In fiction writing circles we talk about two different kinds of writers: outliners, sometimes called plotters, and seat-of-the-pants writers, or pantsers. Of course a writer may be a little of both. Usually he will fall into one or the other. A writer who is an outliner (plotter) begins by thinking through a story and writing a beginning, middle, and ending. A true outliner will further break those sections down to chapters and even scenes. That writer tries to follow his outline, allowing only a bit of creative spontaneity during scenes.
A seat-of-the-pants writer—we call them pantsers—will normally start with a basic idea for a story. He will always know where he wants to start and will sometimes know how he wants the novel to end. Having a middle in mind will certainly be to his advantage. Without a preconceived middle, writers new to fiction will almost always see their novel petering out somewhere around the 30,000 – 40,000 word level. A pantser allows the story to unfold as he writes.
Possibly the most notable pantser is Stephen King. Romance author Jane Graves, an avowed pantser says, “I’m cursed with not being able to see the good twists and turns of a character and plot until I’m in the middle of writing the book.”
On the other hand, an outline will help a writer focus, fights fear, prevents sagging middles, and helps to be able to write faster.
It is possible that plotters have gotten a bad name. They are afraid to admit that outlining works best for them for fear the public will see them as lacking in creativity. As a result, many plotters will never admit their method of writing.
Of course any writer knows he has to go with what method works for him. If plotting isn’t working for you, try the other method.
So, whatever your style is, plotter or pantser, there is a definite formula for good engaging fiction.
Bestselling author, Dean Koontz (also a pantser), puts it this way:
The perfect structure for any novel
Plunge your main character into terrible trouble as soon as possible. (That trouble will mean something different depending on your genre. For a thriller it might be life-threatening. For a romance it might mean choosing between two suitors.)
Everything your character does to try to get out of the trouble makes it only worse.
Eventually things appear hopeless.
Finally, everything your character has learned through all that trouble gives him what he needs to personally conquer the opposition.
That’s a structure that will keep you—and your reader—engaged and insured against boredom.
And that’s how to outline a novel, whether you’re an Outliner or a Pantser.
Maybe it doesn’t really matter which writing method is best, as long as it works for you, the writer. And as long as it keeps the reader engaged to the end.
Enjoy the journey
Eldon
