Screenwriting : Outline by Raymond Zachariasse

I like to be bare bones about the outlining for an initial draft of a spec script. It's not the most efficient way to write, but it feels more organic that way, to let the characters make some decisions, so to speak, not me. Later, in the revision process, I might outline more. But for that first draft, the most I'll do is: initial scene, inciting event, end of Act I plot point, mid point, end of Act II plot point.

Perhaps think of it more as having a loose plan. Map out where you are going. Know the ending. But leave room for discovery. I like to have everything basically figured out. I may do most planning in my mind first, then jot it down. I'll create notes of ideas, loose thoughts, "brain dumps," if you will. I may not know every little detail, or exactly how I get from one point to another. That comes during discovery or the actual writing itself. I also like to "sketch" in screenwriting format. I'll play around with a scene, test things out. What I also like about having a plan or a rough outline is that I'll skip around. Right now I'm working on a script backwards. ;)

Like Beth said, try to know where you are kinda headed, but leave room for change. Sometimes a story will surprise you with what it wants to say and how. Having a basic map assists in a skeletal draft that you can put meat onto in different intervals.

At the moment I'm busy with the first draft. I placed the outline in FadeIn and changed it. I want to kee the short within the 20 pages. It's tough. I find myself changing a lot. So Eric, I think I'm up your alley. Eventhough my outline was more then just barebones, I did change a lot already.

Questions about specs wil follow later :) With a spec of course the outline is already done by someone else (I need to write something new based on a existing series or movie).

I took a 3 months screenwriting course and some of the things they made me do is to write a 12 sentences summary and a 4 page summary of the script. You need the outline so once you're writing the script, you won't get stuck. I'm writing a script right now, I've done 12 sentences but not the 4 page summary. The 12 sentences keep my work in line with the story I want to tell, unless I get new ideas to change it or improve the story. Hope this is helpful. Try something that's conducive to your work. :)

Never really done an in depth outline. Usually will write down some basic notes and beats I want to hit in the story. I have a mental outline of the story, and I always always know my ending before I write one word.

Personally, I have never written a detailed story summary or treatment beforehand. Often if hired to write a script or work with a team that may certainly be required, so obviously, it's a good skillset to have... but for me writing specs on my own, that much "process" before writing a screenplay would just kill my creative energy. Lol! I'd much rather do all that work on the script itself. So having a thought out, but yet a loose plan, and being open to discovery is usually enough for me. ;)

In an academic setting, it makes sense, walk your class through one particular approach, step by step. Of course, there is no one way. Everyone has their own creative process. With some of these writing courses, they seem to impose personal opinion upon people—all the talk of "rules" and placing false blame upon writing tools themselves instead of on bad, ineffective writing. Dianne, you said, "they made me." So my two cents... always keep an open mind, you know, take what works best for you, learn how to write effectively, and discard the rest. "Orthodoxy" isn't necessarily the best means for creativity. But to each their own! ;)

I love outlining! I created my own "Screenwriting Dashboard', a Google spreadsheet that takes me step by step from concept to written script for every project I do. Everyone has their method tho. If anyone wants to take a look at an example, send me a DM :^}

Personally there have been times where outlining is the first thing I do.., there have also been times where I sit for hours hammering away on my keyboard and end up skipping the outline process all together. It just depends. Outlining seems to help most when the dreaded writers block creeps up, I use it to align my thoughts and see what my options are.

I hate outlining, and am not very good at it. I am very disorganized , and this probably works badly in my favor.

Laura makes a good point--when writing on assignment we have to create something of a process for hammering out the work. Me, I almost always write up the ending first then kinda "write towards" it, if that makes sense. I have a slightly different process for paying freelance gigs. A pain in the backside to be sure, but needed in order to get motivated.

I struggle with outlines. But if you know the basic gist, my recommendation would be to break the story into three parts (or three acts or however many acts/breaks you intend to write) and then write a multi-sentence paragraph about each act/break.

Then expand from there.

There are also beat sheets and treatments.

Good article on all of them:

http://www.bang2write.com/2008/05/outlines-beat-sheets-treatments.html

Here's James Cameron's treatment for Avatar:

http://www.jamescameron.fr/images/avatar/Avatar.1995.pdf

Writing a script on assignment is a different animal. You are subject to someone else's requirements and yes, they will prob want an outline, treatment, etc. 

