Writing A Book Outline: How To Strategically Write An Outline For Your Story | Michael Vitelli | Skillshare

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Writing A Book Outline: How To Strategically Write An Outline For Your Story

teacher avatar Michael Vitelli, Bringing Your Writing Ideas To Life.

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 30m)
    • 1. Why Learn How To Outline A Story

      2:15
    • 2. The Importance, Strategy, and Action of Outlining

      9:40
    • 3. Step 1: Outlining The Conclusion

      6:38
    • 4. Example 1: Outlining The Conclusion

      11:10
    • 5. Step 2: Outlining The Intro

      6:28
    • 6. Example 2: Outlining The Intro

      11:00
    • 7. Step 3: Outlining The Adventure Part 1

      8:00
    • 8. Step 3: Outlining The Adventure Part 2

      8:55
    • 9. Example 3: Outlining The Adventure

      15:30
    • 10. Step 4: Outlining The Failure

      9:25
    • 11. Stay Tuned!

      1:00
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About This Class

If you're struggling to really make your story come to life, learning to outline fictional stories can be really beneficial! In this course, I will be teaching you how to write a fiction book outline for your story, which will make the writing process a whole lot smoother. 

We will go over 5 specific sections of a story:

  • The Intro
  • The Conclusion
  • The Adventure
  • The Failure
  • The Climax

Understanding the importance of each section, as well as how to write each section, will help guide your ideas in an organized manner so that you can easily take a simple story idea and bring it to life. 

The craft of writing is not a talent learned overnight, but implementing these tips can really kickstart your writing journey. 

After each section, I will also be giving an example by creating an outline for you to follow. My outline will include thought-provoking questions, which I suggest you include in your outline as well in order to include the right details. 

Once you have finished learning about the five main sections of a fictional story, we will talk about transitions and tips that should help with book writing and completing your story.

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Michael Vitelli

Bringing Your Writing Ideas To Life.

