Outlines Suck!
A New Approach for People Who Hate Outlining
Take any random stack of screenwriting books, and they'll all say the
same thing: the first thing you need to do when building your
screenplay is to create a detailed outline.
And yet there's a stubbornly persistent school of writers who rebel
against this sage advice, who don't like to work with an outline and
refuse to do so.
I have to say I'm one of them. But I'm not alone: the Coen Brothers.
Alexander Payne & Jim Taylor. Paul Haggis and Bobby Moresco, to
name a few. Writers who win Oscars, and don't "do" outlines.
Granted, I couldn't with any modesty claim to be in the same class as
them, but I have to say I understand where they're coming from.
Writers like to write. Not outline, not make notecards, but write. The
all-too-common advice is: get yourself a pack of 3x5 cards and start
doing scene level blocking. I believe I once got a pack of 3x5 cards.
They're still around here somewhere, unopened, yellowing with age.
Real writers don't do notecards. Real writers don't do
outlines. Real writers write.
Those who feel comfortable in screenwriting format, the thinking goes,
are not real writers, they're technicians. Hacks, for lack of a better
word, clutching their notecards and making their step outlines and
character bios and sitting there dredging their shallow minds for
nuggets of shiny stuff that's usually just fools gold. And the
diminishing quality of film in Hollywood shows us just how well all
that works.
The solution, therefore, is to throw all that out the window and hit
the keyboard, filling pages as you go with white-hot inspiration and
false starts and dumb ideas...anything to get a story with as
many genuine and unanticipated (and therefore real) moments as
possible.
The advantages of this method are these:
•
You get writing immediately and you don't have to fool around with
annoying prep work. You can see pages stacking up, representing the
visible spoils of a hard day's work.
•
Spontaneous and unexpected plot twists are guaranteed, especially if
you're willing to write your characters into tight spots, then write
them out again. If it was unexpected to you until you wrote it, it
can't help but be unexpected to the audience.
And the drawbacks:
•
Not having a plan means a lot of false starts and unproductive
forays.
•
Loose threads may not get tied up carefully due to the inability of
the writer to see them
•
You risk having a disconnected series of scenes rather than a
thematically unified and satisfying story with a clear throughline and
point.
•
You risk cliche and shallow characters, depending on what type of
story you're going for.
•
Many drafts, almost certainly more than with an outline, are required
to get at the finished product.
A screenplay should go through many, many drafts -- this is a
common element to all successful screenplays, and it represents the
work ethic of most successful writers. They write the hell out of
their scripts until, the theory goes, all unnecessary bits have been
eliminated, and the story has been honed and sharpened into its most
ideal form.
If you can do an outline -- if you have the temperament for it -- then
you can avoid several drafts of a screenplay. If the first few drafts
are a search for your story, a search for the basic spine and
throughline and theme of the thing -- well then, an outline achieves
that goal neatly, and avoids the work involved in writing false starts
and blind alleys.
Robert McKee, in Story, is a booster of this method. Don't write one
line of dialogue, he says, until you've outlined the living hell out
of your story and your characters are raring to go, dying to speak
because they've been cooped up so long.
But most writers understand that the dialogue often comes
first. A character has already been simmering inside you,
perhaps for years. One doesn't invent characters out of thin air. They
come from inside us. The best characters, the ones we can relate to
the most, are often unexpressed aspects of ourselves, or qualities of
ourselves.
Without the characters, without their dialogue, without their
interactions, then there simply won't be any story to
outline...the outline will only be a dead thing, a pure contrivance. A
mechanism. And nobody really likes watching a mechanism on the screen,
unless he's some sort of cyborg.
But there are few among us who can keep an entire story in our heads
-- who have the brainspace to do so -- and wind up with anything
remotely resembling a quality screenplay. It should be noted that many
writers who say they don't outline just don't outline
on paper...but they do outline extensively in their heads. And
while this is fine if you're a genius, it's one hell of a tall order
for most of us.
Here's a happy compromise: post-outlining.
Raring to go? Then let 'er rip! Hash out an exploratory draft or two
-- after you do so, you'll begin to have some idea of the beats you
want to hit and the themes you want to treat, and of course, who your
characters are. Then, even if you hate outlining, you'll find you're
already committed an "outline" to paper: your script.
Now, all you need to do is boil your scenes down to a concise list,
and presto, you've got yourself an outline! You don't even have to
call it an outline, if you don't want...call it a beat sheet, or a
script map, or whatever.
Post-outlining after you've done a draft is a wonderful way to get at
the meat of your script, arrange scenes and service theme, drop that
which doesn't work and focus on that which does. And this is something
you've got to do, if you're looking to write and finish quality
screenplays, lasting screenplays, classic screenplays --
screenplays that sell.
Then, just sit back, collect your Oscar, and when the interviewers
come calling, you can tell them truthfully that you never outline.
Thus inspiring the next generation of screenplay gods.
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