But if you're writing a spec script, you're essentially writing it for yourself and it doesn't matter if you outline or not. In the off chance it gets sold or optioned, they won't want an outline. And they will  prob have someone else rewrite it anyway, lol. 

Laura, many here are writing specs on their own with their own goals in mind. Sure, there are different aspects and different career paths, of course. And, yes, being capable of working in different ways and with various approaches is certainly relevant. With all due respect, I understand your point. But please don't say that one way makes someone more "serious" than another. Not everyone works in that one way. Not everyone wants to be "hired." Some here are budding filmmakers too. Or looking for a team to build themselves. I'm serious about what I'm doing, but my goals may not match up to the "norm" of a career as a screenwriter. And that's perfectly fine with me. Nor does that make me less "serious." ;)

Laura, rest assured if someone wants to hire me to write a script, I'm fully capable of writing an outline, treatment, etc. Choosing not to work that way on my own spec scripts doesn't mean I don't have the ability, nor does it mean I'm not serious. And I'm fully aware of the calling card aspect of specs, and even more fully aware of how most screenwriters make their living. Hence my comment about the "off chance" of a spec being sold or optioned. I've done the math and I know just how unlikely that is.

I have to agree with Beth, I'm not in this to work on assignment, treatment or outline. Why would I want someone to tell to go ahead and write a script. Ms. Scheiner your view tells me nepotism is breeding quite well in tinseltown. Unless of course in misguided, which I doubt I am. There is three ways on ones own to get recognized in tinseltown. Through the front door ( which I'll be damned I will accomplish), through the back door, or kissing someones ^&% or someone who tell you what $%^ to kiss.

I owned a real estate company for years and have degrees in business. There are thing in life that will never change 1) the art of dangling the carrot. 2) good product finds away. period. So I don't give a damn about the nepotism. I hear the stories all the time. I'll find away period, and I will do it with a great product. I sure as hell aren't looking for employment. If I wanted that I would open another R/E company. Why would I kiss some blowhard executives %$^ for a job. Especially when he is to scared of loosing his minimal status in Tinsletown.

Yup, again, I understand your point, Laura. ;) Although I think the OP is inquiring about outlining as learning craft or possible process, not so much from the aspect of work-for-hire career expectations. Nonetheless, it's always good to point out that working for hire is a different scenario, and those seeking a career within the industry should know what to expect or what the expectations may be. And, true, many here are very focused on selling a spec script, in which the odds of doing so are not so much in their favor. But not everything is "Hollywood." There's a whole world out there. There are different goals. What made me bristle is the word "serious"—as if only one path is valid, the path of a career screenwriter for hire. And, of course, just because some prefer not to work from a tight outline or do a treatment beforehand does not mean they are not capable should the need arise. ;) Anyway, Laura, always appreciate your contributions to the forums!

Sorry, Robert, that's not what I'm saying... Nor is that what Laura is saying either. Lol! :) No one is saying anything about nepotism, etc. :/

Here's an older, interesting article about outlining. It takes rather a strong position. http://www.indiewire.com/2012/03/screenwriting-101-everything-you-know-a.... ;)

Have anyone tips to share? How you outline, should you? ;)

Oh, Raymond, if you are not aware, John August shares examples of his work and process on his site—outlines, drafts, etc. Could be helpful: https://johnaugust.com/libraryhttps://johnaugust.com/library. ;)

Beth I think that was my sticking point too. I don't like the inference that I'm not serious about screenwriting if I don't do an outline, or that I'm unable to do an outline should I be called on to create one.

For me, I know how abysmal the chances are of selling a spec. I churn them out because each one I write gives me another calling card to present to execs. I don't see the point of doing an in-depth outline when no one is going to want an outline on my spec. I'm perfectly capable of writing treatments, outlines, etc. but I don't need them for my own work. Someone wants to pay me to do it? I'll outline all damn day! :-P

Haha! Yeah, I hear ya, Jody. ;)

Whoops, I just realize the Indiewire link I shared may or may not work. Sorry about that. :/

Laura Scheiner i don't see anyone here arguing the realities of screenwriting with you. The thing I took issue with was your assumption that a writer not using an outline for their spec script must not be able to write an outline. Seriously, you're preaching to the choir here.

