Story Outlining Methods, Pt. 1:

story outlining methods, pt. 1:

take off your pants!! (“take off your pants!: outline your books for faster, better writing” by libbie hawker)

this outline starts with a character — specifically their biggest flaw — and leads to five points that will make up the core of your story. it’s best for plots and subplots that focus on overcoming the flaw!

this outline doesn’t just have to be used for coming of age novels. it is just as important in your dystopian, fantasy, or thriller novels that the main character learns something or has changed by the end.

STEP ONE: think about your character

your main character — what is their name, and what are their important features?

what are your character’s flaws? what about their FATAL flaw? ex: hubris, overconfidence, stubbornness, etc.

STEP TWO: think about the end of the story

the story (whether the main plot, a subplot, or a facet of the main plot) is the journey lead to overcome the flaw. now that you know the character’s flaw, you know what lesson they need to learn.

the end of the story = the flaw mastered, the lesson learned.

STEP THREE: think about the external goal

the external goal is the plot, the outer motivation to push the character to the end of the story where the goal is mastered. if you remember my post on quests, you know that a quest has two reasons to be there: the external factor (shrek saving fiona for his swamp), and the real reason (the lesson learned)

the external goal should provide a chance for the character to recognize their flaw and begin to change. how does your plot tie into their character development?

STEP FOUR: think about the antagonist

thinking about the external goal should reveal who the antagonist is. the antagonist should want to achieve the same goal or a goal that impedes with the protagonist’s goal. the antagonist should be the biggest obstacle to the character.

STEP FIVE: think about the ally/allies

the character(s) that is capable of forcing the protagonist down the correct path. where your protagonist most likely will resist changing and confronting their flaw, the ally will help force them to do so anyway.

STEP SIX: think about the theme

so what’s the point of your book? if you are struggling to boil it down to one sentence, you might want to think about it a little longer. this is what keeps the story feeling coherent. what are you trying to tell us?

STEP SEVEN: think about the plot

each main plot element should somehow relate to the core of the book, aka the character’s development in overcoming their flaw

OPENING SCENE - set the stage. address the flaw or the theme

INCITING EVENT - what forces the character out of their everyday life and into the story?

REALIZING EXTERNAL GOAL - what makes the character begin seeking their goal?

DISPLAY OF FLAW - if the character’s flaw hasn’t been made blatantly clear, now is the time. make it known to the reader.

DRIVE FOR GOAL - what is your character’s first attempt to reach their goal?

ANTAGONIST REVEAL - how do you first show your antagonist’s opposition to your character?

FIRST THWART - what happens to your character that keeps them from reaching their goal?

REVISIT FLAW - show the character’s flaw again, even if they themselves aren’t aware of it yet.

ANTAGONIST ATTACKS - what does the antagonist do that makes things worse?

SECOND THWART - where your character fails most likely due to the attack

CHANGED GOAL - the character finds a new goal or focuses on the external goal in a different way

ALLY ATTACKS - what does the ally do to force the character to see the flaw?

AWAKENING - the character knows what they must do to reach the external goal. how will you show that the character has also awakened to their flaw? how will you show them changing?

BATTLE - the final showdown with the antagonist!

DEATH - the character’s flaw dies here. how will you show that the character truly is different now?

OUTCOME - show whether the character won or lost the external goal, reveal the theme of the story.

naturally, you don’t have to follow that outline exactly, but it can be a good place to start ;)

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2 years ago

Years later, don't let this shit go unnoticed.

The internet archive is home to:
• many of Wikipedia's sources
• many otherwise-lost pieces of media
• THE ENTIRE WAYBACK MACHINE

The data loss if the Internet Archive went down would be comparable to the Library of Alexandria. https://t.co/oTEDFQdcdf

— 🐶 Camwoodstock 🌺 (@Camwoodstock) July 10, 2022

If you can, please donate to the Internet archive, links in the description. The loss of the archive would be devastating for dozens of reasons.

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Meng Yao objectively has the worst time because he has basically designated himself the person who runs Interference for the siblings at gatherings, and he also really fucking hates confrontation, so does his best to keep the peace no matter how awful their relatives are to him… up until a point, when he’s exhausted enough not to give a shit anymore, and he retreats to a bathroom with a bottle of wine in each hand and his boyfriends on speed dial, and tells Xuanyu to do his worst.

Tags

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4 years ago

OG Shen Qingqiu waking up and remembering his torture at the hands of Luo Binghe. Yue Qingyuan is above him, all concerned because he’s been running a fever for days now. The thing is about remembering the torment he went through, is that he remembers that Yue Qingyuan died.

