Today we’re getting into the real nitty-gritty, the deep and detailed beat-for-beat outline for the novel I’ll be working on for this blog. I’m not going to break it into a chapter-by-chapter outline because I’m not really sure where my chapter breaks are going to be just yet. I’m also not going to (or, I’m going to try not to) do this the way I do my usual outlining, because it’s far too hectic and silly.

This is actually a lot harder than I thought it would be.

Maybe I can structure it like a play? Like, a three- or a five-act play? Sometimes looking at it that way can be helpful. This isn’t a standalone, or at least it isn’t at this point in development because I think the entire story I’ve got in mind would be too long as a single book, so there have to be at least two distinct arcs in the entire story made up of at least three acts each, and I have to have threads which are not wrapped up in this first book.

The overarching thread thing is relatively easy in this case. We know already that our characters both want the same thing: a safe haven where they can live in peace. They’re both looking for a society where they don’t have to deal with bullies or bigots. This first town certainly ain’t it, so that’s one that will resolve next time. But, there’s also the potentially romantic relationship between the deuteragonists which will need to build in the first book and then resolve in the second.

And for the record, on the topic of romantic relationships in novels, I am of the opinion that if you are not specifically writing erotica, sex scenes should very rarely be included. They are usually purposeless to the narrative, and while there are occasions where you want to develop characters or their relationship through a sexual encounter, you don’t need to actually show anything unless there’s a narrative reason why what’s happening during the scene is important. A fade to black or implied scene will typically serve equally as well, without the issues that arise with a sex scene. Personally, I find they often demonstrate the weaknesses in a person’s writing, or at the very least they are often the weakest part of any given piece. As such, since I can’t think of any narrative reason why showing a sex scene would be necessary in this story, there won’t be anything like that appearing.

I do want to be clear for all of you out there who do include sex scenes, I’m not telling you to stop doing them or saying you’re a bad writer for including them. There are some really well done scenes out there that provide character development, if not narrative development, and if you want to write them, or you feel like they fit into your stories, write on.

So. Now that I’ve wildly deviated from the original point of this post and bought myself a bunch of time, I’m going to try to do the actual detailed outline. Emphasis on try, because I have been at this for, wow, yeah, like four hours now? Just going back and forth between plugging away at this and watching a show on the side. Progress is hard.

Okay, full disclosure, I stepped away for half an hour to have dinner and talk with somebody about this whole process. They gave me some very good advice in regard to the purpose of this blog and what I’m trying to accomplish. Essentially their point was that there are a lot of blogs in the world showing the way an outline should be, clean and kept and perfectly tailored, but my entire idea with this blog was to show the whole messy process that I go through, warts and all. Ultimately, the way I outline is abysmal and embarrassing and wildly unprofessional, but it works for me, and if I spend all my time figuring out how to make my outline presentable to the wider world I’m never going to post anything at all.

It’s excellent advice, considering what I’m trying to accomplish here.

Given that, okay, I’m going to do my best to cut out the bullshit and just show you how I work. And that’s going to be difficult because like I said it’s messy and it’s silly and I’d normally never show this sort of thing off out of fear that it’s not perfect, but once again, that’s the entire point. As another person reminded me when I spoke to them about this, ‘perfectionism is the thief of progress.’

So, let’s give this outline a shot, and we’ll do it in my stupid, hectic way.

• Pandora works in the clinic on the Island/Dam. She and Jack are friends; she does not get along very well with most of the other residents. She treats the Shatter-Eyes equally, which is frowned upon. She vocally disapproves of the class system and is discouraged from participating in town meetings.
• Hunters go out regularly. One of their expeditions results in an injury, where a hunter’s leg is trapped/impaled. She is brought off of the island to assist. The Lesser, drawn by the noise and the blood, attack. In the confusion Pandora is injured herself and separated from the hunters. She flees deeper into the city as her escape is cut off and hides.
• While trying to make her way back to the island, she meets Seth. He brings her to his camp/hideout and allows her to stay until she is healed enough to make it back to Dam. During that time he explains his mutant power is minor telepathy, primarily with animals and bugs. She invites him to return with her. He agrees with mixed feelings of excitement at not being alone and reluctance at being around others.
• They make it back to Dam after three or four days. With Pandora’s backing, Seth is allowed to join the community.
• Pandora suggests to Jack that Seth could be a hunter given his power. Seth and Jack do not really like each other, though Seth tries. He demonstrates that he is useful and the island reluctantly accepts him. His comfort grows.
• On a hunting outing, Seth saves Jack’s life by controlling a Lesser which would otherwise have torn him apart. He begs Jack not to tell anyone. Jack asks if Pandora knows and demands that Seth tell her. The three of them discuss this. Jack does not trust Seth. Pandora understands why he does not want anyone to know about this ability. She wrangles a promise from Jack that he will not tell.
• Seth decides to take a break from hunting and help out at the clinic instead, as he is shaken from the encounter.
• People begin to notice how much time Seth spends with Pandora, and how much she obviously favors him. They do not like that their doctor is so friendly with a Shatter-Eye, or that she treats Shatter-Eyes at all. Unrest grows.
• Some of the townspeople confront Seth and try to harm him. Jack steps in, not out of friendship or pity for Seth but for Pandora.
• Seth returns to the clinic, further shaken, nearly panicking. He no longer wants to go anywhere without Pandora, because he is afraid the others will hurt him. There is another layer to his fear which Pandora doesn’t understand.
• The townspeople begin to express that Shatter-Eyes with ‘dangerous’ powers should be removed. They know Seth can communicate with and command animals, and they know he is the reason there are no bugs in the clinic. They demand that Seth and several of the other more powerful Shatter-Eyes be ousted from the community. Pandora says she will go with them.
• Pandora’s protests land her in a cell while the Shatter-Eyes are thrown out. Jack is not able to help her, though he does ensure that she is not harmed. She is livid but trapped.
• When the mob comes for Seth, they are not kind. They beat him, drag him into the street, and attempt to push him (as well as the other Shatter-Eyes) out into the water with no supplies and no boat. At the very edge of the dock, with weapons pointed at him, Seth’s power activates.
• Pandora and Jack are surprised when several members of the mob return and open the cell to let her out. When they get outside, Pandora sees Seth, in torn/bloody clothing, bruised and cut and crying, standing with a ring of six or seven of the mob members with their weapons at the ready. Their eyes are blank. He is commanding them.
• Pandora thinks quickly. She knows they cannot stay here after this. She demands supplies and a boat for the fleeing Shatter-Eyes.
• Jack tries to make her stop. She tells him to come along with them. He is horrified by Seth’s ability and refuses.
• She, Seth, and the other Shatter-Eyes get into the boat and are a good distance away before Seth lets go of his hostages. He sobs.
• The other Shatter-Eyes leave them at the shore. They wish the two of them luck, but are certain that the townspeople will come after them and anyone with Seth will be killed. This is fair.
• Seth explains that this was the reason for his isolation. He tried not to do it. He didn’t want to do it, but he also didn’t want to die. He is afraid of his own power. He doesn’t really know the extent of it. He asks if Pandora is going to leave him. She agrees to stay.

It looks pretty short, written out like that. I have a lot more plotted out, but let’s see if we break 75k words with what we’ve got. We’ll get started on writing this thing next time. I’ll look into a way to get a ‘write with me’ sort of thing going, but I might also just write up each chapter and do a retrospective. We’ll see what works.