First off I'm a big believer that every writer is a creative in their own way and has to figure out what works best for them, their script and their life style at the end of the day.I'm a big believer that every writer is a creative in their own way and has to figure out what works best for them, their script and their life style at the end of the day. I personally used to hate writing outlines or treatments, but when I was hired as a writers assistant my boss wouldn't write any of the script till he had a solid outline. Which makes sense since when he is hired for a writing job he has to turn in an outline first. Or when he is pitching outlines get handed over before full scripts most of the time. At first I wasn't a fan of this process when working on spec projects till I realized the two big reasons he outlined 1) It gives you no excuse for writer's block. 2) it saves you a massive amount of time because of that. In my experience if you look at an outline as just a place for you to dump and record your ideas further reflection or as away to smooth out pacing it takes the pressure off. Sometimes I will write full on rough drafts of scenes or dialogue into the outline other times I will write something as simple as * maybe a scene in the car between A character and c Character* . I always just let the outlines start off as personal drafts for myself. So now when I sit down I will write one to two rough outlines before I write the script. and I don't get stuck in writers block. I already know what the next scene will be so if the scene I'm currently working on is holding me back I can just move along to the next point. When doing it professionally like for pitches often outlines need to have the most important over view of the story. You aren't going to go scene by scene the way you would for a personal outline. You are going to give the more interesting to the point version almost like a highlights reel of your film. which leads to the question of do they want an outline or a treatment? which you you prefer writing and what are the differences, if any? closing thoughts When in doubt or experiencing writers block outlining is always a good back up plan at the least for many of us.

Not to muddy the waters any further but I don't do outlines (unless absolutely necessary). I find them too rigid a structure as there may be plot twists and unexpected changes that cause the story to veer widely from the original plan.

I use a page timeline. I draw a line across a page and divide it into 5 or 6 parts. Then over the top, I write the major plot points and the approximate page that they should happen. Under the bottom, I write the minor plot points that should be going on at the same time. This gives me just enough structure to have a plan, yet enough flexibility to let my imagination run wild.

So far I've only had to write one outline and that was for a script I'd already completed. They wanted a one-sheet and summary. Nobody else has ever asked.

I'm not arguing "realities" either, Laura. Nor am I arguing about experience. No need to tell me what I already know. But business "realities" are not the topic of this thread. Care to share tips on how to outline? Raymond is inquiring about process... About craft. :)

Thanks for sharing your process, Noelle and Anthony. Much appreciated. ;) My outlining (or plan) depends on what I'm doing. I have a thriller that's rather complicated so that one I outlined in more detail; my creative intent kept shifting. Otherwise, I keep it pretty simple, focusing on major turns, considering story in sequences, etc. But I also give myself little notes, marking where I want to hit not only a key plot point but an emotional point as well. What do I want my audience to think/feel and where? I focus a lot on cause-and-effect too. One thing that I do because I like it all in one place, I'll leave myself notes within my first rough draft. I highlight them in a different color. So I never get stuck either. If I can't quite figure out how a scene should work, I'll stop and maybe work on an outline or a breakdown for that scene alone. Or I'll leave myself a note, saying what this scene needs to convey, to achieve and move on to the next but then come back to it later. Sometimes working ahead or working backwards helps too. I prefer to get into the first draft as soon as possible -- as I said I like to "sketch." I'd rather spend all that work, time and mental energy on the script itself. But I never just start a script and "wing it." I always have a plan first. ;)

I concur with Laura--I watched the back and forth and wondered why people jumped on Laura for simply pointing out the pro side of things. I think she was just saying there is a difference between spec writing and pro writing. I re-read her post and shared them with mah hubster, and neither of us saw any attack on personal processes, just an added perspective on the topic.

I like to jot each story beat down on notecards that I can then move around, especially if I have multiple POV characters (which is kind of my thing). A timeline approach is sometimes helpful when I get stuck mid-project.

As far as process, I call my approach 'sculpting'. I start with a freewrite, basically all my thoughts on the story, including questions and possible answers to them. The point at this stage is to get them down on paper so that I have the brain space for more details to filter in.

Then I do my first outlining pass, usually in a notebook because it's easier for me to commit imperfect words to paper than it is to type them. Next is a 'solid' outline, typed, that sits open in Scrivener beside my screenplay to help me keep moving when I'm stuck. Generally the first draft deviates quite a bit from this outline as I discover parts that don't work or come up with better ideas, but that's totally fine.

By the end of the first draft, I know the general shape the story is going to take. Often the next draft is a page-one rewrite, with another round of freewrites based on feedback from my most trusted reader. I've heard a lot of people call their first drafts an outline, and that's definitely one way to approach things. The second draft goes out to more people for critiques, and I just keep honing and chipping away until I like the way it looks and nobody sees any major problems with it.

