We’re not pulling over and asking for directions, dammit!
Writing is a lot like eating a Reese’s. There’s no wrong way to bite into your script (so long as you don’t swallow the staples). Lots of times you think you’ve finally got the trick down, then the next day you’re as stumped as always.
So while this article from That Action Guy (Brian Logan, you’re internet skimming skills have impressed me once again) goes against the lessons of virtually every professor I’ve had, I’ve got to post it anyway. Because frankly, I’m realizing most of the stuff I’ve been taught is someone’s guess as to how you should write. All you really have to do is type and keep at it.
In the article, “To Outline or Not to Outline,” Timothy Hallinan talks of the merit of surprising yourself. Sometimes outlining lends a rigid story, one lacking discovery and…oomph? gusto? I don’t know, I didn’t really think about what I was going to say there.
I like the idea of discovering as you go. It’s still good to have the basic skeleton in your mind: Understand your characters, map out the main plot points. A lot of times, the first few ideas aren’t the most fitting. You have to be open to listening to the needs of your story. You know, ask it how its day is going. See if there’s anything you can do to make it better.
The greatest part is the real story comes together during the revision process. If you find you hate your new idea the day after writing it, cut it out. Who cares? Even with outlining, you’re going to do this at some point. So don’t be afraid to go to new places, even the ones you never thought you’d go. There’s not point in holding yourself back just because that new ending wasn’t on the itinerary.
As noted, maybe this will work sometimes, maybe it won’t. Give it a try. Why not?

We’re not pulling over and asking for directions, dammit! replied:
[...] Brendan McCarthy wrote an interesting post today onHere’s a quick excerptWriting is a lot like eating a Reese’s. There’s no wrong way to bite into your script (so long as you don’t swallow the staples). Lots of times you think you’ve finally got the trick down, then the next day you’re as stumped as always. b…/b [...]
September 25, 2008 at 5:54 pm. Permalink.
Timothy Hallinan replied:
I agree it’s essential to have in mind the primary story points — even if all you’ve got is a situation with high stakes and a few directions in which it might go, and to know your characters, to the extent that you can know them before you write them. (Mine change literally beneath my fingers as I write; one of the kinds of revision I have to do most frequently is to go back and make the characters in the first third of the book consistent with the ones that had emerged by the last third.
I think for screenwriters, outlines are probably more useful if only because screenplays demand such meticulous attention to structure. For me, the most important thing about the structure of a novel is that it should grow more interesting with every turn of the page. If it doesn’t, nothing else much matters.
September 26, 2008 at 4:13 pm. Permalink.