Right now I'm doing four shows at a time, trying to read four outlines every week, four scripts every week, and watching four rough cuts; it's a lot of good work. It's fun to do it, but it does wear you out.
Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.
I make extensive outlines before I write a book. I usually know what will happen. I know the characters, and I know what they are about.
Use Anastasia Beverly Hills Perfect Brow Pencil to outline the brows and give them more definition. To soften edges, comb color through with the spooley end.
The issue is: how do you engage the audience? And one of the things I talk to our communicators about is: The outline is great; the stories are great. But how do you engage them? How do you make it feel like we are on a journey, not you are just up there giving me information.
I do outlines when I'm writing with someone, but they also need to have a certain amount of freedom.
Color in certain places has the great value of making the outlines and structural planes seem more energetic.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
I outline fairly extensively because I'm usually dealing with real events. I don't need to give myself as much information as I used to, but I still like to have two pages of outline for every projected 100 pages of manuscript.
When I started 'Still Missing,' I had a few key plot points in mind, which I played around with mentally for a couple of months, then one day I just started writing. Not having an outline led to some cool plot twists, but also many rewrites! A lot of the plotting happened on subsequent drafts.
