set goals and we record daily figures. Then we get so focused on this single unit of measurement that we forget about less quantitative aspects of the craft. Those one or two thousand words are our eight-days-a-week mandatory discipline; but what about e-mail, research and critiquing? I once read that there are other spheres of life beyond writing: like enjoying family, community, worship and creation around us. It’s so easy to get caught-up. Balance your spheres, and engage yourself in His moment’s gift.


CREDITS: Thanks to my guest quotationist:
Donna Conger, check out her website

I urge anyone who questions whether or not true love exists to read Forgotten. You will know it is alive and well.
–Janet Elaine Smith


"We who escape into our craft are not unlike junkies; once we admit our problem we can balance our lives. Once we balance our live’s spheres, we’re living as He’d intended."–Frank Creed

WIPs: Outlining Part II

Flashpoint’s jagged notes scribbled scene by scene. I added chapter breaks later, always at action’s peak in order to create a page-turner effect. But, because a braided novel’s shorts are told in parts (Part One, Part Two . . .), this technique cannot be employed.

To sustain this form where each tale had to be supported by its former layer, work had to progress methodically. Before entering into any word-count writing, I motored up the olde speculative binder. I first chose the themes that I wished to include, followed closely by which plot-vehicles I’d use to deliver them. Using one loose-leaf notebook page for each story, I gleaned details from my notes on scene ideas, concepts and snappy lines then fleshed out the first details. I gave each short a working title, and listed them in a table of contents, for a quick organizational overview reference and major notations.

With this framework in place, it came time to plug-in the threads that I wanted to chronologically develop throughout the stories. Because this is a sequel, a solid cast of characters already existed, and over the years I’d worked up a few new character profiles. This is where I got to cheat a bit, because I already had ideas on how to develop characters with whom I was intimate.

In my humble opinion, the most important element of any tale is its characters. They are the beginning point. You can have the best plot ever, but if your characters fall flat, I’m shelving the story. Conversely, if I care about strong characters in an ugly plot, I’ll keep turning pages.

My five threads all dealt with character/ relationship development (a real shocker, I know). For easy reference, I listed a thread index on a separate sheet, and assigned each thread a capital letter. On those seven story pages I tracked each thread with its corresponding letter in the left margin.

In the end, every writer’s approach to the art is different. Whatever is right for you is a mantra that fails morally, but preferences are a freedom that we’re all allowed. Each artist must choose the medium and tools that their gift requires. As I’ve said before, every writer’s bag of tricks is of unique cloth but when each of us dumps it out, our work must have detail and depth.

WIPs: Outlining Part I

My last blog article detailed the categories into which I’ve broken down my own three-ring-binder writer’s notebook. It finished with thoughts about a tab I call “SEQUEL NOTES” but what happens when a sequel graduates to a WIP?

Jan recently asked the following questions: “Just curious . . . I realize some writers never use outlines, but I’m trying to get various viewpoints on them to make some decisions . . . So, if you use an outline, what format do you use? Basic Roman numerals? Topical? Do you outline chapter by chapter? Outline the entire book before you write? Outline a chapter, then write it? Outlining was recommended to me, and as a former English teacher, I definitely see the benefit. BUT when I tried it for my novel, I found I ended up changing stuff as I got more involved with my character’s lives . . . Just looking for other opinions, I guess. Thanks, Jan”

This is like a painter asking if it’s better to use watercolors, acrylics, or oils. In the arts there is no shortest route between two points, and each artist will develop their own techniques. There are writers who can only work from a strict outline and others whose creativity would be stifled by this technique. While I myself lean more toward the latter variety, my WIP has proven to be a real organizational challenge, teaching me lessons from which any writer might benefit.

To preface Jan’s questions, I first need to define the braided novel. While writing Flashpoint, my own comfortable method of thought-organization worked very seat-of-the-pants-informally-functional. That story is very linear and straightforward. But that was then and this is now.

I’m writing its sequel in a form of which I first discovered while reading Michael Stackpole’s afterword from his novel Wolf and Raven. An anthology, as we all know, is a collection of short fiction. A braided novel is different in that it’s a series of shorts revolving around the same main characters and occur chronologically with each story building on the history of its predecessor. The functional beauty of a braided novel is that each freestanding short can be individually marketed before completing and compiling the stories into a single work. I fell in love with Wolf and Raven because it’s told in the same first-person sarcasm as Flashpoint, but I fell in love with Stackpole’s braided novel form because of its pragmatism.

For a mentally handicapped closed-head-injury victim like myself, keeping story threads alive and organized throughout seven (planned), shorts of a braided novel called for a level of outline complexity that I’d never before required. Because my writer’s notebook is of ye olde fashioned pencil and paper variety, Roman numerals are too rigidly unforgiving: while my characters and setting are fairly concrete, I’m a firm believer in letting a story tell itself. This means I have too many new ideas as I write, and my plot development must remain very fluid.

Next week, part II

“Trifles go to make perfection, and perfection is no trifle.”–Michelangelo Buonarroti

Writer's Notebook II: Sequel Notes

I received a question from the Fellowship of Christian Writers Newsgroup that relates to the last item on the "Notebook Tabs" list: the nebulous SEQUEL NOTES.

gificor@gmail.com asked, “I am trying to organize some of my short story ideas into coherent story outlines. Does anyone have advice and examples?”

The following methodology serves either long or short fiction:

I begin with a concept, an inkling of story-line and characters, then turn to my SEQUEL NOTES tab to gather up some particulars. My loose outline is left intentionally rough in order to accommodate brainstorms that occur as I create.

Themes: this is where I start. Meaningful fiction carries messages. List here the social concerns that have weighted your heart to address in future fiction.

Plots: I’ve begun with a kernel, but this treasure of notes fleshes out the skeleton.

Scene Ideas: little mind’s-eye concepts that add silk leather and velvet to each tale.

Characters: the heart of any story. By now I have enough of the story constructed that I can fill one page bios.

Concepts: The little things that would otherwise slip the cracks between characters and construct: symbolism, misdirection, strategy, etc.

Snappy Lines: a record of THAT’S-what-I-should-have-said. One of the advantages of our craft is time.

Every writer’s bag of tricks is of unique cloth, but each of us dumps it out our work must have details and depth.

“Trifles go to make perfection, and perfection is no trifle.”
–Michelangelo Buonarroti