The Real Reason I Outline

I'm nearing the end of The Great Air Pirates YA Revision of 2010, and I discovered something. For years now, I thought I outlined because I'm an obsessive compulsive planner. And I am. But the real reason I outline, as it turns, is because when I draft I'm a wimp.

See, in Air Pirates there's this character that dies. I mean, a lot of characters die, but there's this one in particular. I really liked this character, but as long as they live, the protagonist has no motivation for change. Not a very interesting story.

So I killed the character in the outline. It was easy. Just a quick sentence: "So-and-so dies. Protagonist goes nuts." No problem.

But when I got to that spot in the draft, I froze. Did they really HAVE to die? Did I have to write the words that killed them? I didn't want to do it, and I was sad when it was done. But I did it because I outlined it that way, and I couldn't think of a better solution (also I didn't want to re-outline half the book just to accommodate the suddenly-living character).

That was in the first draft. Then the means of this character's death had to change for the YA version, and I had to kill them AGAIN. It took me like an hour just to type the words that made it real, and if I hadn't planned it, I wouldn't have done it.

So there you go. I don't outline because I'm afraid to wing it. I outline because, if I didn't, my characters would just win all the time. While that's lots of fun for me (I do like my characters), anyone I swindled into reading it would get bored fast. And since my characters can't pay me, I guess that makes my choice easy.

The Dragon was the Best Part

It's important to choose your protagonist carefully. In general, they should be the character whose choices and actions move the plot forward. If the protagonist is also the narrator, they should be present for most, if not all, of the key events.

Sleeping Beauty, for example, is not the best choice. She doesn't make a lot of decisions, and she misses all the good parts. Pretty much her whole story is like this:

Sleeping Beauty (from Aurora's Point of View)

I was born today. Don't remember much. I think Mommy was there, some scary people, and -- Oo! Sparkly!

[Time passes.]

So after 16 years of being sheltered by my godmothers, I finally met somebody. And he's HOT! I can't wait to tell the old girls I'm getting married and they don't have to take care of me anymore. Wonder if Sir Hotty will let me talk to other people...

Okay, so my godmothers have been lying to me for, like, ever. I can't marry Hotty McHandsome cuz I'm already engaged. Screw that, I'm outta here.

Hey, a needle. OW!

Not sure what happened. I ran away, cut my finger, and then...Sir Hotty was making out with me? (Still don't know his name, btw). Turns out I was engaged to him the whole time. Oh well, works for me.

A Blog Post, Bob, As You Already Know

BOOK: That young man's very brave.

MAL (whatever): Yeah, he's my hero...

BOOK: Give up everything to free his sister from that... place... go from being a doctor on the central planets to hiding on the fringes of the system... There's not many would do that.

MAL: Suppose not.

-- from Firefly, Episode #2: "The Train Job"

This kind of dialog is known as As You Know, Bob. Where two characters discuss something both are familiar with, but in a way that anyone listening (i.e. the reader) will understand what's going on.

TV shows do it all the time. They have to so they don't lose channel surfers, viewers coming in after the commercial break, or new viewers who didn't see the previous episodes. (Or, in the case above, because Fox aired episode #2 before episode #1 so NOBODY knew what was going on).

Books do it too, but it's less forgivable.

"There it is, Piter--the biggest mantrap in all history. And the Duke's headed into its jaws. Is it not a magnificent thing that I, the Baron Vladimir Harkonnen, do?"

-- from Dune

AYKB dialog is a subtler, but no less lazy, form of infodump. The novice author knows he's not supposed to bore the reader with expository backstory, so they try to hide it with "action," which in this case means two people talking.

Although it's true that dialog is more interesting than exposition, this kind of dialog is about the same. Most readers can tell that something's wrong, even if they don't know what. The problem is real people don't talk like that. They don't say, "Remember your birthday party two weeks ago, where you got so drunk you danced half-naked on the pool table?" They'd just say, "Remember your birthday party?" and then "Yeah, that was awesome."

"All this 'You-Know-Who' nonsense -- for eleven years I have been trying to persuade people to call him by his proper name: Voldemort."

"But you're different. Everyone knows you're the only one You-Know- oh, all right, Voldemort, was frightened of."

-- from Harry Potter and the Sorceror's Stone

So how do you fix it? The same way you fix any infodump: with carefully-placed, telling details. Here's a 4-step program for you.

1. Write the crappy As You Know, Bob dialog. All of it. If you don't write something, you'll never get anywhere.
2. Cut everything that is extraneous information, that neither character would bother saying because they both know that they both know. (Paste it somewhere else, though, so you know it).
3. Read the dialog again. If it would still make sense to a new reader, leave it.
4. If there's information a new reader must have to understand the story at that point, find places to insert it. But keep the info-bits small and as realistic as possible.

You might have to invent reasons for the explanation. Introduce a character who must have things explained to them. Or drop the characters in a situation where the information is necessary to have, so the reader doesn't mind a little expository infodump (though not in dialog, unless it can be done realistically).

Sometimes the solution is simple: move it out of dialogue. So instead of:

"God, you're such an idiot. You're acting like I never went to that assassin school last summer."

Try:

"God, you're such an idiot." He acted like I'd never been to assassin school.

