Greetings, People of Earth:
I've just completed my eighth feature screenplay. Half began as outlines, the other four were simply cast into the air on a wondrous journey and allowed to fall where they may. I'm starting to have a greater appreciation for the latter. Case in point: I didn't have an outline for my latest baby, HORROR-FEST, which left the womb recently ("GET OUT THERE, SCREENPLAY, AND DON'T COME BACK! MAKE IT ON YOUR OWN, 'CAUSE YOU'RE NO LONGER LIVING UNDER MY ROOF!).
Anyway, all I was running on was Page 1: a troubled Hollywood film star, a living legend of the horror genre, drowning his "Real Life" murderous sorrows in a luxurious hot shower located in his mansion's master bath. That was it. There was no Page 2.
As time moved on, (Pages 3 and 4), we soon learn that we missed the part of the cleansing that washed away a great deal of blood (three victims' worth) from this naked, emotionally-troubled soul. Perhaps this removal of horrific sin can be viewed as a baptism in his eyes? Not a chance. His slice-and-dice journey finally comes to an end, but one must wait until Page 99.
Okay, Brock. You've conjured up some dude in a shower. So what? What else ya got?
Well....... the aforementioned "dude in shower" begins hearing the sound of a metallic tapping against the shower door. It begins with a slow rhythm and escalates to an unrelenting, maniacal chorus of terror. Our naked man eventually lifts his head, takes notice. Standing before him is this mysterious shadow in human form with a large, bloody, butcher's knife as his new-found, musical instrument. His conscience perhaps? The shape of his serial-killing, alter ego, fresh from his popular horror film franchise? Ah! Peeling back the layers of the onion and setting a course for "Don't-Know-Where-This-Is-Going" Land!
I certainly enjoyed my antagonist's journey, especially when he chose NOT to kill an innocent homeless man. Pressured by his evil, screen alter ego to kill, he refuses. When the evil raises the question of why, our murderer replies, "It's too easy." Evil refuses to take no for an answer and gives it one more shot: "Well, if you change your mind, we know where he lives."
Please share your thoughts on this Life-Altering, Earth-Shattering topic. Any good war stories on your experiences with either the OUTLINE / NO OUTLINE crowd?
Brock out.
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I always outline now, and I have a system that brings in detail gradually. I compare it to how a painter paints. They get the form and proportions right first and keep refining that. They don't start in the top corner and see how it works out.
This doesn't just work well for me artistically, it works well for my collaborators professionally, for two reasons. Firstly, I can agree most of the story mechanics before drafting and that saves a tremendous amount of time and confusion. We're all on the same page through the development process. Secondly, I can reverse engineer my work very easily and even present the thinking behind what's there. Let's say an actor wants to know why a character is saying something. I can show them the scene dynamic and structural reasoning.
If I asked someone to build me an extension, redecorate my home, or landscape my garden and the only thing they could tell me about their plan was to "see how it goes", I'd be really apprehensive about hiring them. They should surely have a vision, especially if they are highly experienced.
That said, if someone gets excellent results by going in adlib, perhaps because they have a remarkable ability to subconsciously structure their work, then fair play.
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If you wanna write professionally, work with peers, then start learning how to outline.
Now if you're just writing specs for a hobby, do whatever you want
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Dan MaxXx Ha! "Do whatever you want!" OMG! Striking Comedy Gold again, Dan!
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I always write outlines for feature spec scripts and feature ghostwriting jobs, Bill Brock. If I don't, I'll write myself into a corner. And sometimes producers/directors want to see outlines before the scripts are written, especially with ghostwriting jobs. I write mini outlines for short scripts.
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CJ Walley All stellar points, CJ. I'm not one to race through a first draft. I"ve heard of that approach: "Oh, just write as fast as you can 'til you reach the end!" I tend to take my time as I follow my characters. I cherish the discoveries I find along the way. I mean, I'm in no way, a violent person, but when it came time to create the kills, I entered a ring very unfamiliar to me, yet when I viewed the grisly, finished product, I thought to myself: "My God! Where the hell did THIS come from?"" So glad such death and destruction can't escape the page..... YET.
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Bill Brock , You make the possibilities of a dude in a shower seem endless! I'm truly relieved your guy did NOT kill an innocent homeless man.
As for my current project, I started with a rough outline that I completely ignored.
The first draft was a symphony, a kaleidoscope , a full-blown mess. Yay! That got me a first draft - likened to a gangling, pimply teenager in desperate need of orthodontics. While contemplating the revision, I discovered Jill Chamberlain's nutshell method:
https://www.jillchamberlain.com/worksheets (example for Silver Linings Playbook)
This provides a simple method for creating the main character's arc and overall theme.
Every project is different. Often, when the creative spark ignites, I just go with it. It's like playing in a cosmic sandbox. If I stay too close to an outline, I may miss charming little hiccups that erupt despite my need to control. It looks like I'm not the only one!
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Bill, I sure DO use outlines...but only after I've developed six plot points to build outlines around. (In the 1980s, though, I tried using eight plot points, then outlining around them.)