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Transcripts

1. Why Learn How To Outline A Story: Hey there. Thank you for checking out my course. We're going to be going over how to outline a book and really take your story idea and evolve it and bring it to life. Just to give a little background on who I am. My name is Michael vitally. I am a professional outliner on Fiverr. I made a successful writing business and career out of this. I've been doing this for a few years now. I started writing about a decade ago. I was very young when I started writing, started out with poetry and then got into article writing and blog rating. And from there I started writing short stories in that developed into writing books. I have to publish books at this time, hopefully more in the future. But I have made most my success out of learning how to outline a book and really learning the craft of writing and the art of making a story. Just really captivating to a reader. I've read a lot of books on it and I've studied from other teachers and other authors. And I've learned a lot over the years and I want to share that with you. So what we're going to be going over in this course is basically how to take a story idea that you may have and trying to create a plot and orienting that plot in an outline and structuring it. A lot of people don't believe in structure and their stories by a 100 percent do if you watch movies or have read other books, then you will know that a lot of stories follow a very similar line. You can see a lot of similarities in especially the adventure of the main character. And you know, there's climaxes, hills that they go up and down throughout the story. And a lot of stories have the same type of endings. You can learn a lot from that and you can make a captivating story by following an outline like that. So we're going to be going over five specific steps and then some transitions in between the specific steps are the introduction, the adventure, the failure, the climax, and then lastly the conclusion. So I'm really excited to go over this with you guys. I really hope you enjoy it and please let me know what you think with comments below or a rating at really appreciate it. And yeah, without any further ado, let's jump into it. 2. The Importance, Strategy, and Action of Outlining: All right, so before we actually get into the outlining process, I just want to talk about the importance of outlining and how we are going to go about it and then the actions we're going to take. And I just wanted to mention, if you want to, I have another course on my profile that is about brainstorming. It's only four videos along if you want to check that out first, that can be really beneficial. And you can watch those videos and then come back to this course. Just having the understanding of brainstorming and how to do it strategically can be really beneficial before you actually get into the outlining process. But let's go over this. So why should we outlined? So the purpose of an outline is to take your notes and place them in order to have a foundation to your story. This will act as a map or a guide to follow from beginning to end. So if you have a story idea, it might be a little difficult to just start writing in to come up with an ending on your own without having some structure in place. So that is the purpose of an outline. You really just building yourself a roadmap to follow so that you know how to get from point a to point B. Doesn't outline really matter. Yes, it truly does. If you don't have an outline in place, like I said, you're kind of rating blindly. You don't know where you're going with the story. This doesn't mean that there's rules to writing per se, but it is good to kind of have some structure to your writing so that you're, like I said, free writing is not a bad thing, but it can cause you to write yourself into a hole and kinda get stuck or feel like your stories not going anywhere. You don't have to follow the outline perfectly. It's not meant to be perfect step-by-step guide. The purpose of an outline is really just to have some milestone points in your story so that you can get from 1 to the next point. Is the outline set in stone. The outline is not meant to be something that you have to, um, you know, write down and not change. You can always make changes to your outline if necessary. I make changes to my outlines all the time. Sometimes I'll have, you know, a chapter or seen idea that I go back and change later, or I have an ending in place, but I might alter the ending just slightly as the story progresses so the outline is not set in stone. You can always make changes if necessary. All right, so the first step to outlining is to have an idea. Like I said, if you check out that brainstorming course, it'll help you with strategically finding an idea and really developing it before you actually outline it. But first we're going to talk about how to start with an idea. So stories are evolved from a single idea. If you have an idea in place, then you can develop an entire story out of that. Now, not all ideas are good ideas. Sometimes you'll have an idea for a story that you scratch and that's okay. You know, there have been times I've come up with dozens of ideas for stories that I never use. I only use the ones that I actually enjoyed. So you might come up with an idea and think it's a really good idea right now. But you might look at a few days later and think actually, I don't like this idea, but that's not a bad thing. You still want to record all of your ideas and you want to write them down as soon as possible because you don't want to forget them. Because you might come back to those ideas and think actually, I can change this and make it a great idea. So even though not all ideas are good ideas, you still want to write all the ideas you have for stories down immediately. And so that you don't forget though and you can come back to him and maybe use one of them. All right, so once you have a story idea chosen, you then want to choose a genre. Now, it's important to choose the genre early on because then you know what kind of feeling you want to write, what kind of writing style you want to have. Especially like if you're writing a romance, then you're obviously going to want to have romantic characters involved and you want to have emotions develop in the writing style. If you're writing something that's suspenseful or a thriller, than you know that you want to leave chapters hanging on the edge. You want to make your reader feel like they're on the edge of their seat while they're reading. And you want to just add some maybe not scary scenes, but jumping scenes, almost warlike scenes that just feel like they're dragging until the one thing that the reader has been waiting for happens. So it's really important to choose genre early on, I would recommend that you choose the genre from books and movies you've already watched that you enjoy. Because most likely those are the type of books that you're going to enjoy writing. Try a few different ones and see what you like. See what you feel comfortable writing with. Keep your audience in mind at all times, especially when you're choosing a genre. If you choose a genre, like if you choose a romance, but your idea kind of has like action scenes and your idea doesn't have to do much with romance, then you're not really going to meet the desire of your audience and they're not going to enjoy the book as much. So keep them in mind when you are writing and then get feedback from others. I would recommend you take your story idea, bring it to friends and family and say, Hey, what do you think of this? What kind of feeling does it give you? What kinda 5 do you have when you read this? Where do you think the story is going? How do you think it starts? Basically get a feel for what your audience would think of it. And you might hear people say, oh, actually, I can see this being an actual story And this happening and I have an idea for this. And you might take some of their ideas and actually use them. Or someone might tell you that it fits a genre that you didn't suspect. So definitely keep your audience in mind and get some good feedback so that you know if your story really fits the genre that you're going for. Next, we're going to talk about asking questions so that you can start your outline. This is something you'll actually learn when you're going through strategic brainstorming. But I wanted to go over a tiny bit here. Basically, you want to follow up your idea with choosing your genre and then ask them questions about it. So, for example, the plot. So let's say, for example, that we are writing a story about a servant boy that worked in a Kingdom. And a princess is locked in a high tower and she is guarded by a Minotaur and Ts to go and safer. That's the story idea have. So I want to ask myself questions about the plot. Like the tower far away. Is it at the top of a mountain? Does he have to climb it? What kind of adventure does he take to get there? Is a servant boy skilled? Does he need to learn how to wield a sword? What kind of things happen in the story that lead to the princess actually getting trapped in this Hightower. Does it start like that or does her father locker away? You know, ask yourself about the plot so that you can actually start developing more ideas to build off your first idea. You then want to ask yourself questions about the characters. You know, what are their names? What do they look like as a servant boy, scrawny or is the muscular? Is the princess a beautiful princess? You know, what is the Minotaur look like? What's his name? Kenny talk, stuff like that. Basically just get yourself a well-rounded idea of who the main characters are so that you can visualize it. You then want to ask yourself about the setting. Like, where is this high towers at the top of a mountain? Where is this kingdom? It's at a far away land, or is it, Is this kingdoms rounded by villages? Are we in the middle of nowhere, we surrounded by civilization, stuff like that. Try to ask yourself questions, especially if you're writing something that takes place in a foreign world or a foreign timeline, like something that was in the years past or sometime in the future. When you're writing about something that you really need to be critical about your thinking and critical about your details. So ask yourself questions about the setting so that you can flex those details out from the get-go. And then you want to ask yourself questions about the three most important parts about the, the outline, the intro, the climax, and the conclusion. And we're going to go over those more in coming videos. But ask yourself about how is this story going to start? Where does it begin? Is the princess already locked in the tower, or does it build up to that? You know, is this servant boy working in the Kingdom? Does the work for the King? Does he know the princess? Are they friends? Maybe, you know, work out those details. And then you want to build a climax, building up to the climax, you want to ask yourself questions about it like, you know, does the servant boy end up having to fight them in a Tory? Does he kill the Minotaur? Does epi, friend the Minotaur? Does the princess help him? Killed the Minotaur? You know, what happens? You know, how does he savor? Does he kissed the princess when he saves Or did they fall in love? You know, ask yourself about the big ending scene that everybody's been waiting for while they're reading your book. And then lastly, ask yourself questions about the conclusion. How does this story end? Does it have a more holistic ending where the reader learns something of value like about bravery? Or does it have a ending where, you know, it's just a happy ending where it, The Princess gets saved by the servant boy. You know, ask yourself questions that will basically give you an end in mind. So you have a goal to write towards. So those are the kind of the premise of outlining just some quick details. I wanted to get out of the way and now we're going to actually get into the outline itself. 