Story Outline Formatstructure format
Sheets of Seven Types
Have a look at the information graphics of the seven major outline categories (thanks to nownovel.com) and think about how you could use them..... One of the most important things that will determine which methods you finally use is whether they work or not. To do this, split your story into smaller parts and create mini-summaries for each part.
These are great for longer histories, especially if you already have a good notion of where your story goes from. It is an excellent way to bring all your thoughts down when an initial thought begins and you are afraid that you will overlook it. Are there many variants of this approach - some find that typing each section on a different page, or a new index helping them to remain organised; some authors find it advantageous to organise their mini-summaries with more texture while others do not.
It is approaching a flow of awareness (walking through the whole plot at top speeds and trying to get all your thoughts out). A more subtle summary of your story concentrates on producing a succinct narrative that helps you, the author, to recall the countless detail you want to capture.
This is a way of being conscious of the most important aspects of the story - not all histories are powered by the same one. And if you haven't yet identified the drivers behind your story, you will find them out when you complete a resume. These types of outlines can be either well-organised and systemic or chaotic and free-running.
It is the general concept to begin small and grow. âThis is great for when you come up with a specific notion for a story--a conflicting, perhaps--and you want to research the notion more. To some, this approach is an energetic brainstorming, in which the writer organizes and creates concepts at the same in one.
Much of this methodology is that in its more detailled format, it compels the author to consider many different parts of the story. It is useful to organize a story that is not yet fully evolved. It is another way of organising and extending at the same times.
It will help ensure that your story has a floating chart layout and follows the base three file layout. It is a very straightforward story and can help authors to put the idea they have into a specific framework. If you want to make stricter rules for your design - maybe you want to incorporate each character's storyline for each act, or maybe you choose to incorporate a partial dispute into each act.
It is up to the author and finally the story. It is a slightly more specific approach than many others and is well suited to a particular kind of story - the heroic story. This may seem restricted, but there are many tales that adhere to this base format - and they don't all sound the same!
First part, the protagonist gets a kind of call to act, but refuses: "I am no longer in this business...." The second part motivates the heroes and goes through a range of experiments - assembly work! The third part, the character triumphantly takes over the bad and goes back to the way of living he or she used to live - or something he or she is closest to.
It' a great example from which you can extend if everything you have so far is the foundation of your heroic story. A heroic story doesn't have to be a cliché! There is a certain amount of structuring for the author to lead his organisation, but the details are left to the author.
However, the basic aim is to write down the overarching parts of your story. Aiming to create an exposure or initiation (staging); increasing act or evolution of conflicts; culmination (where the conflicts overboil); decreasing act (the answer to this conflict); and dissolution (the solution and binding of loosely ending).
By reading these paragraphs, you have a fairly good understanding of how your story will match, and you can include more detail on how you go. This is a simple writing technique. Tell your story and don't be worried about making a mistake. You can use icons, crosses, diagrams, memos and other handheld equipment that you may know while using this MO.
It' about putting the story on a piece of paper. No. Many authors relish this approach when they have been considering a story for a long while and know where it will lead. The other authors use this approach to try to fill in the gaps in their story.
If you' re a good author, do you really have to do all this work? Like us, according to the author and nature of the story, renowned writers use all kinds of pre-writing method. Others end up with rather intricate contours: Also, some tales need a little creative sketching to be effective:
Nobody makes a good story on the first try. Here and here you will find more handwritten sketches and charts by renowned writers.