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Bill Brock I've written three features, and I am no expert. The first I started with some notes and then dove in. I wrestled with it quite a lot and created the story as I went. I actually loved the process but it was messy. The second I had 70+ pages of notes and ideas. I then dove in and it was a bit easier in the writing since I had done most of the figuring out in my notes. The third I decided to try an outline of sorts. I spent a couple weeks making notes and figuring out the basic idea. Then I wrote an outline that was basically "this happened" then "this happened" etc. That ended up being 100 numbered bullet points. I then filled them out with more ideas, dialog, etc. This took about a month. With that I then wrote the screenplay in less than a month. All three approaches have worked for me. I think one should match the method to the needs of the story and the particular pressures of the writing. At this point, though, I'm leaning towards some kind of outline because it helps me see the structure better.
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Bill Brock, indeed. Writing too conclusively can stem creativity, because you've kinda finalised a thought in words. It's hard to get out of that from both an imaginative standpoint and the thought of undoing hard work. One of the powerful things about good outlining is that it gets your mind working well before you actually commit.
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All great comments. The creative mind is kinda hard to pin down at times. Use the tools that seem to work for you. I’m a “In my head writer,” but there have been times when I’ve had to go back mid- story and put an outline to things. Best advice: Be kind to yourself in your process and don’t be afraid to be flexible.
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I find it easier to just write. I'm not good at following outlines. My former screenwriting professor can attest to this. I just use outlines to assure I am within the targeted critical moments. Lol.
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Outlines are super useful when collaborating with others. It will make the conversation go easier. However, I know that some people like to do a vomit draft first to find the story and their characters. When short on time and/or working with others, outlines are a must.
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I always write extensive outlines before diving into a feature. Sometimes I'll write on an outline for 4-6 months before even opening Final Draft. My outlines typically run pretty long. They're more like scriptments tracking the plot and narrative arcs of all the characters with different dialogues, jokes, and conversations I want to have sprinkled throughout. The script I wrote last year was off a 27 page outline. The one I'm working on now ended up being a 43 page outline. For me, it makes the physical writing in Final Draft go really really fast. Yes, it includes a long period of writing and frankenstein-ing ideas into a cohesive story, but I'm typically writing on 10-15 projects at a time in various stages (base level idea, plot outline, serious outline/scriptment, vomit draft, draft that cleans up the vomit, draft that i wouldn't be mortified showing to my worst enemy, then very polished drafts that can really only benefit from high level feedback/producer notes)
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Robin Gregory Agreed, Robin. Thanks for sharing your process and for the Nutshell technique sheet. Very helpful. Your pimply teen reference was hilarious! Keep up the good references!
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Tucker Teague Three great approaches, Tucker. Thanks for sharing them. Sounds like you do a bit of front loading at the start, fully prepped, resulting in a fine piece of work in a mere 4 weeks. Good job!
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CJ Walley Most definitely, CJ. The same rules applied when I was an actor. Try a series of different things during rehearsals-- wardrobe, a certain walk, gestures, voice, pace, dramatic / comic timing, then lock it up and commit by opening night!
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Ann Ziegler Agreed, Ann. You had me at "Be kind to yourself." Luckily, I've never been that "tortured soul" type now that I'm a writer. Saw plenty of "Damaged Merchandise" actors back when I was in the acting game: stage, some tv and commercials. Yes, no pressure. No rush. Enjoy the journey!
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Kevin Enners And that's all you can do, Kevin. Work at a pace that feels comfortable to you. Thanks for sharing. : )
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Christopher Phillips Yes! Short on time! Here, partner. No need to explain. Just check my outline and we'll go from there.
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Pat Alexander Good idea, pat. Top load with the outline and rely heavily on it due to copious note-taking. Good process. Very officious.
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Always...There's a big difference between "A great idea!" and a sustainable script...
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Maurice Vaughan Great news, Maurice! I received my copyright certificate for HORROR-FEST yesterday. It arrived at lightning speed! Only 15 days!
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Always.
When it's ready for feedback, I don't want to have to make major changes because I was winging it. I want my feedback to make it better, not fix issues that should've been dealt with earlier.
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Scott Sawitz Which is the reason I take my time without an outline. I don't "wing" anything. There should be no major changes in revision if you take the time to focus on each scene as you write. I like to wait for scenes to come to me. The same with ideas and dialogue. Sometimes, it's all about the journey. And how well you can surprise yourself with what you've created.
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Bill Brock start practicing outlines; you got nothing to prove for contests but you have to show employers you are hirable. Outlines. Explain the whole story before screenplay pages. (P.S. legit companies pay for outlines.)
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Dan MaxXx I've used them on four of my screenplays. Now that the scripts are done, wouldn't I offer employers treatments instead?
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Bill Brock Im talking hirable for assignment gigs that actually pay money.
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Dan MaxXx Will anyone read the treatment if it isn't distinguished?
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In my case, I have to plan everything. I can't go without a structure. Sure, sometimes I can throw caution to the wind, as long as I have the foundations for it.
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It's really fun to hear about the different processes.
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Bill Brock, congrats on the certificate.
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Kevin Enners Thanks, Kevin. It's official. All eight screenplays are protected by copyright. With regards to process, everyone here has their own "Thing." Go with what works for you. Works for me!
: )
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I've done it both ways.
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I like this Dan. Congratulations on finishing another story. Like you, I have written some with an outline and some without.
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I watched horror screenwriter Sean Keller's "Screenwriting 101" webinar. He and I appear to be on the same page: He was like, "Wanna work with an outline? FINE! Don't wanna work with one? Great! Ditch it!" I'm paraphrasing here, but that was pretty much the message and I tend to agree.