3. Step 1: Outlining The Conclusion: All right, so the first step that we are going to take when outlining is to write the conclusion first. Now you might be asking, why would you write the conclusion first? And these are just three different points I want to go over and briefly discuss. And then we're gonna get into how to write a conclusion. So having an end goal in mind will help you write towards something instead of writing blindly. If you already know where the story is going, you already know how the story ends. You're going to be able to better move your main character towards that goal. If you have no idea where the story goes, then you're not going to know where to move your main character as the story continues and progresses. So you don't want to be writing to blindly. I mean, there are chapters where you're going to be making things up on the fly. But you should have an end goal in mind, say, or at least moving towards something. Having an ending already planned out will make writing the intro and the climax much easier. So if you already have the end goal in mind, then you know where the story has to get to. For example, our story, a servant boy saves a princess from a high tower guarded by a Minotaur. If I already know, my conclusion is that he slays the Minotaur, killed the Minotaur, saves the princess, they get married and it's happily ever after he becomes king and she becomes queen and they fall in love, right? If I already know that's the ending, then I know in the beginning she's still just a prince us. He is just a mere servant boy. He probably wouldn't be respected in the beginning as he would be in the ending. This Minotaur is evil and has to be killed in the end. So he's probably seen as a very scary character in the beginning. Maybe he's not even known yet. Maybe I wait till the adventure begins to actually introduce that character. You know, I know all these different details that I can write in the beginning because I already know where the story is going to go. If the story ends here, I know it won't start there. It has to start at a lower level. When you're writing your story, your intro, if it's at this level, your climax as the highest peak. But when your climax comes down, you want to end your conclusion a little higher than the intro in energy and in the level of almost like happiness, I guess you could say, you want your conclusion just to be a little better than your intro, because you don't want things just to return back to normal. You don't want, for example, if your story starts out with this servant boy not being very respected, he likes the princess girl, but they never really talk. And he's just, he's just like any ordinary servant boy that cleans and does what he's asked to do by the king. Well, then he's not really anybody special, right? And if I came to the conclusion of the story and he just went back to doing its job and nothing changed. Then what was the point of the story happening anyway? What was the point of that adventure of slaying the Minotaur? If he wasn't going to earn respect. Move up from a servant boy to maybe king or some night or something, you know. So you need to plan out your conclusion and where it's going to end so that your intro can start just a little bit lower than that, so that it shows that the adventure had a reward. There was a meaning to the adventure. He, you know, he became someone better. He learned different skills. He got moved up a rank from 7 to something else He's respected by people. That is how you want your story to flow. You want to rise a little bit by the Endo. And also for the climax, if you know that He's going to slay the Minotaur by the end of the story. If you already have that conclusion, then your climax will probably be this epic battle that's super close between the servant boy and the Minotaur. You already have that planned out and ready and prepared. So that's, that's one of the main reasons you want to have your conclusion first. And then lastly, having a conclusion already chosen will help you know what to hint at in chapters beforehand. So for example, let's say that our servant boy marries the princess in the end, right? They get married and they live happily ever after. Well, that means he probably had feelings for her beforehand. So I can hint at that throughout the entire story. I can just talk about how he loves the way her blonde hair falls and he loves her smile and the way her I sparkle I can I can into that. Maybe he thinks about her all day while he's on this scary adventure, trying to get to her and save her in. He's super, super nervous about her when she gets locked away by this Minotaur. So all of these things are building up towards him marrying her in the end and saving her. So knowing that he's going to marry her or Saver in the end and they kiss and that's the happy ending that we receive. I can build up to that with emotions and knowing that he likes her, I can play off of that with the chapters beforehand. Now if I didn't have that ending in mind, then I wouldn't have done that as well as if I did already know that was the ending. So I hope that makes sense why we would write the conclusion first. And to really write your conclusion in your outline, you really just want to have some kind of either moral or happy ending decided or, or an ending That's just a little higher than the beginning. So at the beginning of the intro is kind of like what the norm is. You want your conclusion to be better than the norm. If we start out with a mirror servant boy, we want him to either rank up or be respected by the end of the story. And that's kind of how you want to write your conclusion. You want to write, you know, where does your main character get to? How did, how is he rewarded by the adventure he goes on? Was it you want to make your readers see that it was worth it. The adventure has to feel worth it to get to the conclusion. So those are just some tips on how to write your conclusion. In the next video is just going to show an example of a conclusion written for you so that you can see the way that I write my conclusions in my outline. 4. Example 1: Outlining The Conclusion: Okay, so thanks for joining me for another video and now we're gonna do an example of the conclusion. And sometimes it's easier just to understand something if you see it in front of you than just me talking about it. So that's why I wrote this conclusion example. I'm going to try to go kind of quickly so that I can cover everything in a quick amount of time. I don't want to make all my videos 20 minutes long, but we have part one through five here. Intro, adventure, failure, climax, conclusion, and then transitions in between. And today we are going over part 5 of conclusion. So we want to start off with answering questions first, because questions are so important, your readers ask them questions throughout the entire book. So you want to, even if they're not audibly asking them, that, they're mentally asking them in wondering the answers to them. So you want to be answering questions. And then I wrote two paragraphs here that just kind of sum it all together. That's the summary to the conclusion. The conclusion, one of your shortest scenes of the entire book doesn't make it not important, but it's usually only a chapter long, sometimes only a few paragraphs on. When you write your conclusion. You want it to be, you know, it, it's not going to be super lengthy. You're not going to have seven pages under conclusion. You might have some pages on your adventure. Your adventure is going to be pretty, pretty long usually because it's the vast majority of your book, but the conclusion itself doesn't always have that much. So first we want to answer some questions. What's the point of all of this taking place? What's the point of the adventure happening? And the boy going on this journey to save the princess. And the point I want to drive home is that he went against all odds. He maybe nights went before the servant boy to save the princess and they died on the way. Maybe because He's just a servant boy. He's kind of mocked and told he's going to kill himself when he tries to do this. He is scrawny, so like he's not like super strong and fit for this challenge. He doesn't know how to even use a sword. We want to show that he went against all odds to actually pull this off. So that is my goal for a point I want to drive home. He went against the odds and he was able to fulfill his dream basically and save the princess. How was the promise fulfilled? So another important point. Every single time you read a story, there's a promise. And I don't think I've talked about this in other videos, but it is key to remember there is a promise in your story. So any story you watched, the promises always fulfilled, even in advertisements, they're promising something and you want that promise fulfilled if you follow through with that, what that, what that advertisement tells me to do. Sing what stories if you think about like Star Wars, a New Hope, Luke Skywalker is living on a sandy Tatooine planet and there's nothing. He's living in the middle of nowhere. And he probably he kind of seems like he doesn't like it. Like he wishes he can get out of there. He wants to go on an adventure in the sky. You what's going on an adventure and the stars. And that is the promise at the beginning of the story. Now, you can extend a promise, you can make a greater than just fulfilling the promise. So possibly my promise is that servant boy wants to have relationship with the princess. He's a, he has feelings for in the beginning he likes her and he wishes that he could talk to her. That's the promise that I'm going to fill by actually giving them the opportunity to talk to her. I'm going to go beyond that and not only fulfill