Outlining |

Every time I outline a new project, it’s different.

For a longer piece, I’ve been known to make a Frankenstein’s monster of multiple outlining structures, including one novel where I made a FIFTEEN point outline for each of my FOUR POV characters. Meanwhile, for a short story, I often jot down one or two key plot/character developments that I know need to happen, and then throw down a bunch of questions to brew in the back of my mind while I write.

However, most of my stories have some basis in Three Act Structure, and that’s what I’ll focus on here, with a few tangents.

Before I give a brief overview of Three Act, I’ll start with the disclaimer that I may use some different words for the same things, because it helps me focus on what purpose that point serves. Remember that it’s only worth following as long as it’s useful, and should never be a cage.

There are TONS of different structures, and it’s worthwhile to read up on many and figure out what works best for you. There might even be bits and pieces you’d like to adopt from multiple sources. I’ll try to allude to different structures as I go, and link to some resources on them where I can.

ACT ONE

Opening Image: The status quo. Who is your protagonist? What do they want/fear? What is their environment like? In short, what would their life look like if the inciting incident never took place?

Inciting Incident: Something BIG happens that forces the character to act. Usually, although not always, the primary threat/antagonist is involved.

Lock-In: This is the point in the story where the main character can never return to the life they had before. They are forced to chase their goal until final success or failure.

ACT TWO

Promise of Premise: If you had to describe what your story was about, you’d probably be describing this part of the book. The character is off on their adventure. Often there’s a lot of action here, with banter and character bonding.

Midpoint: The story turns on its head. The main character learns that their initial goals weren’t the right ones, that the scale of the problem is bigger than what they thought, or that their methods so far won’t be able to take care of the problem. This is what the story has always REALLY been about.

Nadir: “All is lost.” The character is as far from their goal as they ever were. The reader should be questioning how it’s even POSSIBLE that the characters could succeed, after this event. If a character is going to be defeated or betrayed or captured, it typically happens here.

ACT THREE

Dusting Off: “What now?” The character reacts to the Nadir, and starts looking forward. Things are still bleak, still desperate, but no longer hopeless. Some new information is uncovered or some unexpected (but foreshadowed) aid arrives. The character demonstrates growth by making hard decisions in the name of achieving the goal. Often this is where we see that the character has BECOME the person that COULD accomplish the goal.

Climax: Everything you’ve set up throughout the story falls into place here. All the foreshadowing and plot threads converge, the character makes their most important decisions and demonstrates the skills they’ve learned along the way. Whether the character succeeds or fails, it should feel as though this outcome would have been impossible at any other stage in the story, or if different decisions had been made. It should feel EARNED.

Closing Image: How have the events of the novel changed this character or their environment? What can they do now that they would never have been able or willing to do before? If you’re writing a series, this is also where you hint at the opening image for the next story.

In the next post, I’ll be tackling the Opening and Closing Image. But first, when is a story idea ready to outline?