First, I like to do this on paper. One, because staring at things on screen gives you an incomplete image of each page/scene. Two, because I stare at the screen all day when writing and editing and need a break. Three, because I can do it anywhere without electricity needed and thus find energy by moving around or even have the manuscript with me on errands if I wind up having to wait, etc. (Although please don’t do it while driving. This has been a public service message from bryanthomasschmidt.net.) Four, because it helps you stay focused on the goal without getting distracted tweaking your manuscript and then never getting back to this task. (Don’t lie, you know it happens.)
Second, there are three phases to this:
Phase One, make a list of your plots and subplots and assign each a number or letter. For example:
A Assassins are killing Vertullians and Davi and friends must investigate
B Davi and Tela’s relationship hits some road blocks
C Aron has joined the Council and must adjust to life as a leader working amongst his former enemies
Phase Two, you reread the document which you should have not touched for at least 2-3 weeks, preferably a month, so you can be objective and fresh. As you go through, you make notes. You will label each scene with the letters of the plotline it relates to: A, B or AB if it involves more than one plotline as some scenes can. If you want to focus on the outline, you should also make notes of anything such as character names switched or POV issues or pl0t holes. But keep it short so you can stay focused. You can go back later and wrestle with these. Make notes in margins or keep a separate sheet. You might even do a separate sheet for each plot line. It’s up to you.
Phase Three, this is where you go back and take your notes and write a brief description of each scene on a page for each plot line or a master sheet for the whole story with plotline indicators (A, B, C). You might even want to color code it in Excel or with highlighting in Word. This will allow you to read through each plot separately and examine the arc and tension and turning points, etc. to make sure it’s where it needs to be. All you need in scene descriptions is the key dramatic points and which characters and plots are involved. Keep it concise. No need for a whole synopsis of each scene unless you feel compelled. There are no rules. Writing is a journey and a constant process of growing and refining your craft, after all, and that’s what these Write Tips are designed to help with and stimulate. None are intended as end-all rules.
That’s it. Three easy phases to an outline AND the bonus is you’ve probably already made notes on some of the issues you need to address. Now it’s easy to go back and move scenes around if you need to, find flaws in plotting or character arcs, or expand motifs. You can also look at pacing, balance and other things.
Now lest any of you pantsers get said pants in a bunch with the “I CAN’T WORK FROM OUTLINES” attitudes, remember that all I am helping you do is make a chart of the outline that already exists in your work. You wrote it by the seat of your pants but you still created a structure in doing so. Now’s the time to fine tune and refine it and I’m merely suggesting a way to do that simply so you can be more effective. If this doesn’t work for you, feel free to take the concepts I suggest and make your own method. In fact, I’d love if, when you do, you’d comment on this post so we can all learn from it.
So there you have it, a simple method for Outling From a Finished Draft. At least, that’s how I do it. What’s your way? We’re waiting with baited breath. For what it’s worth…