that promise, but actually have him build a relationship with her. She falls in love with him and they get married. So that is the promise fulfilled and extended. Next, how did the character evolved? So our scrawny servant boy, he is going to get a little buff, get a little muscular. He's not going to be like the most strong athletic person out there. I don't want to make him Superman or anything, but I do want to show that he physically grow because, I mean, he's never done anything like this. Mentally. He's going to become smarter. Maybe that's how he defeats a lot of his photos since he's not as strong as them, he Auschwitz them. I also want to build emotion here and I want him to develop more bravery. Maybe he's a coward in the beginning. Maybe he is afraid of all the fights in the beginning and then slowly towards the ending, he's not as fearful of things. I'm going to have him build some character and become more of a brave person by the end. Next, how has the tension stopped? Any story out there? There's some kind of tension. Otherwise there is no late urge for the reader to keep, keep on going through your book. There's no urgency to read the next chapter, to read the next page, you don't have tension than your reader is going to be bored. So when we're writing our book, we want the tension to be all around this fight with the Minotaur. So I might even want to hint at how the boy is fearful in the beginning of fighting the Minotaur. Maybe as he goes over a few obstacles, He's like getting more excited almost to save the princess and defeat the Minotaur. At the climax is where the tension is going to finally release. But This is a big but don't drop all the tension. Don't let the tension just after it's released, just disappear. You want to dissipate slowly. You want there to still be lingering tension through transition for and part 5. So my idea, which I didn't write it all here, but my idea was that the tension is building up to the minutes were battle. It's released when the Minotaur is defeated in the princess is saved. Tensions still lingering when the princess tells the server and boy that somebody hired the Minotaur. So now it gives the reader a reason to continue reading and find out who hired the Minotaur wide the Minotaur take her away. And now they want to get stuck conclusion to find out. So then I will completely stop the tension when that mystery resolved and they talk about it below. So we'll get to that. That's kind of a surprise. Next, what emotions are contrasting with the intro when I have written here is the motions in the end of the story, we're full of light and happiness as a certain point became a night and was given the honor and respect he deserves. He also was granted the privileged ask the princess for her hand in marriage. All that to say. You want your intro to be incomplete contrast with the ending. You want to show that everything isn't just returning to the norm and end of story, you want like, you don't want your certain point. It gets to the end of the book and then go back to being a servant boy who nobody likes, right? You want that to change. So the first thing I have here is that it's full of light and happiness. So that means in the beginning of my book, I probably want it to be gloomy. Probably want it to kind of feel sad and dark. Maybe the kingdom is full of a bunch of negative attitude type people in the very beginning. And at the ending, I'm going to have it like beautiful sun, sunny day. Maybe the intro was a stormy day. Now it's a sunny day and it's happy. Maybe there's a prayed or people are cheering when he comes back with the princess. And he becomes a night, which is complete flip of being the servant boy. He's given an honor and respect, which is a complete flip of being disrespect. In the beginning, he's granted the privilege to ask the princess for her hand in marriage. That's kinda like the cherry on top, so you want it to be in complete contrast to the intro to show that all of this paid off and it kinda goes with what's the point, but it all pays off through that part. Next, what was the surprise? So this kinda goes with the attention part here. But what was the surprise in this, in this story? So the surprise was that we find out after the fight with the Minotaur that the Minotaur was hired by the king who chose to lock his daughter away in a castle after an argument with him. So I'm going to I'm going to have to develop that a little further. But my idea is that possibly she wanted to do something that her father wasn't happy with, and she was so stubborn about it that she was basically going to disobey Him. And because she's going to disobey, he decided to hire a minutes word to capture her and basically make it all look like It wasn't his fault. He's gonna be like, oh no, my daughter, please save her. But he doesn't believe anyone would be able to defeat the Minotaur except describing certain boy will. So maybe there'll be an ending, mini climax where the king pulls us sword on the, on the servant boy because he ruined this plan. I can go in different directions with it, but basically, it's good to have a little surprise at your end. You don't want it to be too predictable. At same time. You don't want to be so unpredictable that, you know, like for example, if, if I'm building up to a happily ever after and then the server boy dies. Not very happy in my reader might not like that. My reader might be disappointed that I didn't fulfill their desire of having the happily ever after. That's what they expected. It's good to catch people off guard, but you still have to give them what they desire. And if they desire happily ever after, I can catch them off guard with the king being evil, but still fulfill that. It's happy for the servant boy in the princess, you know? So that's my idea for the surprise. And then I could ask more questions. There's certainly more questions you ask. I would recommend you Google different questions you asked yourself. Just look up how to write a conclusion for a story or how to write an ending to a story. And they will give you plenty of other questions. You can ask yourself, your conclusions. One of the shortest part, so this is obviously a pretty short part of your outline, but things like the adventure might be like five or six pages long, maybe even longer depending on your book. So don't feel like this is how short every single part of the outline is. I would this is just kind of the conclusion. Anyway. The ending will resolve the mystery of why the Minotaur took the princess in the first place will also fill the desire of the reader as a servant boy had feelings for the princess, and she will finally notice him after they return to the kingdom to truthful come out about what the king had done. Perhaps the town will overthrow him, making certain point the new king, or maybe there will be a queen and plague will now rule in his place. Perhaps she was in the dark butter husband's doing so. Decided maybe I'll add a queen as a character. Ultimately, the servant boy will now be respected and appreciated for what he had done receiving the blessing to marry the prince us story will end with happily ever after the end. That is the conclusion I have come up with for this story. I hope, I hope this all teaches you a lot about how you can develop your conclusion and write it. And I would challenge you to take all this information and write your conclusion now. So hopefully this is beneficial and I'll see you in the next video. 5. Step 2: Outlining The Intro: All right, so now that we have gone over step one and talks about the conclusion and you have seen that example of how to do it yourself. You're going to get into the intro. So when you're writing an intro, this is where the story begins. You want to set the scene and show the reader what is considered the norm. Now, this is usually because there are exceptions to where your intro does not start with something normal. It starts kind of climactic. For example, if you, you know, if our, if our servant boy was actually a night, maybe we would start the story with him and a Zhao Stan, it's super tense and that's your way of introducing your main character and showing how brave he is and how epic the fight is. And that might be a great way to start your story off and really just capture and engage your audience immediately. Whereas most of the time, that's not where stories begin. It can begin like that and you can choose to do that if you'd like. But I'm going to be teaching you a more common method where the story just kind of starts off Mello. It starts off with the norm. It shows the setting and what is normal life to your main character because you want that to contrast. So the intro should feel ordinary so that it contrasts with the adventure of the story and the conclusion in the end. So when your intro begins, you should basically show your reader who the main characters are, what the setting is, and maybe what the occupation of your main character is, and what his life looks like. A lot of times with most stories, you'll find that the main character is someone who is not loved by the world around them. You know, a lot of times writers trying to make you, make the reader feel empathy for the main character. So they'll start off with someone being they get bullied or they're lonely, they don't have friends or whatever it is. So for our story, It's a servant boy. So we would probably start the story off with, you know, him cleaning in the kingdom or maybe he's one of the servers and he's bringing a meal out to the king and to the princess. Maybe this is how you can introduce the princess and they would kind of meet each other. Or whatever you may think of if you're trying to create your own story with a princess and to serve employed, but that is how we would want to start it. We want to start kind of just introducing our main characters. And it's pretty normal. That's normal life to him. Maybe even the King picks on him or maybe he's clumsy and he accidentally drops a dish, well, brings the food over and the king scolds him and maybe he even smacks him or something that would just kind of show that this, this servant boys not very respected. And you want this to contrast with your adventure along with the conclusion. So if a contrasts with the adventure, you want to show that he's not a very adventurous person. You want to show that he's not used to adventure, It's not leg. This is when he goes to save this princess. You don't want to give away that. Oh, he's probably the best guy to savor. Like you want to show that this is probably the worst choice of his life for him to try to save her. You want to show that he doesn't look like he can do it. So that when he does do it, it is more impactful to your reader. And it should contrast to the conclusion because you want your conclusion to show that, you know, if he is disrespected in the beginning of the story, you want him to be respected