In this week’s episode, we continue with our November Writing Challenge, and discuss how outlining can be a helpful tool in writing your novel and building a writing habit.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 226 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 8th, 2024 and today we are discussing Part 2 of our November Writing Challenge and that will mostly discuss the usefulness of making outlines. Before we get into that, we will have an update on my current writing projects and Question of the Week. We will also close out the episode with a preview of the upcoming audiobook Cloak of Spears, as narrated by Hollis McCarthy.
First up, writing progress. The rough draft of Cloak of Illusion is done at about 96,000 words, and I’m about 25% of the way through the first editing pass. I also wrote a short story called Trick or Treat that will be a companion to the book. Newsletter subscribers will get a free ebook copy of that short story when Cloak of Illusion comes out, hopefully before the end of November. So now would be an excellent time to subscribe to my new release newsletter. After Cloak of Illusion is published, my next project will be Orc Hoard, the 4th book in the Rivah Half-Elven series, and I’m about 21,000 words into that.
In audiobook news, as you may have already heard, Cloak of Spears is done. That will be narrated by Hollis McCarthy and it is working its way through processing right now. Shield of Conquest narrated by Brad Wills is also still working its way through processing on the various audiobook platforms. So you can get both audiobooks on my Payhip store right now if you don’t want to wait. So that is where I met with my writing projects.
00:01:25 Question of the Week
Now let’s talk about Question of the Week. It’s time for Question of the Week, designed to inspire interesting discussions of enjoyable topics. This week’s question: what is your favorite book cover (like in terms of the artwork, the design, etcetera)? No wrong answers, obviously. We had a few answers this week.
Justin says: For that, I go back to the guilty pleasures of my youth, a teenager on a Burroughs kick at the time, digging for paperbacks in a secondhand bookstore. Savage Pellucidar, cover by Frank Franzetta (the 1974 Ace edition reprint), which I still have stashed away. Franzetta was an incredible artist. I love his Sea Witch and Death Dealer, but we’re talking about book covers here. Savage Pellucidar was the one for me.
Mary says: Maps and Legends by Michael Chabon. Then, that cover was a work of art with three detachable bands.
Surabhi says: Hard to choose one. I personally love those young adult “Book Tok” book covers: Shadow and Bone, Six of Crows, The Cruel Prince. I don’t know. Something about such covers immediately sparks interest in me.
Randy says he always liked the Heinlein juvenile covers.
Gary S. says: This was difficult for me because I like hardcovers, but I like to take the jacket off while I read so it doesn’t get torn. Consequently, I seldom look at the covers.
Gary B says: Anne McCaffrey’s The White Dragon. I’ve got a poster/artwork of it and pretty much anything by Michael Whelan.
Becca says: Stoner by Tad Williams, pretty much tops my list of favorite covers, then maybe The Dragonstone by McKiernan.
Catriona says: Terry Pratchett’s The Colour of Magic.
MG says: That’s quite difficult to answer, but I have a Return of the King copy with this Alan Lee cover, going to have to go with this.
For myself, I think I would go with a hardback edition of The Silmarillion from the late 1990s. I think it was published in ‘99. It was illustrated by Ted Nasmith and the cover image shows Maglor throwing the final Silmaril into the sea in despair for his deeds. If you know the context of that scene, it’s an amazingly powerful cover. So that is it for Question of the Week and tune in again for next week’s Question of the Week.
00:03:22 Main Topic of the Week
Now it’s time to our main topic for our second week of our November Writing Challenge. This week we’re going to talk about building story structure and how outlining can help with this. If you haven’t heard of my November Writing Challenge, the idea is that you write 300 words or a similarly small number every day in hopes of building up a small but sustainable writing habit. I was thinking of NaNoWriMo, where you write 1600 words a day in an effort to get to 50,000 words a month, is well and good for someone like me, where I essentially write a book every month unless something comes up. But for someone starting out, it can be a bit like the sort of crash diet where you lose 5 pounds in a month and then gain 10 back over the next two months as your habits snap back. That’s because you didn’t lose the weight through sustainable means, so that is the goal with the November writing challenge: to build the base of a sustainable writing habit. So let’s talk about how story structure can help you do that.