I tend to outline and write simultaneously. Once I have my beginning and end I figure out my beats and use an outline to flesh those out so I'm not left with plot holes or storylines that go nowhere. But often as I'm coming up with ideas they're in the form of fully thought out scenes, so I write them as they come.

The benefit of this method, for me, is that I don't curb my creativity as it comes, but I also don't force myself to write bad scenes when they don't, but I'm still able to work out the story through the outline.

Again, nobody "jumped" on anybody? And "pros" write specs too! Lol!!! ;) Look, again, I'm not trying to argue. Honest! Laura made great points, absolutely. What made me bristle is the word "serious" and its connotation. I'm also sorry that this thread is unfortunately not quite anwering Raymond's, the original poster's question, which was not the validity of outlining... He asked how. He is new to outlining.

Thanks for sharing your process too, Joan and Sandrene -- yeah, I work in a similar fashion. Simultaneously. That sums it up way better than my long-winded explanation. Lol!

To highlight something great that Joan said Scrivener is amazing tool for writers. Especially screenwriters. Would highly recommend it since it makes things easy and keeps it all tidy.

Joan, you have a lot of steps in your early process. Love the term "sculpting." First draft as an outline... that makes perfect sense. Love that too. ;)

I don't think she meant it as an offense--I took it to mean those who were pursuing a career in writing as a profession as opposed to those writing as a passion and pursuing it more casually (or self producing), which is what I meant, by "pros" as well e.g., those who might work in TV for example as opposed to those who want to break into film alone, and have no interest. I have a friend, talented feature writer--she has been approached to write for TV and turned it down. She has no interest in "pro" or "structured industry" writing. That is what I mean by "pro" and what I would hazard to guess Laura means as well. It is not an indictment to the seriousness of writers who do not desire to let's say, write for TV. Just a way to label the differences. If there is a word less offensive to you than "serious" or "pro" as identifiers, I will happily use it and I mean this non sarcastically. I guess when I say jumped on, I mean people seemed to get heated, taking umbrage with the word serious when I don't think that was how Laura meant it or at least that isn't how I took it. Chalk it up as a potential misunderstanding. Of course, I can't speak for her, but text can sometimes not convey the full intention of words as it lacks visual cues. But you are right, this is digression, so I'll leave it at that.

Appreciate that, Alicia, kind of you. But I'm not offended, not at all! ;) I'm trying to be self-produced, so I dunno what that makes me. Lol! But I'm not one for labels or titles. What I am is ready to move on. ;) Alicia, any outlining or early process tips to share?

Noelle, yeah, lots of writers utilize Scrivener. It comes up often. Hmmm, I may have to give it a look-see. ;)

Hey Raymond. If it's a short, hopefully you can just write stream-of-consciousness and it'll be great. If it's a feature, I wait until the major characers and plot line (particularly the ending) are prepped in my mind. In the past ten years I've writtenn a lot, and it's been a different process every time, on this spectrum from 'stream of consciousness' to 'blocked most of it out using a Board first' (see Laura's post, above). I must say that blocking it out to the best of my resources ahead of time is really really paying off with my latest feature spec. I have pictures on my profile that show the evolution of EVAN. I had a big, big 'hole' at the beginning of Act 3 on my Board, but little did I know, until now, that it was the most important scene in the movie. It finally 'came' to me last night, and man it fits like a puzzle piece. Just perfect. I don't think that would have happened without the Board. I've always felt a bit 'lost' in previous projects, but the Board is a visual I can easily refer to throughout a writing process. It's a map that helps me feel in charge. It's an invaluable tool and I will definitely use it again at the beginning of any project for the rest of my career.

Hi Raymond. You might try MindMap https://www.mindmup.com/This is based on the old Tony Buzan methodology and is a great starting point for any kind of project. I usually start with this and then bung the text into a word processor where I use the "outline" feature to order and re-order until the framework feels right. The beauty of this is you can write stuff directly as it comes into your head, and worry about where it should appear at a later stage. Best wishes, DM

Wow, a lot of replies :) Thanks. I will read them when I'm ready. But the outlining question is not only for my short. I am planning two series. One is animation (Coral World), which is going OK I think, but the other (Follow) isn't. I know the general idea. I know a few of the characters and I know what I want to achieve, but since it's a sci-fi series, a lot still need to be done. It's also meant to have a big budget. I am of course not sure if it ever be made, but I love the idea myself, so I want to have a go at it. I will look at your suggestions.