in the end of the story. Or if your servant boy is mere, scrawny, small and a nobody, you want him to be praised and loved by everyone. In the end, you want to show that contrast the emotions of the intro if they're following this normal way of writing your intro, them teaching you the most in the intro should be anticlimactic. So this should be kind of a melancholy vibe. Just the beginning of the story where you're kind of introducing the scene and the setting, like I said. And then lastly, the intro should be abruptly interrupted by the adventure. So the mentor should not be something that slowly the your main character gets into. You don't want your main character to just kind of casually get into this adventure, like accept it and be training for it and then go do it. You kind of want him to be thrown into the adventure. Maybe the princess is captured abruptly and, you know, the king is Lego. Someone please save her. And all of these knights go after her and go after the Minotaur. But the Minotaur kills them all and they all die. And there's nobody else that is fit to be sent to go save the princess. And now they know she's locked in the high tower. And the servant boy, maybe, maybe he doesn't even want to go. Maybe the king just says you, you're going next because all the other men of dyed and you're one of the only servants I have left and he doesn't even care that he's not a knight. You throw some armor on and gives him a sword and says, Go save my daughter. And oh now he's kinda just thrown into this, like I don't even know how to use a sword. And that will make for a more epic adventure because now he has to learn everything on the way. And maybe he asked to find a great teacher to teach him how to wield a sword. And he has to get stronger and overcome all these obstacles along the adventure. You want them, you want your reader to feel like this is a disaster that this happened because it's going against the norm. You want them to feel like, wow, it's such a happy little town. I feel bad for this servant boy that is treated Illy by the king. And you want them to feel kinda bad for him, but everything looks normal. So then when this abrupt thing happens and he's thrown into going on this adventure. And maybe he's not even given a choice, then your readers like, whoa, like, I can't believe this is happening. So now they're engaged and they want to see how he overcomes this obstacle. So that's kind of how you want to develop your intro. And in the next video we're going to, I'm going to actually write an intro for this story and give you that as an example for you to do the same. 6. Example 2: Outlining The Intro: All right, so now we are going to go over an example of the intro being written in your outline. And this is the example for my story. So hopefully, you will get some ideas for your own story or learn some advice and tips on writing your intro and your outline. So first you want to have three questions. What is the setting, who are the main characters, and what is the promise? So my setting is a kingdom and you can read it here if you want. But basically, I came up with the idea that the kingdom is surrounded by its walls. The kingdom walls, which is surrounded by some farmland, which is then where the ring of the forest is, where the wilderness is around the farmland and no one really goes beyond the forest. They don't really know what is beyond that. All they can see beyond that is the mountains. And they call it the edge or the edge of the bowl, because the mountains and circle their entire land. So it looks like they're inside a bowl, they are in a valley. So that was my idea for the, I guess you could say the world-building of my story. And it's really important to have a lot of information, even if you don't use it all for world-building. Just because you want to be able to really laid out for your reader to understand it and see it. And if you have more information in your outline that you may not even use it, it'll just help you visualize it better so that you describe it more thoroughly to your reader when you're writing. Now I have a little bit more information here, but we don't need to go over it. All right, Now, I then ask myself, who are the main character? So you can see my characters here. We have jimmy, the main character. He has a friend named Ben, princess Camilla, King lawns dot clean lungs because stock and then the Minotaur. And with my characters, I like to have some adjectives to describe them. It reminds me that when I'm writing about this character or using them in my dialogue or whatever the case may be, whatever situation they're in. Remember, this is Jimmy. He has to be honest and sympathetic in this situation. So how am I going to make him honest and sympathetic in this situation? How would somebody who is an honest person in real life go about dealing with this situation or how would they react to the circumstances? So that's how I usually write my characters. I kinda think of somebody that I can relate them to in real life. And think about how they would react to a circumstance or whatever is going on in the story and then write about it. And that's how I make my characters feel alive and feel realistic. Other people will look at celebrities or people from TV shows that they can relate to. Sometimes they'll even add pictures or write a full on character sketch. I usually don't like rating characteristic sketches personally, but that's up to you if you'd like that, you can do that. But this is all the information I usually do for characters. And I might make a separate video course series on characters maybe in the future, and how to really develop characters better. But for now this will do. So next is, what is the promise of the story? So the promise at the beginning of the story, there'll be that the servant boy will get a chance to talk to the princess more than just as a servant. So because this is my promise, I'm going to make sure that in the beginning, I make it clear to the reader that the servant boy likes the princess, but he's not allowed to talk to her. Maybe the king doesn't allow mere peasants in servants to talk to the princess because they don't have the honor to do that. Maybe he treats them very lowly, so that's why He's not allowed whatever the case may be, I can think of something else possibly, but I just want to make it clear to the reader that he wishes he could talk to her. He wants to pick from turn. In your intro, you have two sections before the event. And the event. Now before the event is basically what takes place before everything goes haywire, before everything goes wrong, something happens that causes the story to even be written. If nothing happened, there wouldn't be a story in the first place, right? So you want to describe the scene before that takes place so that it contrasts in your reader can see that there is a difference from what was normal life to what is happening now. In short stories, sometimes you don't even have this section before the event. You just hop right in when the event takes place. With longer stories like a novel, you would have this section include it. So I'm going to teach with this section because this is more common. But this is basically the introduction to your story, what is going on. And as you can see here, I have a little information on an idea where the king basically gets angry with Jimmy. Maybe Jamie takes the fall for another servant and King long stock will either hit him for being bad and a foolish servant, or possibly laugh at him and disrespect him. Maybe there's, I guess over for dinner and the king disrespects them in front of everybody. It makes a laughing stock out of them. Whatever the case may be, Jimmy's going to be humiliated or scorned. Basically, this is how I'm going to build sympathy for Jimmy. And if Jimmy's taking the fall for someone else's fault, then that's going to make him more likable by the reader. The reader's going to think, Wow Jim, he's a good guy. So from there I'm going to have a scene where it's wet and stormy night. Now if you remember when we went over the conclusion example, I talked about how important it is to use the weather to help describe emotions. So at the very end of the story, it's going to be a bright, sunny, beautiful day because everybody is happy. And it just matches the feeling of the story. It's going to be the same width beginning of the story. I want the feelings to be like, I want the reader to sympathize with Jimmy. So I'm going to have it be a wet and stormy night to match how he is feeling. He's at a low point. You just got humiliated. He's having a rough day, you know? So it's gonna be a stormy night in the beginning. And then I'm going to describe a is an orphan teenager. And he lives alone in his parent's house that his father built before he passed. And I'm going to maybe give some information on how they died. But basically, this is details to help the reader have even more sympathy for Jimmy. Well as have something that kind of haunts him in his past, something that holds him back a little bit, something that I can use to my advantage to emotionally hurt Jimmy in the future of the story and, you know, maybe has a breakdown later in the story. And he talks about how he misses his parents or something like that. So I can use that to my advantage later in the story. So then once you have the scenes before the event, which you can have more than this, I only wrote to too many scenes here. But you can add more to this if you want. It's up to you. Usually your full intro lake. All of this information will take up to no more than five chapters. Five chapters is kind of a max. I would recommend taking only maybe one to three right here. I can read 123 here, so maybe three chapters from mine. Usually for my books, my intros are only maybe one or two chapters long, but it's up to you. It depends on the writer in your pacing and how descriptive you are with your scenes or how quickly you want to move on to the more important parts. But yes, so next is the event. So what leads to the plot taking place as a question you want to be asking because this is what causes the story to actually happen. This is what causes the story to be interesting. So the plot of the story is the boy saving the princess, right? So we want to talk about how did she get in trouble in the first place? Why did he have to save her? And my idea was that maybe she has an argument with her father. Maybe her father hates that she is always being so empathetic to the servants and the peasants and how she is at the age of marriage and needs to be focusing on finding a night that is fit for the throne. So you know how? I don't remember if I mentioned it, but I have up here that the king's family, king long stock, has been in reign for hundreds of years or at least for a long time anyway. And since he only has a daughter, the lastname is going to change when he and his wife passes away. So