In last week’s episode, I mentioned that making the outline of your story can help with the process of writing. In this week’s episode, we’re going to go into more detail about story structure and conflict. Knowing how these work in your stories is essential to building an outline. You will find that having a proper structure to your story makes it easier to write, in the same way that having a proper foundation for your house makes it easier to construct. We’ll talk about what I call the five iron laws of storytelling and the importance of your story having conflict and at the end of the episode, we will get a quick update from my podcast transcriptionist, who is following along with the November Writing Challenge. We will see how that is working out for her so far.
So first, why write an outline? I think the main value of writing an outline, especially for beginning writers, is that it forces you to think about the story in advance and forces you to work out any potential plot holes in advance, since it’s very easy to find yourself writing yourself into a corner and not knowing how to proceed. Obviously, writing an outline is not for everyone, and some writers say it impairs their creativity and they can’t write with an outline. And that’s fine, if you know that about yourself. But if you’re just starting out, you may not be experienced enough to realize that about your writing style, and you may in fact benefit quite a bit from having written an outline in advance.
So with that in mind, what does an outline need? First thing you need to understand is the shape of the story. Who is the protagonist? What is the protagonist’s goal? What is the conflict, and what will the protagonist have to do to resolve that conflict? You can, if you want, put in the number of chapters in the outline. The way I usually do it is I write a 2,000 word or so synopsis of the book, and then I chop it up into chapters, though lately my final drafts don’t have the same number of chapters as the outline because as I go through, I’ll think of things to improve or scenes to move around and so forth. You may find a similar experience when writing from an outline yourself. It is nothing to worry about and can happen. It’s also important to keep in mind that the conflict does need to escalate, and you do need to have a strong central conflict.
So what do I mean by having a protagonist with the conflict that escalates and he takes action to it? This is something I actually have talked about in this podcast quite a bit, and in my nonfiction book Storytelling: How to Write a Novel. I have something I (rather tongue in cheek) call the five iron laws of storytelling, where if you want to write a good, compelling story, you need to have these five rules you should follow. Now, this is not, you know, true at all times in all places. But I do think you will probably get good results by following these five rules. Now what are these five rules, the five iron laws of storytelling?
#1: The protagonist must have a problem that results in a conflict.
#2: The protagonist’s problem and conflict must be consequential and have real stakes.
#3 The protagonist must take action and struggle to resolve his or her conflict and problem.
#4 The protagonist must face challenges and setbacks, and his or her efforts to resolve the problem may even backfire.
#5, The ending must absolutely provide satisfactory emotional resolution to the problems raised in the story.
That might be the most important one of all. Where outlining can help you with this is if you see the story laid out in an outline as in a chart in something like Plottr or something like that, you can look it over and see- do I have a protagonist who has a interesting problem? Is the problem consequential for the protagonist? Is the protagonist trying to resolve the conflict? Is the protagonist experiencing setbacks and challenges, and perhaps even unintended consequences as he or she tries to resolve the problem? And finally, is the resolution emotionally satisfying? It doesn’t have to be a happy ending. It doesn’t have to be a totally sad ending. It can be a bittersweet ending. But whatever the ending, it has to resolve the conflict of the story in an emotionally satisfactory manner. Anything else can be absolutely disastrous. So if you are writing an outline for your novel or story, and you follow these five iron laws of storytelling, then I think you are on good track to have a good, well written story with a conflict and a protagonist that readers will find enjoyable and interesting.
It is important to have a good conflict in the story. You can jump back to Episode 222 of the podcast, in which we talked about story conflicts, which offered much valuable advice on introducing conflicts. Some of the key points of that episode are there are many different types of conflict the story can have. The word conflict by its very nature seems to pull up images of like, violent conflict. That’s often the word we use to describe conflict, to describe violence as conflict, but it doesn’t have to be a violent conflict at all. It can be, you know, certain types of legal thrillers. There’s no violence at all. It can be, you know, conflict between a man and a woman who are romantically attracted to each other but are unable to resolve these feelings, which can, you know, that kind of conflict drives a significant portion of the entire publishing industry. Ideally, a story should have multiple conflicts and even different types of conflict. There are numerous ways to add conflict into a story. They include putting characters into an unfamiliar environment, forcing your characters into making decisions, and having different characters face the same conflict in different ways. For more details on that, you can check out Episode 222 of this podcast.