He remembers that demon bringing the remains of Yue Qingyuan to him. Even under all of that torture, Shen Jiu had never once broken. Not until he learned that Yue Qingyuan was dead. Gone. Because of him. “A-Jiu?” The words are softly uttered and then he suddenly has a lap full of Shen Jiu in his lap.

He’s trembling, Yue Qingyuan realizes, still with shock for a moment before he wraps his arms around him. He doesn’t know what to think, nor why he’s awoken, only to show such an intense reaction. Yue Qingyuan has never seen him so shaken before.

He’s about to speak, but today is a day for yet another shock. “Qi-ge.” Those words that he never thought to hear again are uttered, and he goes still in his shock. Something had happened to so thoroughly shake Shen Jiu that he’d uttered those words that brought a bittersweet pain to his chest.

Shen Jiu needs a bath, to be properly taken care of, but Yue Qingyuan pays that no mind for now. “I’m here. Xiao Jiu, I’m here.” Come what may, he won’t leave him like this. No matter what. He won’t abandon his Xiao jiu ever again.

(And if his robes are stained with tears in the aftermath, Yue Qingyuan doesn’t dare to speak of it once Shen Jiu has composed himself. Yet the image of Xiao Jiu crying will forever be ingrained in his mind. Ah, he thinks through the pain, This is what breaking feels like.)

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rulingtheworldistoomuchwork

3 years ago

In a visual medium especially, a large part of a character is how they look. Like, looks can be deceiving and aren’t everything about a character, obviously, but ALSO: by making a character look a certain way (especially in the character’s daily life) the creator is (whether they know it or not) saying that that character is (usually) choosing to look a certain way.

Clothes, accessories, make-up, and hair can suggest any number of things about a person’s character. It can be a very useful tool in any story. Personal presentation can suggest things about a character’s gender, profession, religion, sexuality, personal wealth, native culture, and personality (and more).

Which is, I think, why a lot of female characters are sort of… I don’t want to say “broken”… but their execution has ruined their concept? (This isn’t exclusive to female characters, male characters can also suffer from unsupported unrealistic appearances, but female characters definitely suffer more.)

You have these female characters who are supposed to be relatable, realistic women, right? But you look at their perfectly curled-and-styled, super long hair and you see hours of hair-care. And you look at their perfectly made-up faces and you see at least a dozen different make-up products and at least a half-hour in the bathroom every morning. And you look at their figures and you see a strict diet and hours in the gym every week, and you see shaving or waxing, and you see well-maintained mani-pedis. And you look at their outfits and you see designer names and special tailoring, and an enormous closet somewhere in their apartment to store all this, and someone who has the time and energy for perfectly done, sorted, and ironed laundry (and is obviously not doing anything remotely physical or dangerous in those heels).

Which would be fine if that was an intentional visual statement about the character! There are women who put that sort of time/energy/money into their appearance! There are magical and non-human characters (male and female and neither) who can just snap their fingers to look perfect, and I buy it no problem! I get that!

But this gets done even with female characters who are supposed to be absent-minded workaholics, poor working single mothers, nerdy shut-ins, take-no-shit tomboys, post-apocalyptic survivors, and even faux-medieval warriors who shouldn’t have the time or resources for that level of personal grooming! And even with aliens and non-humans who shouldn’t know to decide to care!

So you have these “everyday” women with busy lives, but who somehow manage to keep an unrealistic level of personal grooming in absurd situations, and they… become visually unreal. Especially when (even if they are canonically said to care about maintaining a certain appearance) they’re often never shown putting in ANY of the time or effort it would take to manage their appearance (show me their skincare routine, show me them at the gym, show me them doing laundry)! They look like they stepped out of a magazine (often so “perfect” that they’re frankly bland, actually), but it’s not factored into their personality or background or their lives?

“I don’t wear make-up,” says the female character who is played by an actress very obviously done-up with eyeliner. “I don’t wear make-up,” says the female character who is drawn as though she is permanently wearing lipstick. There are no bad hair days and no laundry days and no moments of imperfection. What the character might be saying is immediately invalidated by the visuals.

These female characters don’t feel like women so much as they feel like impossible creatures the creator has pretending to be pretty women. They feel fake. They feel like their purpose by the creator is to pander to pervs and unrealistic beauty standards. Especially when they’re sent into combat situations with skintight/revealing outfits with no support and loose hair that’s a blatant liability (and the creators even make them bleed prettily sometimes which is related but different conversation). It’s a stark announcement (intentional or not, knowingly done or not) of the creator’s ignorance and apathy towards women and the choices involved in female self-presentation.

And it makes it… difficult… for me personally to relate to certain female characters sometimes, even when I care about these female characters and WANT to care about these female characters. Their character design is, by their visual appearance and lack of narrative support for that appearance, broken. They’re not grounded in any reality. The suspension of disbelief required can be… a lot.