he wants to make sure that this person is truly fit to be the next king. So that's why he's pressuring his daughter and she's freaking out because maybe I want to marry a lowly humble servant and not some arrogant night. You know, that's her attitude and he's yelling at her for this, saying that she's stupid or whatever, can basically, she will say something that she will regret by saying you have a heart of stone toward father, which will him to force his hand and do the unthinkable. He will have his daughter captured by a mandatory. So I'm not going to show the reader that it was the king all along that hired the Minotaur in the beginning. I'm going to have that be something that just circumstantially ends up happening. What a coincidence, you know, it's going to be like the king and the daughter had an argument. And then the next day, and he's freaking out because his daughter has been taken and he's going to put on a whole act saying, please someone rescue my daughter. And he says, I will give my daughter's hand in marriage to anyone who can save her. And this is part of his plan because he wants to find someone who is fit for the throne. So if they are good enough to defeat a Minotaur and go on this perilous journey, this crazy quest to save her and rescue her from the hands of the Minotaur and bring her back, then he is fit to be king in anyways, that's in the King's eyes. But really behind the scenes, he was the one who hired the Minotaur in the first place, but we will get into that later in the story. So yeah, this is my intro to my story that I've written. I usually if I were fully developing, an intro is longer than this, probably three pages total, but I wanted to make it brief so that you can understand it in a short period of time. Usually, specifically these two sections before the event and the event will have a few more questions or if you more paragraphs describing it just to get more ideas, downing, get the ball rolling. But I wanted to keep it short for this video. So yeah, so that is the outlining of the intro. Hopefully this is helpful for you to apply these tips and advice and seeing an example in front of you. Hopefully this will help you with writing your own for your story. So I'll see you in the next video. 7. Step 3: Outlining The Adventure Part 1: All right, So now we're at step 3, the adventure. This is the part of the outline that we'll take up most of your outline most likely, and most of your book. It is probably the hardest part to write, but it is the most important part to write. And I think outlining it will be very helpful. So let's get right into it. So the adventure, like I just said, is the longest part of the entire story. This is where all of the development of the character happens, so that you can see that when they reached the climax are actually able to be successful in reached the goal in the end. You don't. If you think about the character in my story, the servant boy in the introduction, Jimmy is not very strong, keys mocked, he's laughed at, you know, he won't look anything like the character at the end of the story where the climax is where he fights the Minotaur. He's going to be a totally different person. He's going to be stronger, he's got to be smarter, and he's not going to let everybody's mockery get to him. He's not going to let his emotions affect the way that he fights anymore because now he is better, better than that and stronger. So that's the main reason you haven't had ventured, you have your adventures so there can be ups and downs that your character has to overcome so they develop and that they can slowly progress towards the goal of the story. The adventure should not be perfect success every time. So there shouldn't be setbacks, there shouldn't be times where your character is at an all time low and there's failures along the way. Now, there should be many failures that bill up to the main failure and mini climax is that build up to the main climax. But ultimately, all of these will add up to not being perfect success. For example, if my servant boy has to go through a dark cave and it's like amazing there and he has to find his way out on the other side. Maybe to success can be that he makes it out, but the failure can be that his torch went out while he was in the middle and he could not find his way out for the longest time and he had to get help somehow. You know, that can be one of the failures he meet on the way through his journey. Same with maybe he has to cross a rapid river. And the success can be that he makes it to the other side, but the failure can be that he was trying to get across and he gets swept downstream and goes over a waterfall, barely lives. And when he gets on the other side, He's like 20 miles off course. And now he, maybe he even loses his map that he had. So now he is lost and needs to get a new map and needs to find his way back to the path that he was on. So there needs to be failures, but you don't want all the failures to be so big that he can't overcome them. You want them to be something that he can, obstacles that he can overcome until the main failure. That should seem like it's over, like your main failure should be aware. It's like all hope is lost. There's no way he can come back from this. So that is that much more impressive when he does come back from that, but we'll talk about the failure in that section. So the adventure has to feel like it's worth it. Your reader needs to read your adventure and say, once a read, read the climax. Wow, good thing he went on that adventure. Otherwise you would not have been able to defeat this Minotaur or otherwise would not have been able to reach the goal. If you're, for example, if you have a story of a runner who is trying to train for a marathon and your adventure is not very adventurous. He doesn't run very much. Well then if you have him get first-place in the marathon, your reader's going to be like, well, that was dumb. Like you barely trained and it wasn't like he didn't deserve it. Same with, for my story. If my servant boy in the introduction was the same all the way through the adventure. And then I got to the climax and he's still defeated the Minotaur, my readers would say, he shouldn't have done that link. It would, it shouldn't have been he shouldn't have been able to, he shouldn't have been strong enough. That doesn't make any sense. So the adventure needs to feel like it's worth it. And it needs to prove to the reader that your character has grown enough to overcome the final obstacle, the final boss. So your main character must grow. Think about your characters, weaknesses and strengths. This is a huge, huge tip. Think about your characters, weaknesses and strengths. For example, my character, one of his strengths is he's very sympathetic and he's honest. So he's a friendly person, He's a likable person. He's willing to serve as a servant's heart. So I can use that to his benefit in the story. I can use that to his advantage. Maybe there's a scene where he needs to get lodging and he finds a little village. And he asked if he could stay at night and he promises to serve the person if they don't stay. And because he knows how to serve and how to have a servant's heart, he's able to stay. I can use that to his benefit. Maybe people looked highly upon him because he's willing to do this quest and go on this perilous journey and they help him along the way. And that's how he makes allies and that's how people train him and help him. You know, I can use that as a strength. One of his weaknesses can be that perhaps because everybody mocked him at the beginning in everybody doubted him and made fun of him. And because he's lost his parents, maybe he's just struggles with having faith in himself. He struggles with having confidence. He feels like a coward. Any doubts himself a lot. I can use that against him. When things get scary. He can say, I can't do this, I can't do this until finally overcomes that down. And he's, he's like, Wow, he did it so little by little. He should overcome his dealt so that he can make it to the climax. And you want to show your character, it's grown through that so that it makes sense. And this goes back to showing that the adventure is worth it if your character can overcome their weaknesses and you show that they use their strengths to their advantage and they become a more well-rounded character by the end of the story, then your reader is going to say that was worth it to read, and that was worth it for him to go through all of those obstacles because now he can defeat the Minotaur. And then lastly, venture should introduce new characters and challenges throughout the all connect to the plot. So make sure your characters and all the challenges have something to do with the plot. I shouldn't have my main character randomly go help some farmer and serve forum and help him farmers crops. And then be like, okay, see you later. I'm going back to save the princess. Like that would make no sense at all unless the farmer was promising something that had to do with the plot or unless he became, he was getting food from the farmer for his journey, whatever it is, you know, you can't have your character do random things that make no sense to your story with the characters he meets. Don't have them just meet people that have nothing to do with the end goal of the story. Don't just decide to throw in a humorous character to have a funny scene. Unless that scene has something to do with the story in that character is connected to the story in some way. Even if you want to have something funny thrown in there, have it at least like maybe your character needs some cheering up and he's having a bad day that can cheer him up. And now it's connected to the story. So make sure all your characters and challenges are connected to the story. Otherwise, your story is going to feel very unorganized and it won't be unified and your reader is going to be thinking it's all over the place. So that is just something to keep in mind when you are creating all your scenes for the venture. So hopefully all of this is beneficial to you and you can use all these tips to your advantage when writing your section of the outline, the adventure. Now I'm going to show you an example outline for my story. 