More often, the solution is even simpler, but we don't want to believe it: just remove the information. You'd be surprised how far a reader can go without all the backstory. And if they have a question, or get confused, well that's what beta readers are for.

Poll: How Do You Feel About Maps?

Everyone has their own opinion on maps in a novel. Some people despise them, considering them a cheap form of infodump. Others will buy a book just because it has a pretty map, regardless of what the book is about.

Of course it depends on the quality of map and how (or whether) the story uses it, but in general how do you feel about maps?


Personally, I LOVE them. I can't read Lord of the Rings without flipping to the map every time a place is mentioned.

But because of that, I'm kind of a map snob. I'm disappointed if the book takes place in a single undetailed location, or in places that aren't even on the map (I'm looking at you, Name of the Wind). I get upset if the map is wrong (it's happened!). And while I do love flipping back to the map, I don't want to HAVE to.

My favorite maps do four things:

1. They are not required to follow the action (i.e. they can be skipped).
2. They include most important locations mentioned in the book.
3. They don't include too many places that AREN'T mentioned in the book.
4. They enhance the experience for those who want to study them.

I have a map for Air Pirates (I don't see how you could write fantasy without one), but I don't show it to my beta readers. So far only two have asked if there was a map, and nobody said they were lost without one. I take that to mean I'm doing a good job. Though if this thing gets published, you better believe I'll be pushing for a map. I mean, assuming I get any say at all.

What are some of your favorite (or least favorite) maps? Why?

Unexpected Convergence

Something I noticed the other day when my daughter asked if she could listen to music on the way to school.

Firefly (and Other Murdered TV Shows)

Firefly
Malcolm Reynolds and his crew live on the edge of the law, preferring to do jobs -- legal or not -- on the outer planets where Alliance influence is weak. Things get sketchy when they unknowingly take on two Alliance fugitives: a doctor and his genius little sister. The Alliance had been secretly experimenting on her, and they desperately want her back.

Half a season, 14 episodes. Fox killed this one partially by airing the episodes out of order. Fortunately Joss Whedon is the leader of an online cult with the motivation and power to finish the series. Though I think all of us would prefer if it never ended.

The Adventures of Brisco County Jr.
Brisco County, a Harvard-educated lawyer-turned-bounty hunter, is after the infamous bandit John Bly Gang that murdered his father, Marshal Brisco. It's a western, but with sci-fi and steampunk elements thrown in. Oh yeah, and Bruce Campbell.

Fox (once again) gave up on this one after 27 episodes. Fortunately the secret of John Bly had been revealed by then, but still.


Nowhere Man
On a date with his wife, photojournalist Thomas Veil returns from the bathroom to discover his life has been erased. Nobody knows who he is, not even his wife. Every trace of his identity is gone. He discovers it's somehow related to a picture he took years before, but he doesn't know why. He must keep the negatives safe from a mysterious organization out to get him, while at the same time trying to learn the truth about what happened to him.

The defunct UPN canceled it after the first season, 25 episodes. Long enough to find out some cool things about Thomas' past. Not long enough to find out what they meant, dang it.


Pirates of Dark Water
Ren, the exiled prince of a sunken kingdom, is charged with finding the 13 Treasures of Rule to stop the ever-hungry Dark Water from consuming the world of Mer. He has an "unlikely but loyal crew of misfits" on his side, but the Pirate Lord Bloth is after him, trying to take the treasures for himself.

This one died on ABC after 20 seasons (although it started on Fox Kids -- a trend?), after Ren had found only eight of the treasures.


All of these shows had hardcore fans and critical acclaim, but they didn't make it. If there's a lesson for writers here, it's that everything's subjective. Though at least in writing, if you have fans and acclaim, you can self publish.

What were your favorite murdered shows?

Books I Read: The Curious Incident of the Dog in the Night-Time

Title: The Curious Incident of the Dog in the Night-Time
Author: Mark Haddon
Genre: Mystery (sort of...more like literary)
Published: 2003
Content Rating: R for language

Chris Boone is an autistic 15-year-old living with his working class father. When the neighbor's dog is killed, Chris decides to find out who is responsible. In the process, he learns things about his parents he was never supposed to know.

I'm not normally a literary kind of guy (you may recall the literary genre loses points with me),* but I loved this book. I read it in like 5 days which is some kind of record. I loved the mystery, even though the book's not really about who killed the dog. I love the methodical, logical way Chris went about it.

For that matter, I love the methodical, logical way Chris thinks period. He has a near-perfect memory and likes order. If he sees 4 red cars in a row on the way to school, it's a Good Day. He can explain the Monty Hall problem with complex combinatorics and a diagram that's simple to understand. He reasons that if there are aliens, they would be totally different from us and might use something like rainclouds as a spaceship. Almost every other chapter is an exploration into one of these (mostly very interesting) digressions.

And craftwise, this book is genius. It does nothing normal. The chapters are prime numbers. Every few pages has some unimportant diagram (though it's important to Chris).

And not a single description is given of the other characters feelings. Chris doesn't understand tone of voice or body language--he doesn't even look at people's faces. He simply records what people say, word for word. And yet we are given enough context, and the occasional telling gesture, to feel what the other characters are feeling.

As a writer, I'm in awe.


* Then again I loved Life of Pi, so maybe I'm kidding myself?