by Jeff Hargett May 2024 Let's begin by tossing out some of the jargon. There are numerous terms frequently used to describe these approaches.
There are as many ways to craft a tale as there are writers crafting them. Despite what many might assert, the only wrong approach is adopting one that doesn't work for you. There are ways that require more work when it comes time for revisions, but no approach will ever obsolete the need for revising entirely. Some writers find themselves incapable of writing the story's first line until they know how everything unfolds in the end. Others find no enjoyment in putting words to page once they've determined that ending ahead of time. But of course, most writers are likely to find themselves occupying a place on the great expanse that exists between the two extremes. Don't be deceived. Every single approach presents its own benefits and drawbacks. This invariably includes your chosen approach. Fully-fleshed outlines usually prevent a writer from taking unnecessary detours while getting the story down, thus making revision easier and the drafting process quicker. It can also inhibit spontaneous creativity or sap some of that energy that comes with discovering our stories. Drafting that first page without a clue where we're going next opens up the entire world for our exploration, sparking excitement when we discover new characters, settings, or plot ideas. But it can also vex us when we realize we're pursuing an unsatisfactory plot line or character arc, or when we need to go back and "correct course" earlier in the tale to work in that wonderful new nugget we added (or changed) halfway through. Most writers recommend attempting both approaches to see which method best fits our innate style. I personally find wisdom in that advice. One can't really know whether outlining ahead of time is for them without trying it, the inverse also being true for pantsing. Dismissing any approach out of hand may not be the wisest route to discovering what works best for us. There are a number of components that affect, and possibly determine, which approach works best for any given writer. Or for any given story. In terms of story, some are heavily plot-driven, whereas others are driven more by character emotions and actions. And it isn't always a matter of genre. If your story has a "who did it" or a MacGuffin (whether it be George Lucas' or Alfred Hitchcock's version) then it might be wise to know the entire plot (or at least the conclusion) ahead of time, whether your tale gets shelved with spy thrillers or space operas. In terms of writers, that outline might save countless hours of patching plot holes--that last thing we want discovered by our readers after the story's been published. It might even help prevent a character's eyes going from hazel in chapter three to brown in chapter nine. This firm foreknowledge means no unnecessary detours, no writing yourself into a corner, no writer's block, and as mentioned, quicker and simpler revisions and edits. Best-selling authors fall into both camps. Stephen King doesn't like to "spoil his stories with plot," i.e., a die-hard Pantser. George R. R. Martin refers to himself as a Gardener, planting ideas for characters, settings, and plot like seeds, waiting until they sprout into story and prose. J. K. Rowling, on the other hand, is a known outliner. Brandon Sanderson's approach lies in the middle. Each of these authors are immensely successful, so it follows that each approach works for one subset of writers or another. The task is determining which approach fits your specific style and story. The same writer might use one approach for a romance novel and a completely different approach for a mystery or thriller. Give them all a shot and choose whichever manner you find best serves your style and story. And also check out some of the resources below for views held by others. Story is more than a collection of words, but those words are required to tell it. Whether we intend to twist our readers' innards with a love triangle, crank up their adrenaline in a thriller, or dazzle their imaginations with wonder, we have to get the words onto the page to accomplish it. Your best approach to doing that is discovering what approach works best for you. Self-confession: I liken my process unto a road trip. I need to know where the journey starts and where the journey ends. I also need to know highway numbers and mile-post markers. Yet I prefer not knowing the scenery I'll discover from one mile marker to the next. That's the discovery I relish, where characters come to life and new seeds are sown. And yes, I sometimes deviate from my intended route, take a detour through a more interesting place I didn't know existed when I began the journey. For me, that makes writing fun. Resources: StudioBinder: Brandon Sanderson 2020 Creative Writing Lectures at BYU: Diane Callahan of Quotidian Writer: V. E. Schwab: Calamus Press: Katytastic: StoryCastle:
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April 2024
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