How to Write a Fantasy novel Outline

Writing a Fantasy Novel Outline

Let's talk about sketching novels. Before you write your novel, how do you plan it? There are three methods I've used. Okay, so you have a brilliant, original idea for your fantasy novel. At least I know I do.

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Let's discuss the sketching of fiction..... Before you write your novel, how do you schedule it? This is the way I used it for my fantasy novel Firefly Island. I will outline each of the scenes in great detail in the detailed outline. The outline can be fifty or more pages long, all outlines, no type.

Every sequence is scheduled before a particular part of the script is written. Outline will be a full cyanprint. My design for Firefly Island was so detailled that it included the important dialogues. In fact, for some sections every section was even described in detail! It' similar to the way filmmakers make storylines before they shoot a shot.

Before I write anything, I will know exactly what this novel will look like. If it' s about typing, because I already know the whole history, I don't have to write in chronological order. The next morning I can choose to write Scenes 3 in Chapters 8 and go back the next morning and write Scenes 2 in Chapters 3.

It will be so detailled that I will write my copy directly into the sketch - in the same hand. The outline becomes thicker and thicker, the images become more and more detailled until one time it is no longer an outline. It' the same way I use when I paint.

The same applies to the detailed structure. Each shift makes it grow and grow until it becomes a novel. Technique 2: The short summaryWith this technique I am planning the main plots, but not every single one. The overview is only about five pages long. The book is about the character, the conflicts, the whole story, and that's it.

It' just enough detail for me to know where to go with the whole thing. As soon as I have the short description, I write my novel in chronic order, from the first to the last one. As I write, I keep the brief in the back of my skull. Since I am not tied to a detail layout, I can sound out the options while I am typing.

I will make sure that the plot moves in the directions I sketched, but have a lot of enjoyment and find things on the way. But the great thing about this is that you can find the tempo and river of your history. They are not restricted by a fixed outline. If I write a script in this way, I may find many pages without texture.

Some sceneries are too long, some too brief, some too sluggish, some too fast. Maybe I used fifty pages with a sign, totally disregarding the other signs and their understories. I' m going to split long sequences into smaller ones and cut them in the thrilling clips for Cliffhanger. I' m gonna move a scene from here to there.

I do all the work I would have done in the detailed outline (before I wrote anything) now with the pages I already have. Elsewhere I will write new pages. That' s what I do with the letter outline, only with pages instead of films. Approach 2: No Outline With "No Outline", as the name suggests, I don't even intend the game.

You mean I just go in the books and write blind? I' ll be spending a lot of my spare minute designing the individual figures (the ones from whose view we see the story). I' ll make a paper for everyone in which I'll write everything I can about the I can. I' m writing about their bodily characteristics.

I' m writing about how they think, what they want, what they are afraid of. Is there anything peculiar about the nature? As soon as I really know the protagonists, I'll let them write the game. I know the premises, but I have no clue what the action will be or how the storyline will end. I' ll place the protagonists in the settings of the storyline and let them control the river.

I have no clue what will do. Knowing the people so well, I know how they will behave in any given circumstance, and the game will write itself. And then I split it into sequences and rearrange it. What is the best way? The author is what matters, and the novel is what matters.

A number of books place great value on emotions. This is the best way for the "no outline" approach to work. They are not restricted by an outline and can investigate the life of the character and the tragedy between them. There is only the risk of this approach because you are stuck with an unconcentrated first design and have to waste a long period of reordering it.

For me the detailed outline works very well. They know where the storyline is going and have the liberty to write moments that are not in order, according to your moods and your free days that may be. The general outline unites the strength and weakness of the other two methodologies. Do you like these typing hints?

Look at my own handwriting.

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