For tips and tricks on introducing more conflicts into your novel, I would recommend Episode 110 of this podcast, Three Techniques for Starting Your Novel and Introducing Conflict. In Episode 110, I said that there are lots of fun and exciting ways to introduce the conflict. I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero’s village is attacked by orcs. In a mystery story, it’s when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds that a sinister terror plot is already well underway. The conflict can also be introduced more sedately. In an action-themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or a surprise murder.
Other kinds of stories may not involve so much physical danger. The central conflict of most romance novels, for example, is whether or not in the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. Romance novels might introduce conflict by having the love interest antagonize the heroine in some way, which is a common trope. Perhaps the love interest is a lawyer who represents the heroine’s business rival, or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case.
Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn’t serious enough to force the protagonist to act, then nothing happens and you don’t have a story, so that perhaps is the main take away from conflict. The conflict has to be emotionally significant for the protagonist, and the protagonist has to take action to resolve it, even if the action makes things worse or causes setbacks. If you have a passive protagonist, that will very quickly turn off quite a few readers.
So to sum up, the advantage of outlining is that it lets you work through potential problems in advance, and what you want in the outline is a protagonist with an emotionally relatable problem, a protagonist who takes action to resolve the problem, and a resolution to the story that is emotionally satisfying in terms of the conflict being resolved. The five iron laws of storytelling are a good checklist to look over your outline and make sure that you have a good, solid story structure. You can use them in fact as a checklist to see whether you think your outline is going to work and whether or not you can write a, you know, satisfying novel off it.
So now we come to the update from my transcriptionist. As I mentioned, she was doing our November Writing Challenge and as part of our series of shows on that, she will send in weekly updates with her progress. Here is how she did this past week.
“My goal for the challenge is 300 words a day. I picked a number that felt really low to help with the problem I have of not starting something when the goal is too undefined or too big. I also tend to do something intensely or not at all, with most days tending to the latter when in real life or obstacles get in the way. 300 words a day felt like something I could commit to without any worry, provided nothing really major comes up this month. So far I’m averaging 484 words per day and it’s taking me an average of 15 minutes per day. I picked a specific chapter from my outline that was not the introduction I’ve been stuck on and a specific time of day to write. Doing both has made the process easier. In that vein, my questions for you are: do you write chapters or any pieces of the story out of order, or do you stick to the outline order when writing? Do you recommend people try writing out of order if they feel stuck?”
So those are both interesting questions. For the first one, do you write chapters or any pieces of the story out of order, or do you stick to outline order when writing? I almost always write in the order of my outline. What changes is that when editing, I will very often split chapters up and move them around because I tend to write long chapters. In the editing for Cloak of Illusion so far, one chapter was like 10,000 words and another was 7,000 words, both of which are too long to be chapters. So the 10,000 word chapter got split up into three smaller ones and rearranged. The 7,000 word one got split into two chapters and moved around.
So to give a shorter answer to that question, the answer would be no. When writing I tend to stick to the outline, but during editing I do tend to move things around as I think works best for the story. But editing is a different topic entirely.
The second question: do you recommend people try writing it out of order if they feel stuck? You can try that. The pros are if you feel stuck on a particular scene, you can go ahead and write a different scene and then come back to that scene later. Or maybe it will turn out that the reason you’re stuck is because the story didn’t need the scene. You know, I do know some people who do write from an outline, but then tend to write out of order. The downside of that is if you’re not careful, you can get your story’s internal continuity mixed up a bit, but then that is another problem to fix in editing once the rough draft is finished, since right now we’re at the stage where you get all the words down on the page or the word processor and then worry about fixing them later.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and that you are finding our November Writing Challenge series to be useful as well. A reminder that you that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
00:15:45 Audio excerpt from Cloak of Spears, as narrated by Hollis McCarthy