8. Step 3: Outlining The Adventure Part 2: Hey, what's going on, guys? So I haven't been able to upload recently because I've been busy moving stuff around the house and setting up my new office, but now that everything's organized, I can get back into making videos. So we are in the adventure section of the outline right now, and I just went over an overview of what the adventure section is. Now before I actually get into the adventure example, I actually want to go over three tips that I wanted to give you for writing your venture. These are three really important things that I think you should remember. I find them super-useful when I'm outlining personally. And they're just going to really help you understand my outline example so that hopefully you can implement the same. So the first step is use types, break up your story by scenes, not by chapters. This is what I do and I find it a lot more useful because when I'm outlining a story and I break it up by scenes, and then I can later go back and change. Okay, this seems only going to take a few paragraphs. This scene is going to take five pages. I can break up my scenes into chapters and then name that chapter whatever I want. So there are three types that I use. You can have more or less whatever you decide. I just like to break it up by scene types because it's easier to kind of remember what the goal of that scene is if I put it tight with it. So first is the obstacle seem type and this is where there is a conflict in the way of reaching goal to plot. So the most prominent seemed type, you're going to see this in every story you read or every movie you watch. This is basically where anything gets in the way of reaching the end goal, whether it's as little as my main character doesn't have food for a nice and now he's hungry. That's an obstacle because it's going to slow them down. Or as big as my character was crossing a bridge and fell into a river and the water pushes them way down stream and now he's 20 miles off course. That's another obstacle that he has to overcome. Another obstacle could be that he has to fight an ogre that stands in the way of the path and it won't let them pass. So those are just examples of different obstacle types, but you're going to have, mostly have obstacles in your story. Next, we have the tension seemed type and this is where you're thickening of the plot with suspend some mystery. So in my story, one of the examples I have is that there's going to be a scene that cuts to the princesses point of view. And she's going to overhear the minutes were talking and I think he mentioned something about being hired. So now this adds mystery to the story because the reader is going to be wondering who hired the minutes were, why was he was hired? Who wanted the princess taken out of the picture? What's going on is there's something bad going to happen back at the Kingdom? Or was it maybe one of her parents? Or who was it? What's going on? That's what the reader's going to be wondering when I say that the Minotaur was hired. Attention seems they're basically just when you give your reader a half truth and reveal something to him. But they don't reveal everything to them. So you tell them something like the Minotaur is hired. We don't tell them everything. Who hired him, right? Third, we have building block scenes and building block scenes, or just when you add an element to the story to help the plot progress. So this can be a narrative scene or this could be a dialogue scene basically where you're explaining something to help make the plot makes sense. It really makes it come to life. It shows that this all makes sense. This all goes together. So an example of this is if you know, your character bumps into somebody and this person gives them information about their journey. Or if your character meet somebody and that person gives them a backstory of the history of that land. Those are examples of building block scenes. A lot of building blocks, teens or dialogue. They don't have to be dialogue. It could be something else. You know, if you're describing how your character is trying to learn something that can be a building block seen. But for the most part it's dialogue scenes, building black scenes or something you want to keep at a minimum. Because a lot of times a mistake that authors make is they'll rate building block scenes, but they'll turn it into an info dump. And they'll basically just go on and on and on about something your reader does not care about. You want to make them quick and you don't want to make them drag on too long. Or your reader is going to get bored and wish you would get back to the main point of the story. So building blocks, if you want to add backstory, if you want to add history to the story, you need to make sure that your building blocks are quick and don't feel like info dumps. So those are the three types. Make sure you understand those or you come up with your own kind of scene types that you can follow almost like also get diagram that you can follow for your outlet. Next, we're going to talk about conflict and resolution. And this is basically what an obstacle is. There is a conflict in the way and you have, your character has to find a way to resolve that conflict. So there are four different examples here that I give that you can have in one conflict or you can have it all in different conflicts. That conflict can be as quick as this happened. And this was the conclusion. And it can also be as long as this happened, but this continue to happen or no, he didn't do this. And now this is happening so you can extend conflicts, you can resolve conflicts. But this is a really easy, almost a cheat sheet you can use to help write your conflicts. So an example of the first is yes, but he escaped the minutes were from killing him. So yes, he escaped. But he had a critical moon that could potentially be fatal. So yes, something good happened, but the conflict is still extended because some bad is happening. He has a fatal wound. So then I can say no end. And here's the example. He wasn't able to defeat them in a tour, so no. And the Minotaur is now chasing him, so no, he wasn't able to stop them. He has that fatal wound I just mentioned, and now he's being chased. So then if I want to start resolving my conflict, I can go. Yes, he was able to create a diversion though, and he attacked minutes or from behind. So then if I want to close my conflict, I couldn't say no, the Minotaur did not die by it. He was unable to stop Jimmy from saving the princess in escaping. So that brings the conflict to a close and it can end that scene and go to a new scene. That is four examples of ways you can either extend or resolve a conflict. And I would recommend writing down yes but no and yes and no but and try to keep these in mind when you're trying to rate your conflicts so that you know, if they keep extending it should I haven't closed shape extended throughout the story, like some conflicts or inner conflicts that go throughout the entire story. This will just help you with how can I end this conflict? So you can say yes, he finally overcame something. And the result of overcoming means this or no, he wasn't able to overcome it by this happened and now it's all over or whatever. You can use these examples to your benefit. And the last tip I wanted to go over is the rule of three. This is a really important rule to understand and a lot of writers use it. And you can see this in movies. You can see this in books. And I found it really beneficial. It's not the end-all and be-all. You don't have to follow this. But I find it really helpful to keep your story flowing really well. And I think that you should learn it. But basically the rule of three is when you have three things happen and then contrast, or you have two bad things before the third time it goes right? So maybe someone has to be told something three times before they actually listen. Or maybe in an argument, someone says three main things before the dialog closes. Or maybe the character fails at something two or three times before finally having a victory. You know, those are just examples, but the rule of threes so beneficial because it will help you not to become too repetitive when you're writing. So another example of the rule of three is your siem types only have three obstacles in the way before having an obstacle that's resolved and then going to a new scene type like a building block singer or attention seen. And don't have three tension scenes in a row where your readership going to be like what the heck is going on before you get back to the obstacle scenes. So it's really useful using the rule of three. And I would highly recommend trying to implement this in your writing. I implement it into my writing a lot, so I would challenge you to attempt using it. But yeah, these are my three tips for writing your adventure, especially the outline of it. I hope that these are helpful. And now we can get into the example. 9. Example 3: Outlining The Adventure: All right, so now that we have gone over the overview of the adventure and we went over my three tips for writing the adventure. We can actually get into my adventure example. And I have the first eight chapters here. This is about 14 seen examples that I wrote just to get the ball rolling, am I adventure? And just give you an example of how to start it and kind of progress along the way of your plot. So hopefully it's beneficial for you to see and I'll read through it and try to explain as I go why I have things the way I do. And yet, so my main goal is just to kinda show you an example so that you can look at it and be like, oh, this gives me an idea on how to do this or that or whatever. So starting with obstacle one, now when I write my outline, I always have the type of scene that is first the obstacle, it's the first obstacle. So I have obstacle one and then I have a quick phrase that's almost like a header for that, for that scene. And then I write a summary for that scene. So losing his armor, his horse armor and supplies. So my idea is to have jimmy be given a horse and army and the beginning of the story to protect him on his perilous journey. But the first obstacle he will face is some bandits in the woods. They will surround him and ask him what the boy has size doing alone in the forest. Jimmy will explain himself and like the town, they will mock him. I don't believe a boy his size could face the mighty minutes we're in think could be such a waste for supplies to be thrown away on a boy's life that is leading down a path of destruction. They rob the boy of his belongings and supplies, leaving him with the shirt on his back and one loaf of bread. So basically everything he has is taken from him. Obstacle to will be the first night alone in the woods to boil with struggled to make fire as it begins to rain and finds himself shivering alone under a tree. Finally, the rain ceases, But everything is too wet to make a fire. Voice struggles and fall asleep in the cold and is scared of throughout the night and the sound of animals and creatures he hears you barely sleeps. So that is Chapter 1. I break up my chapters with a horizontal line like that. You can see an obstacle to here. I kind of used the conflict and resolution they talked about to extend this conflict. So like, you know, finally the range ceases, But everything is too wet to make a fire. And he struggles to fall asleep and he's scared throughout the night. So you can see how I extended this conflict. So moving forward, next chapter, the bread is gone, but next day the boy will wake up to an animal and in front of