Snowflake OutlineSnowshoe Outline
Understand the snow flake method
While there are almost as many ways to compose a novel as there are authors, many believe in an idea known as the snowflake technique. Designed by author Randy Ingermanson, the snowflake technique can be particularly useful for authors who choose to make detailed plans before starting a novel.
Sometimes, writer and teacher can dogmatically address the fiction-writing approximation they select. After they have found an angle that works for them, they can suggest that anyone who differs from their own way is doing it bad. With his snowflake technique, Ingermanson goes a different way; he encourages other authors to take or abandon parts or the whole technique, whether it works for them or not.
The heart of the snowflake concept is a great motivation for novels: the methodology begins small, with a unique overall concept and encourages the author to expand the concept from this key point. That can be useful for the author, who either begins a novel or just sets himself down at an outline, types "Chapter One" and then lets himself be frightened by the thought of all the blank pages before him.
The ten snowflake approach's ten stages can help authors determine which parts can be useful and whether they want to track the whole program or customize parts for their own use. As a first stage, the author comes with a one-movement review of the novel. Ingermananson suggests that these are less than fifteen words and that it combines the overall bigger storyline with the protagonist's own travel.
It is a useful move for almost any author as it will force him to concentrate on the most important aspects of the game. That is also something that a writer must have learned to do for the interrogation character stage efficiently. Stage two also has use for the consultation stage of the sale of a product; here the literate extends to a section of the writing.
Ingermananson proposes five movements, the first of which consists of the set-up, the next three describe the key disputes or in his words "disasters" and the last concludes the film. The author makes a one-page abstract for each protagonist in the third stage, which examines the person's primary objectives, conflicting, motivating and epiphanic nature and summarizes the narrative from that person's point of views.
It can be useful for those authors who struggle with the elaboration of personalities. Authors who would rather create their character more organic can either jump over this stage or use only parts of it, such as drawing sketches of ciphers. The fourth stage will return to the chart and include a short summary.
The author will take these five phrases from the summary section and expand them into a separate section. While some authors find this creates a useful framework for their stories, others find that they create summaries that seem narrowed and inanimate. It is better for those in the latter case to make such a summary after the first design has been made.
The fifth stage is a return to the protagonists, and this writer is writing about the narrative from the perspective of different people. Essentially, this is the place where each player can tell their own stories. Ingermananson proposes one page for major players and half a page for less important players.
Authors who have refused to fill in long cards that document the protagonist's favorite color, early memories and first kisses can use this occasion to get to know the protagonists better so that they can flow directly into the game. In fact, this can be a mighty instrument for the evolution of stories and personalities; figures who all seem to be at the center of their stories will life and breath in such a way that personalities who seem to have been made up to meet the needs of the protagonists will not do so.
A lot of authors will find that this is an adequate prep. For those who want to go on, the sixth stage is to extend the one-page summary to four pages. The author takes the 7th stage of developing advanced characters and stories. The eighth stage represents each single sequence of the novel in a table with one line per sequence.
Ingermananson proposes at least to list from which point of views the sequence is narrated and what happens in the sequence, but other factors, such as the estimation of the length of the sequence, can also be used. One Ingermanson himself says he has abandoned his own use of the snowflake method: extend each of the scenes from the spread sheet into a section to make a long story-tell.
Ingermananson points out that this can show whether a scene leads to conflicts, although this can also be noted on the table. Steps ten is not really a move; it is the real next stage of the novel's first work. It is unlikely that the author will fall victim to the writer's writer's death because he does not know where to take the film.
An important point to note with the snowflake technique is that many authors think that their own proven methodology is the best one and dismiss the snowflake technique, especially those who are inclined to type without contours. It' s a good idea to experiment to see which parts of it could increase your typing speeds and power.
A big benefit of the snowflake technique over other techniques is that although it requires a lot of work before you write, it is usually handy and can be applied to the novel itself.