Whenever a debate arises regarding which method is the best (outlining vs pantsing vs hybrid), I ignore it. Previously, I was a staunch pantser, but as I continued with that method, I slowly realize that I'm an outliner.
I believe that no one chooses their writing process. A budding writer, however, won't know what their writing process is until they've finished manuscripts and tossed them away. It sucks that sacrificial lambs are necessary, but, hey, that doesn't mean you can't resurrect those stories. Writers are wizards, and wizards can learn necromancy.
So I ruminate as to why I outline--
I am a compulsive tinkerer. When I wrote my first and second novels (both trunked) I tinkered with the structure and sequence of the story. The revisions were modified and changed a lot, so basically the first draft was a far cry from the second draft. The things I retained were characters and character names and some other world building stuff.
The first novel was ailed by my compulsive tinkering. I remember finishing the first draft by the seat-of-my-pants, happy with the product, but got demotivated as soon as I began rereading it. So of course, with my dissatisfaction, I revised the story HEAVILY. The original plot was scrapped, and a new story was drafted. The characters remained, and some plot points survived the cut. But it was a completely different story between the first and second draft. When the third draft happened, predictably, I rewrote it again. Not as drastic as the first, but enough to make me create a new doc file for it.
The first novel was released through KDP. I sold a total of thirty, I think. I didn't advertise it much or invested in marketing. The reason why I shied away from committing advertising bucks is because of a subconscious feeling that the story sucked. Yet the novel was up for a good while, deluding myself that it's an okay story compared to the schlock out there.
Later on, I looked into writing the sequel for it, despite the abysmal sales. But the sequel did get written regardless. What kept me going was my curiosity on how my characters fared on the next crisis I threw at them. Plus, the sequel could revitalize sales on the first. I had pantsed the second novel, but halfway through, I began outlining. And it felt right. After the first draft, revisions were made, but not as substantial as before.
Then it hit me--
Better to outline, revise the outline, change the outline, revise the outline again until it feels right.
Basically, treat the outline like the first draft.
And so for the third novel I did exactly that. I drafted the outline for my new story. After I finished it, I gave the outline time to simmer and cool off--similar to how first drafts are treated. When I looked at the outline after a week had passed, I revised it.
When it came time to writing, it felt like I was working on the third draft. Some writers become demotivated at this point, claiming that the thrill of the writing journey is gone. I do feel this at times, but it's quickly fixed by changing one's perspective--
When writing from an outline, think of it as revision on an empty page.
Scenes do change as I finally write them, but the core plot points remain. Along the way, I discover more plot points that needs to be worked through before arriving to a planned plot point. A lot of improvising occurs, so the thrill of discovery is still alive when working on an outline.
And these are the moments that I look forward to in writing my story. You ask, "why bother writing an outline if you're going to change it anyway?" Well--
If the outline is the best conception of the story, then the actual story is the elevation of that best conception. Story flourishes on fertile soil.
And that's why I outline.
If you want to know how I do my outlines, look no further and click that'a'way > https://jonmayo.blogspot.com/2020/01/how-i-build-my-outline-as-of-jan-2020.html
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