![]() You never have to use them, but they’ll be there for you it you hit a roadblock or your memory fails you.Īt this point, you can pick which of your options you really like, and start creating individual plot points and arcs made of the steps your protagonist is taking to get through the bad things that are happening to them, and into the climax, and from there work through the nitty gritty of the individual scenes. What really bad things could foreseeably happen in this world/setting?(Which of these bad things align with the list of things that would distress the protagonist?)īased on the worst foreseeable directions the story might go, what might the end result of the conflict look like? Is there a Highest Level of Conflict the story will eventually approach if everything bad that can happen to the protagonist, does? Who or what causes that conflict, and how will your protagonist need to approach it if they want a chance at success?ĭon’t forget to jot down any really cool ideas you have for scenes, dialogue, settings, actions, characters, etc, (so long as they work within the foundation you’ve formed for this story.).What/who might stop the protagonist from achieving their goals?.In what ways might the world/setting change to take the protagonist out of their comfort zone?.Know all available (worthwhile) directions the story can take. Most characters will objected to the universe ending: it’s your job to figure out why this particular character does so.Ģ. All the things that would majorly distress them.All the things that can be taken away from them.All the things your protagonist wants to achieve.The foundation of every good story is a character with a goal. ![]() Here’s a few tips, tricks, and things to remember when you want an outline without bogging down your natural mode of writing. Longer fiction benefits greatly from planning, but not every writer works best (or prefers) to form a detailed outline ahead of time.
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