The Lazy Way to Outline a Story
Hello Writers! I’m going to share with you how I outline a plot. This quick and easy way should satisfy all but the most ardent plotters and the most defiant of pansters. There are, of course, as many ways of outlining a story as there are writers, and if you’re new to either outlining or structure, then I’m sure that you will make this method your own in time.
Brainstorm Before You Outline
The first thing I do is to brainstorm. I get a nice blank sheet of paper and fill it with my story idea, brief character sketches, germinal scene ideas, setting notes, etc. Anything that I’ve thought of in terms of the story goes down on the page. This activity also jars loose new ideas, and they go on the page too. Not everything that goes on the page will always make it into the story, but this is a brain purge. It’s the first step of bringing physicality into your mental wanderings.
How to Outline Using Index Cards
I take my brainstorming page and organize it into individual scenes. This is traditionally done using index cards. Early in the outlining phase, I do use physical index cards, but later I move everything onto the digital cards in Scrivener.
Each scene card should list at least the primary character in that scene, as well as the primary conflict. That is good to start. If you don’t have a conflict in any particular scene, get rid of that scene. Every scene needs conflict.
Add Structure
Do you remember the article on three-act structure? If not, please go brush up on it. I’ll wait here.
Ok, now that you’re back, look over your proposed scenes. You will need to have at least a scene for each of the following:
- Inciting Incident – the introduction of chaos.
- Plot Point One – the point of no return, your protagonist commits to the story world.
- Mid-Point – A shift in direction.
- Plot Point Three – All seems lost.
- Climax – The final confrontation between your protagonist and the opposing character or force.
- Denouement – Wrapping up loose ends.
If you don’t have a scene that can stand in at any of these points, please brainstorm some more.
Once you have the six above points covered, you can add the transition scenes that will get you from one point to another. Remember to keep throwing roadblocks into your protagonist’s path and amp up the conflict in every scene.
The three-act structure is a framework, not a paint-by-numbers kit. If your story varies slightly from the above, it’s not the end of the world. If you are still a novice writer, though, please try to stick as closely to the structure as possible. Do remember, though, that the structure is there to help you, not to constrain you.
Put Your Outline in Order
Once I have around 60 or more scene cards (for a novel – any number is fine for a shorter work), then I can flesh out my scenes and put them in order. Make sure that this order has a cause for each scene, and that each scene has an effect that leads into the next scene. It should be like a tumbling line of dominoes. If any one scene stands alone, without that cause and effect, get rid of it.
Add Descriptions to Your Outline
At this point, you can add any other descriptions that you would like to your scene cards. You can note setting, weather, or any other ideas that you have. I like to keep my notecards pretty spare and to come up with details along the way, but you may benefit from having more details. You can try both ways and see what works best for you.
A Note on Character
I like to get to know my character as I write and then go back and flesh the character out during the revision phase. So I don’t add too much about the character in the outlining stage. You will probably want to have a card for each main character listing pertinent details. Some writers go much further and write full character treatments. If that helps you, then go for it. Personally, I find it a bore.
One thing to remember here – nobody cares about your character’s eye color. Nobody wants to read about your character looking in the mirror and internally describing themself. Boring! The best ways to define character are via dialogue and actions, not via eye color. We will, of course, be delving deeper into character in the future.
Example Outline
For now, I’d like to show you how our story idea from the article on character arc can work into a full outline.
The original idea:
“Jessica wants to get married, but has no takers. The external plot is about all of her exploits involved in finding a husband. But inside, she feels like an ugly duckling and thinks she will never find a man because she is too plain. Maybe she thinks this because she was bullied in grade school, or maybe her stepmother berated her about her appearance. Then she meets a man who keeps calling her beautiful, and she smiles, but inside does not believe him and therefore has trouble trusting him and committing to the relationship. Something has to happen so that she starts to see herself as beautiful. Maybe she gets a makeover. Maybe she is scouted by a fashion photographer, and when she sees the prints, she realizes that she is beautiful. Or maybe something happens to make her realize that true beauty comes from the inside, maybe she meets a model that she idolizes that ends up being a total bitch. She could make the realization that physical beauty is in the eye of the beholder.”
