jcolinholmes at 2015-08-12 12:29:12:
I tried outlining on a project - really tried. Wound up with a 70 page outline for a 110 page script. Now I just do the vomit draft and be done with it.
Michael Waters at 2015-08-12 13:04:37:
My ideas are always built on shifting sand. Sure I outline. Try to outline. But it's always shifting. Otherwise the tide gets me! But I always know my ending.
Scott at 2015-08-12 13:28:06:
jcolinholmes, at least you tried your hand at an outline. When first-time or aspiring writers tell me they don't or even can't do an outline, I always ask if they've tried. If they say no, I encourage them to give it a shot. If they don't out of sheer laziness, they may be missing out on an approach which they find to be essential to their growth as a writer. But vomit draft, then diving into rewrites is certainly one way to go, and a popular one among some writers as we'll see in tomorrow's post in this series.
Scott at 2015-08-12 13:31:04:
Michael, when I work with writers in my Prep: From Concept to Outline workshop, we approach the process with an understanding that the outline is a guide. Not a rulebook. Because in writing the first and subsequent drafts, we have to be open to where the narrative evolves, where characters take us. But for those who prefer a more improvisational approach, I concur with you: Always know your ending.
FrederickSeton at 2015-08-12 17:15:03:
When writing spec drama/dramedy or writing long fiction I never outline. I start with a general idea of theme and mood as well as a large inventory of little specifics (lines of dialogue, description, transitions, etc.) that are the ammunition for what I want to say. It's in the actual writing that those specifics mesh with mood and theme. Characters I never thought of appear, others that I thought long and hard about never surface. And sometimes the natural ending reveals itself as soon as page one. For assignment work however, outlining is pretty much mandatory. It's not something I particular enjoy but I try to have as much fun with it as possible and while the mind can't run rampant on an outline/treatment for a higher-up, it can play a little bit. Sometimes it's appreciated and enjoyed, the job is yours and huzzah!. Other times...not so much.
Scott at 2015-08-12 18:43:40:
Frederick, I'm really glad you brought up the distinction between writing on spec and writing on assignment. Per the former, a writer can choose to approach the process any way they want. Comprehensive outline. Preliminary outline. No outline. Hey, it's your time, your sweat equity, no one's waiting on you, so follow your creative instincts however you'd like. On the other hand, just as you say, Frederick, "outlining is pretty much mandatory." Whether it's a full-on outline, a beat sheet, a treatment, or a scriptment, unless you're an A list writer or some other special circumstances, it's increasingly rare for a writer to go to draft without presenting some sort of story summary. Then there's pitching which for decades has required writers to work up an extensive take on the story. So even if a writer's instincts veer away from outlining, if they have a serious interest in seeking out writing assignments, at points they are going to have to learn how to break a story in prep, and craft some version of it to present to the studio, prod co, etc. Again thanks for raising that point. Super important.
Jeff Guenther at 2015-08-17 23:38:39:
I believe in outlining. A step outline lets me see and review the entire project in a less cumbersome form than the script. Yes, having the last scene written first is a great idea. That said, if I think of a better way for the story to go, or a better ending, I'll abandon the map and wander into unknown territory. This involves a ton of brainstorming, wandering the botanic gardens and asking myself what the characters would really do.
Scott at 2015-08-18 12:05:42:
Jeff, I think your approach is the 'healthy' way to do things. An embrace of thorough prep work - in your case leading up to a step outline - but an equivalent embrace of the magical nature of story, how we have to be sensitive to the shifts and actions our characters and plot can take while writing the actual pages. That's why in my Prep workshops, after all that work breaking a story, I suggest to writers that when they sit down to write actual scenes, they set aside everything they know about the scene at a conscious level and instead focus on FEELING their way through the writing. In other words, FEEL your way through the early drafts of scenes, then THINK your way through revisions, polish, and edits. But even that's not a rule. Whatever works for you. Find that... and do that.