Let's be clear right off the bat and say that there is no single way to outline a novel. If that were the case, I think a lot of our favourite authors would be out of a job.
However, there is a way that I outline my novels. And it might give you some insight or tips into your own process. Somethings that you may want to try out on your own. So, in case my method interests you, I've attached a visual below of the document I use to help structure my story. And in this post, I'll explain a few tips and tricks that I find useful!
As I've mentioned before, I need to outline. If I don't outline, I won't get to the end of my story. But it's actually become my favourite part of the writing process. This is the part where there is no pressure and you just get to work your imagination to the full.
Before I outline, I have: a premise, a setting, and character sheets. The premise is the basic idea for the story. It's usually a single scene and I don't yet know where it fits. Most of the time, it's based around my main character, the life they live, and what went wrong.
There are so many different types of outlines. Some writers outline by chapter or scene, some by acts (1-3), some like the Save the Cat! method. I prefer to outline in five larger sections and work my way down into scene overviews.
This doesn't mean that everything is planned out before I start writing, but it means that I have a good idea of the content and word count each section will take up. I tend to average about 2,000 words per scene. So when I break it down into my outline, my first draft (or Draft 0) will end somewhere around 50,000 and 65,000 words. This gives me room to edit and add colour when I start revisions.
So, this is what the skeleton of my outline looks like:
It's fairly broad and basic. Most of the time, when I start writing, I can see the opening scene very clearly. So I'll give a one-sentence descriptor where you see Scene 1. From there, I'll add a few bullet points of details to keep the words flowing. Unless the scene is so clear that I don't need them.
I'll work my way through, going from scene to scene until I reach the Conclusion. Somewhere, I'll get stuck. When that happens (not if, because I always get stuck), I'll head to my whiteboard and try out some mind maps. Asking questions like: What if she didn't meet that person? What if he went left instead of right? I open my mind to the ideal of "literally anything is possible."
If I'm really struggling and I don't have any great ideas, I'll pick the one that seems the most plausible and keep going.
If my inspiration was plot-based, the outline comes together fairly quickly and well-formed. If all I had were characters and premise, the notes are more vague and the scenes get more detailed as I go.
Overall, my outlines don't change that much once I start drafting, but they tend to expand. As I write, I'll keep checking back to see if my draft is still lining up. If it doesn't, I'll adjust the outline so they do. If I'm on track, I'll add more details to scenes as I get closer and things start to clear up.
The outline is not set in stone.
Once I start writing, I don't force myself to stick to the plan. I leave it open ended for better ideas, different characters, twists that surprise even me. The outline is simply a suggestion to get to the end of a draft.
So, what do all those fancy headings mean? Here's a very brief breakdown:
Part One
Introduction: This is your opening scenes. We're introduced to the MC (main character) and what an average day looks like. Who are their friends/family, where do they live, etc. The introduction sets the stage for the story and shows us what the character wants and why they think they need it.
Call to Action: This is also referred to as the Inciting Incident. This is the thing that makes the MC realize they need to make a choice, make a change. It could be anything really, so long as it propels your character forward. And it generally happens to your character. (e.g. A death, loss of job, etc.)
Point of No Return: They can't go home. This is an event where the MC learns that going back to the person they were before isn't an option, the only way is forward. They make the active choice to keep pressing toward their goal/want/need.
Part Two
New Friends: Now that the MC is out in the world. They're probably going to meet new people. Who are they? Why do they come into the MCs life? How do their beliefs/way of life impact the MC?
New Reality: What does the "new normal" look like? How does this compare or contrast with where they started? Is the MC in a new city? New job?
Major Event: Something happens, something big. This event is generally related to the MC's goal and presses the plot further. It doesn't necessarily have to be action (read plot based); it could be an epiphany (read character arc based). But whatever the event is, it forces the MC onward toward success or failure.
Part Three
Build-Up to Peak Action: This is the planning and scheming. The MC knows what they want (not necessarily what they need) and what they have to do to get it. How do they get there? What tools or people are necessary to help them get what they want?
High Action Event: The execution of all that planning. They break into a bank, ask out their love interest, swim for the first time in years. Whatever they've been forced toward, they face here.
Simmer Down: Did they succeed? This is the first time that we'll see our MC's trajectory. Either they accomplished their first task and now see the next step, or they failed and need to try again (or try something different). How does this impact them? What choices do they make as a result? What do their relationships look like now?
Part Four
Encouragement to Complete Quest: Here, the MC needs to make a decision. They're heading toward a major downfall (or Dark Night of the Soul), so they need a little push in the right direction.
Major Loss/Lose Everything: Either the MC fails miserably to achieve their goal, or they succeed and realize that it wasn't the thing that they needed. They are often shattered and reborn in this section. Sometimes, they do make the connection that their want and need are different things.
Major Twist: What's the secret? What have you been foreshadowing this whole time? Is the villain related to the MC? Have their friends been lying?
Part Five
Tie Storylines Together: Now that the cat is out of the bag, how do all the pieces fit together? Here, we merge all the subplots and main plot into a cohesive bubble.
Resolution Between Protag/Antag: Tragedy or success. Whatever the result is between the MC and the "villain" (or just their contrast) happens here. This is the end of the journey that started at the Call to Action.
Conclusion: How does the MC react to the Resolution? Have they learned their lesson? What are their relationships like now? How has this journey impacted their everyday life?
An important note: not all of these sections will take up the same amount of space in your book. While I judge by 2,000 word scenes, that doesn't mean that there will be the same number of scenes under each heading. Part Three might be almost double Part One.
Outlining this way helps me to get a feel for the overall story, how character arcs fit, and where the subplots are. That way, I know each ingredient that needs to be incorporated into each scene.
If you want to try this outlining method, you can download the basic Word Doc here:
And if you have any questions, feel free to shoot me a message on my contact page!
Happy writing,
Erin
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