The Breakout Outline with a Twist

  

Sooner or later, every writer needs to use an outline tohelp weave together various literary components. This is especially true ifthere is a large cast of characters or a multi-layered plotline. Agents oftenrequest outlines before seeing the full manuscript. Publishers will requirethem if an option novel is proposed. There is no magic number for how manypages an outline needs to be effective. As with everything else grounded in thecreative, it depends upon your purpose. Many long-winded outlines can be justas useless as those not long enough. 

Remember, an outline is a blueprint that reflects thestructures that will bear the weight of the story dynamics. An effectiveoutline illustrates the causal chain – the spine of the story. It also reflectsboth the action (external) and the emotional (internal) plot movements.

I start by using this template by Donald Maass (The BreakoutNovel  Workbook, 2004) because itsharpens the focus of the narrative. Also, it works very well during therevision process, when you outline your draft to help add texture.

What are the Key Action (External) Plot Fundamentals? (Write down thefollowing)
*Where is your novel set? Who is your main character, and what is hisprimary conflict or goal?
*What does your protagonist’s most want and why?
*What is your protagonist’s second plot layer?  What is your protagonist’sthird plot layer?
*What is the first subplot? What is the second subplot?
*Who is the most important secondary (supporting) character, what is hisprimary conflict, and what does he most want?
*Who is the novel’s antagonist, what is his primary conflict or goal, and whatdoes he most want?

Avoid the Sagging Middle (Write down the following)
*What are the five biggest steps toward the solution of the centralconflict? In other words, what are the five turning points or events, includingthe story’s climax, that take place in the narrative?
*What are the five most important steps toward, or away from, what yourprotagonist most wants? These steps are consequences of choices that theprotagonist makes. This step helps identify the causal chain that creates theplot’s spine.
*What are the three most important steps (each) toward, or away from, theresolution of your first and second subplot?
*What are the three most important steps (each) toward, or away from, theresolution of the plot layers?
*What are the three most important steps toward, and away from, the resolutionof each main conflict facing your secondary characters and your antagonist?

What is the Key Emotional (Internal) Plot Fundamentals (Write down thefollowing)
*Two moments of strong inner conflict.
*Three larger-than-life actions.
*Two moments frozen in time. (For example, Juliet laments over Romeo, as Romeolistens below. Their first kiss erases all the wrongs of the past and ignoresall future conflicts. Another example: Eliot says good-bye to ET, and ETresponds with a gesture, saying: I’ll be right here.)
*Two measures of change.

How to Organize the Outline

You can adapt any narrative template to an outline. If youwere using the hero’s journey, for example,  it would look something likethe outline below. The key to using the hero's journey is understanding what the plot points(outlined above) represent and how they relate to the broader movements. However, if you want something easier, try using the three-act narrativestructure. I’ve inserted the three-act structure in the outline below tocorrespond to these movements so you can see how it compares.

By the way, the outline is not carved in stone. As youorganize the information, you may discover a break in the causal chain that needsattention, or the emotional plot needs more cues. Easy peasy just adapt the outline!  That just meansthe outline is working!

 (Act One) Departure

 (Set-up) The Ordinary World (The Inciting Incident) The Call to Adventure (Second Thoughts) Refusing the Call to Adventure Meeting the Mentor(Climax to Act One) Crossing the Threshold (Act Two) Initiation
 (Obstacles) Test, Allies, and Enemies(Crisis) Approach to the Inmost Cave(Big Twist) The Ordeal(Climax of Act Two) The Reward (Act Three) Return
(Descending Action) The Road Back(Climax of Act Three) Resurrection(Wrap-up) Return with the Elixir

Next, just fill in each point by depicting that specificpivotal moment (noted above). Don’t summarize everything: just highlight that pivotal momentwhen something changes, either in the character or in the plot.

Syd Field (Screenplay: The Foundations of Screenwriting, 2005) created the three-act narrative structure for screenwriters. However, it can be easily adapted to narrative structure. 

Now get writing!

--Bobbi Miller