“Plot is, I think, the good writer’s last resort, and the dullard’s first choice.”
Wait, what? I’m a Plotter! Or, at least, I was until five seconds after I read that line recently. See, these days I’ve been stuck in neutral, my tires spinning in the slick mud of the writing journey, despite the fact that my headlamps are fixed on this shiny new idea. I’ve started a bit of World Building, and I’ve decided the audience, but I haven’t begun drafting. Like I said, I’m stuck.
I’m someone who has always preferred knowing where I was heading and how I was going to get there. Tell me the plan, or I’ll be wringing my hands–having heart palpitations. With this new story, I know who my main character is, and I know what his general conflict will be, I just haven’t been able to shift the damned story into drive yet. So, the plan today was to do a bit of Outlining. Apparently, outlining will get you insulted by a publishing maven, and is frowned upon in some circles.
I can remember outlining the bulk of first novel idea. There were several versions of the outline, and would deviate from it here and there, but there was a plan. I thought it helped to know where I was going–nay, I had to know where I was going. In a recent article for Writer’s Digest, author Steven James says there’s is an inherent problem with outlining.
“Here’s the problem with writing an outline: You’ll be tempted to use it. You’ll get to a certain place and stop digging, even though there might be a lot more to uncover.”
James goes on to make an interesting point I had never considered when regarding the value of an outline. He says that outlining will result in weak transitions between planned scenes. When I think back to my manuscript, there’s no doubt I could shore up some of those links between the scenes I plotted ahead of time.
The Must Haves
In his article, James suggests a different approach, a more organic one. He says that a story must have the following:
an orientation to the world of the characters, an origination of conflict, an escalation of tension, rising stakes, a moment at which everything seems lost, a climactic encounter, a satisfying conclusion, and a transformation of character or situation.
These must-have elements, especially the first couple, need to be planned. I’ve never be one for much meandering, but I could see how allowing the characters explore the conflict would be beneficial in terms of Believably and Causality. I think allowing the characters to roam might help in developing certain surprises, particularly for the reader. I see the value here, I’m just not sure I can practice this sort of writing.
This all makes me think of a quote from Bruce Lee.
“Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way around or through it. If nothing within you stays rigid, outward things will disclose themselves. Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash. Be water, my friend.”
I realize there is a certain fluidity to the process of crafting a story, so, it might be time to listen to my good buddy, Bruce. At least he doesn’t insult me like Stephen.
- When your characters won’t behave themselves (belindawilliamsbooks.com)
- Pantser or Plotter? (cathywritesfantasy.wordpress.com)
- Vicki M. Taylor reviews ‘On Writing’ by Stephen King (e-bookbuilders.com)
- The Perils of Being a Pantser (bluemonkeywriting.wordpress.com)
- 13 Writing Lessons from ON Writing by Stephen King (lifein64squarefeet.com)
- [d20 Dark Ages] Writing and Stephen King: What I’ve learned… (d20darkages.blogspot.com)