Oh, the animated outline is part of a course. But it's not a written one. My teacher is a coach I hope work with beyond the course since she learns me a lot about screenwriting. In the meantime I did get an assignment, well I am in the process of one and I did get an outline for that one. A cool one even :) So I am doing two things at the ame time it seems.

Thanks all. Lot's of opinions for sure :) I usually write without the outline or even knowing the ending. For books, which I write, it works. But screenplays are different, so that's why I was wondering about your tips. As for specs and being a hired gun, I already write books for money. It's all set in stone, so I know how to write within a format. For books it's loads of fun. so I am hoping the same for the screenplays. I do have my own ideas, but since I'm also illustrating and publishing books, it's sometimes easier writing in format.

As with Scrivener, I do have the program, but it just doesn't work for me. It's not logical to me, so I am sticking to word and FadeIn.

When I needed to create a feature screenplay in order to apply for an MFA screenwriting program, it opened up a whole new world of writing to me. I had no clue of any of it.

So, for my first ever, I thought for a short few days on what the story was about. I had no clue of a protagonist, goal, arc, antagonist, etc. Let alone knowing the difference between an outline or logline. However, I knew what a premise and synopsis was, but didn't use that. I spent a few days in knowing how to write a script (formatting mostly). Story structure was not foreign as I was a movie junkie and did read some books.

Off on my journey with knowing more than an idea (logline) of what the story was about, I wrote the first draft of only 28 pages. It just flowed. My most creative writing activity to date. Now, how do I expand that into a feature? It was followed by expanding the story based on my continued research and learning (which had a massive, steep curve) of screenwriting. Plot points. Story structure. etc. I found myself staring at a 93 page feature. Fully formed. High concept. Suspenseful. Intriguing. Two mystery twists at the end. I completed this in one month. Of course, it's gone through a few rewrites since then. I'm now on my final rewrite based on some notes I've received. Now at 83 pages, there is plenty of room to solidify the story as a great screenplay, IMHO.

While writing the second draft, I then built the outline from the 23 page story. So, my experience was bass ackwards from what I had been learning all along. Now, I have 12 other features that started off the same way. The idea formed into a high concept logline. However, this time I built an outline to include a title, genre, premise, characters, synopsis and an act breakdown of scenes to include. All before writing one scene. However, I feel that I may have gone too far in some cases, which could affect my creativity. It still remains to be seen as I have not completed writing my second script, though I have written a few scenes of a couple of features already. I feel that a handful of my stories required me to fully envision the world (2 sci-fi's and a ghost story) in order for the story to make sense.

For me, knowing enough to have a complete storyline that is high concept, is enough to get started in fashioning a spec screenplay. Now that I know how to write an outline or treatment, I'm ready to confidently take on any writing assignment.

beginning, middle, end figure out your concepts or audience. the target is bring to life every character on paper just as you would want to on film. how you saw the idea of the film you must see the beginning and how it end. don't stress your self it will just come to you like it came to you. then feel in the blanks its like typing in backflip tricks or in does.

Google Blake Snyder Beat Sheet. It is what I use, and I find it helpful for scripts and novels.

I outline. Then I do beat sheets for every scene. That's just my M.O. It cuts down on the rewrites for me.

Thanks Michelle.

Dyemond, you are right. It turns out I write way too much. It's probably because I write books. So I need to edit a lot out off my screenplay.

John, some of the things you talk about I also did. I am at the stage that I need to rewrite, so that's draft 2. Since I'm busy with a short I need to delete maybe 13 pages out of the 26. I added some scene which I loved writing, but it didn't add anything to the story. So now I need to rewrite a lot :)

One way to approach your story outline: Determine how many pages (minutes) you want the short to run. Then, using a by-page beat sheet, write what happens on each page. For example, 15 minutes ~= 15 pages. Place your plot points on corresponding pages. (i.e.: Page 1 - Setup, Page 2 - Inciting incident, Page 3-6 - Turning Point, Obstacles, Page 7 - Midpoint, Page 8-12 - Raising Stakes, Page 13 - Climax, Page 14-15 - Resolution). You can even add individual scenes under it's corresponding pages.

Outlines: https://www.youtube.com/user/clickokDOTcoDOTuk/videos

I fall under the "writer without a plan" group to. Sometimes I have a rough idea of the ending but no real idea how I'll get there.