Break Down Your Story Ideas Into Plot Points
- Intro – Jessica has had a crazy day at work. Let’s say that she is a hair stylist and her last client screamed at her for ten minutes about how her hair was done and how much it cost. She is stunned because she is a good stylist, and this client is being unreasonable. Also, the client is beautiful and would look good with any hairstyle. Jessica makes that remark to a coworker while deprecating her own looks. She leaves the salon in tears. (Notice that we are leaving out most of the ugly-duckling background. Background story is something that should be leaked out slowly throughout the story. It shouldn’t come at you as a blast of infodump right in your face. Infodump = bad.)
- Inciting Incident – Jessica hails a cab. Since she is upset, she does not see the guy who gets into the other side of the cab. So she gets into the same cab. She sees the man in the back seat and bursts into tears, apologizes, and starts to get out. The man feels bad, says it’s ok, that they can share the cab. Jessica agrees. The man keeps trying to talk to her, but Jessica is shy with him. He drops her off at her building.
We have a scene showing Jessica’s life at home. Her place is full of bridal magazines and a vision board, but there is no man in sight. She eats Spaghettios right out of the can and goes to bed early.
Add Sub-Plots to Your Outline for Longer Works
If this is a longer story, maybe a second plot is introduced. Perhaps her job is on the line because of the way she treated the client the day before.
- Plot Point One – The stranger from the cab (let’s call him Brad) is waiting for her outside her building with flowers. He tells her she is the most beautiful woman he’s seen. She says, ‘don’t tell me pretty lies – I know I’m not beautiful’. But she agrees to have dinner with him.
We’ll have some connecting scenes here. Maybe she loses her job because the client who made her cry buys the salon (melodramatic, I know).
She still thinks she isn’t beautiful, but starts putting more effort into her appearance. She gets that makeover. Her lights get cut off due to non-payment.
- Mid-Point – Jessica is scouted by a model agency, does a photo shoot. She still sees Brad, but has less time for him.
- Plot Point Three – Brad proposes in a casual setting, maybe a ball game. Jessica hates ball games. She gets upset and says no. He asks why she won’t marry him. Jessica tells him it’s because she thinks he is shallow. He doesn’t really see her. He keeps saying she is beautiful, and she knows he is lying. Plus, she would never marry a guy who wouldn’t even bother getting on one knee. Brad counters that he wouldn’t want to be with a woman he had to beg.
Make Notes for Connecting Scenes as Needed
We have connecting scenes showing Brad as lonely and miserable, and Jessica as lonely and miserable. Brad tries to date again but is dissatisfied. He pines for Jessica. Jessica, in turn, sees a photo of the two of them together and bursts into tears.
She is at work, and her photographer shows her some of his photos of her. She doesn’t recognise herself at first. When the photographer says it is her, she says, ‘I really am beautiful – who knew?’ Then she remembers that Brad knew. Or maybe he is in earshot. He is dying without her and comes to beg her to be in his life again, even if they don’t marry. He steps into the room and says, ‘I knew. ’ Maybe there is a scene before this, showing Brad using the key he still has to Jessica’s apartment and seeing the appointment on her calendar.
- Climax – Jessica and Brad have a difficult but heart-rending conversation right in the photographer’s studio. She cries again. He gets on one knee, pulls out a ring. She falls into his arms. The photographer is crying now.
- Denoument – A limo is pulling away with a just married sign, tins cans dragging, the works.
Stay Tuned for Outlining Part Two
This is the beginning, just before I would pull the scenes apart and list them in order. Yes, I know, it needs work. I already told you that I’m not a romance writer. This is just a germinal idea to give you a guide to the process. Give it a try on your own story idea. Just don’t use this one. I’ve decided that I might become a romance writer after all. See? Story ideas can come from anywhere.
This outline needs to be fleshed out. I think that Brad and Jessica should both have their characters expanded. Also, we should settle on the setting. I’m leaning towards Chicago. You can look forward to that in a future article.
For now..Happy Writing!
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