I know that some people prefer to sit down at the computer or in front of a pad of paper and just start writing, not knowing or caring where they're going. They just let the story unfold before them. And if that works for you, wonderful. But for me, I have to have a destination. I need to know where the finish line is. If not, I have no idea which direction I should start running (sometimes, I do write without a "destination," but those are usually brainstorming sessions that result in seeds for future stories and rarely in a final product in and of themselves).
The problem I had this week was that I could see the finish line way out there in the distance, but I had no way to get there. The space between me and my destination was exactly that: space. There was nothingness between me and my goal, just a vast, empty chasm.
Ask any writer and they can tell you, that chasm can induce heart conditions (especially when there are deadlines involved). Fortunately, I grew a set of wings tonight and was able to reach the other side (though there is one spot of "turbulence" along the way that I need to address--yes, I know the "flying" metaphors are lame. Let it go). And what helped me most was a tool I started using a few months ago. In that short time, it's helped me craft at least half a dozen completed scripts, so I thought I might pass it along to anyone who's interested. It's not terribly impressive, but it really helps.
I created an outline template that looks something like this:
Now, right off the bat you can tell that it's painfully simple, but for some reason, it really helps me map out my story. There's an horizontal line that creates a three inch margin across the top of the page and a vertical line that leaves a three inch margin along the right side of the page. Along the left side of the page are the numbers 1 through 22, double spaced. That's it. Seriously, it took me all of sixty seconds to put together yet I find it invaluable. Here's how I use it.
In the top margin, I write the all the specifics of that particular issue, like title of the series, the number of that particular arc, name of that particular issue, etc. I also write a log line about the issue along with a list of the big events of the story. Just general stuff, nothing too specific. I usually have enough space left over that I can add notes as things come to me.
The margin on the right is used for snippets of dialog or descriptions of key scenes that I want to make sure I include. My short term memory is ATROCIOUS, so if I don't write something down right away, it's gone forever and this helps me keep all of my notes for a specific issue in a single place so I don't have to worry about keeping track of a million post-its. Often, my notes will spill over onto the back of the page, but that's okay since I will draw a big arrow at the bottom right hand corner to remind me that I have more info.
The numbers along the left side of the page are exactly what you think they are. Each one represents a page in the story (95% of the stories I write are 22 pages, but I can always tweak the template for different page counts). Next to each number, I write a single sentence describing the gist of what's happening on that particular page along with any specific action, visuals, or dialog that needs to be put on that page. This is immensely helpful in that it helps me visualize the best way to partition scenes, appropriately adjust the length of those scenes, and utilize page turns for maximum effect. It really makes the final step of writing the script so much easier for me.
To give you an idea of what I'm talking about, here's an example of the outline I'm using for FoC: Gray Man #4:
As you can see, some page descriptions are more detailed than others. But as I further develop the story, the more I will fill in those gaps (also keep in mind that the entire back of the sheet is littered with notes as well). But this is enough to start me writing the actual script. And when that process starts, the story develops fast and furious. And since I can't type nearly as fast as my brain thinks, I keep this outline handy to jot down more info as it comes to me.
This design could probably be tweaked to work with screenwriting or prose fiction, though I'm not sure yet how. But for my comics writing, this simple tool has become a life saver. Even if I only have page 1 and page twenty-two with the yawning chasm in between, this little template makes it easier for me to find my way across, and hopefully make it entertaining along the way.
So if you write comics, try it out. All writers work differently, so what works for me might not necessarily work for you, but you never know. Give it a try and let me know.