him, the animals dangerous and hungry. Did you mean jimmy nervous and unsure of what to do, pulls out his knife at the animal, creeps closer. He then has an idea. He pulls the only loaf of bread he has from his cloak and throws it behind the creature. It runs to the food and Jimmy escapes, but now he is without food. So again, I extend this obstacle and this conflict by saying, you know, he didn't get away and things worked out in the end, but now he's without food. So an obstacle for hunger. Boy finds a few wild Berry bushes to eat what he can, but many of them are gone, eaten by birds or insects. He then see smoke and the distance finds a village. He goes there and hope to find food or work for food and lodging. So this is where things start turning up. So if you notice, and I had three bad things happened to Jimmy before, a good thing takes place. And I guess this one, you may not see really as a obstacle. You might just see it as a sad thing going on. So this could be considered an extended obstacle of this because he doesn't have all of this applies anymore. But yes, so I have three before I switch it up and do that and have a different type of seeing. Now I might have another scene in between here, That's a building block where he actually talks to somebody and has a conversation with them and stuff, but I don't need that right now. I've mainly when you're writing your adventure, you're not looking to write every single scene that you're going to write, or at least I don't, I usually just try to give a really broad understanding of what I want to write. And then if you start writing, because if you make it to specific, you're going to close off any brainstorming that you have while you're writing or any ideas you have. And you're going to feel very constricted when you're writing. So instead, I make these scenes pretty broad so that I have a lot of freedom when I'm writing this scene. I can change it up easily and get so I'd just like to have freedom when I'm writing. That's me personally. Maybe you're the type of person that needs a stricter outline. You might want more scenes in here and that's totally fine. So This is the first tension scenes. So Jimmy will find a pub, the office and logic and a meal in exchange for work. Jimmy, you grades and begins doing miscellaneous things. He is asked while working people ask the owner where the boys from the Royal over hear them as they say He comes from the kingdom that is still ruled by the wretched, long stopped family. They will also mentioned that this is the fourth one. This time not a night that has traveled through, but this one is kind of like the others. They will then comment on how cruel King absolute was to them. I think they should also possibly pit pity. The boy is a nice number returned and they assume they died as new ones came on the same quest. And now the boy is going on the journey. The boy wonder what they know of the kingdom and long SOX family. But now isn't the time for him to speak. So there is tension built here because first of all, I mentioned that they do not like the long stock family and he doesn't know why. Secondly, they're going to mention that there have been other knights who have gone before Jimmy, and none of them have returned and they've seen them come through their village. So that means that they either died or didn't make it or whatever. So this is going to add tension to the story. Then I have my first building block scene and this is where Jimmy makes his first friend that night. Well, Jimmy is in his room, a boy his age, which will barge in and introduce himself as Tom. Tom is nosing, wants to know who Jimmy is. This scene of him just barging into Jimmy's private logic will show his noisiness. Tell me Jimmy will be speculative of his new acquaintance, but we'll still talk to him. This is where Jimmy will learn about the stick and stick it to the king attitude of the people in this village. You will also learn there are other villages outside of the kingdom and that they are all outside of the Kingdom due to the history of the long stock rain. There also be a conversation this scene where Tom will hear about Jimmy's quests and explain that he's going to need a map as a mountain passes very difficult to find. Tom knows a man with a map in town and promises to take Jim me the next day. So there's a lot of stuff going on in this scene, but basically it's just a, a lot of dialogue and conversation between these two. And Jamie is going to learn a lot about these people and what's happened in the history of the long stock rain and why these people left the kingdom. And about the other villages nearby that Jimmy never knew about. And then there might be a little bit of tension in there, but just more of a building block scene because then we're going to find out it. Jimmy needs a map, but Tom says, I know a guy, we'll go get a map tomorrow. Obstacle Five. Jimmy would go at Tom's, the man with the map, but the man wants something in exchange, so it's a valuable he needs to buy it. Jimmy has nothing to offer, but Tom gives the man ruby ring he bore. Jimmy will wonder where Tom got the ring but decides not to ask and instead, thanks him. So that'll be an interesting scene. And I just wanted to mention some scenes. So some chapters, for example, this chapter, Here's my scene break. So here is a new chapter and it goes for three scenes long before the next chapter happens. Some chapters are going to be more than one scene, while other chapters, like this one only take one full scene. Same what does one whole scene will take up the whole chapter. And that's just kind of something you have to figure out on your own. Whether you are a long-winded writer or you have a lot of ideas for a specific scene that you want to extend it and make it be a full chapter. Or maybe you seen takes only half a chapter. Also, you can possibly come to a place where you're writing such a long scene that you break it up into more than one chapter. It, it depends on your writing style and there's nothing wrong with how many scenes are in a chapter or how little of the amount of scenes you have in the chapter, obstacle 6. And they leave with the map. Jamie will think Tom and be ready to go on its way. Tom will offer to give them some food before he goes and Jimmy accepts as they are talking and walking through town to Tom's home, the hearing man yelling from a distance there. That's the boy that stole my ring at the pub last night. Jimmy standing next to Tom now it looks to be a guilty participant in the act. This is when jimmy finds out Tom's a thief, uses sleight of hand and tricks to pick pack and steel valuables to black bearded man along with two acquaintances, begin to charge to me and Tom. Here we will have an epic chase scene where Jimmy is running with his new friend from their adversaries. They would just escape when a man sees them running around the corner and quickly, I've used them into a shop where they hide. The man tells the chaser is that the boys went that way pointing down in another direction. So this is a obstacle that takes you away from the plot, but it's not too far away from the plot that, you know, it can't happen because, you know, Jimmy was on his way to continue his quest when this took place. So even though this chase scene has nothing to do with the plot, happens to be an event that leads them astray from the plot. So it's still connected to the story and that's still works. If you remember in my last video, I talked about how you don't want your any of your scenes to not be tied, at least in at least a little bit to your plot. Everything has to have something to do with the plot. Moving forward. Building block number two, jimmy meats and other acquaintances to manage ME meets that rescued him is a middle age man that goes by Berg, short for Bergen style. It doesn't tell people is first or last name john Berg and star, which will lead mystery to who he truly is, which will play a role later in the story. Now this right here is just something I randomly came up with and I added it in here. I don't know why. I don't know what this is going to mean in the story. But it's going to play a role. And sometimes it's good to just throw in something that you have no idea why you're throwing it in. Because doing something like this will cause you to brainstorm more and be more creative in add more elements to your story, whether that be building blocks or maybe this adds a little bit of tension, whatever it may be. So I just wanted to mention that because I think it's a really good practice to add creative elements to your story that are just off the walls. And you may not understand them in the moment, but you can tie it. And later, tom will introduce Burke as an outsider in the town that is his friend. He will then Tolbert that Jimmy is on into venture brick will tell Jimmy he's going to get himself killed. He will explain the dangers along the way and say that it is unsafe. Jimmy will ask how he knows all this and Burke won't tell him all the truth. It'll just say he's traveled a lot. So I'm going to tie that in somehow to not really sure yet. Tom will then say that if it's so dangerous, he's going with Jimmy to keep him safe. Burkle, tell them no, they're both on equipped and don't know what they're getting themselves into. Jimmy can't take no for an answer. He then explains how he must save the princess. Burke will continue to say no, but sees there's no point in fighting the voice. So three times you'll say no until finally it's like, okay, using that rule of three like I mentioned, he doesn't. He then decides to supply them with a short daggers, some food Flint, and then tarp that is all wrapped and in so he can have a roof over his head as he travels. A rope is then tied around the bag in such a way to carry it all on Ginny's back. He does the same for Tommy and wishes him farewell or Tom. Say Tom. But yeah, so this is just another building block scene where some elements are added to the plot. And then we have attention scene, this is a cutscene. Here will be seen that cuts the princess of perspective. Perhaps she is or just finished watching a night be defeated by the Minotaur. He laughs mockingly as you break summands bones and kills him, will be strong enough to beat me. Princess will then weep and her lonely bed at the top of the tower wishing there is a way out. If you'll continue to wonder why the Minotaur had captured here and what you plan to do with it. And I'm thinking about adding possibly something where the Minotaur, he says he was hired or something or somehow that comes up and in his conversation to the night before he kills the night and the princess overs years. I just want to add some mystery to that, where the reader is like, oh, the minutes, whereas a hired hand, who hired them? Why, Why was he hired? Why would somebody want to have the princess locked away? So it'll add some suspicion to the store. Building block three, Jimmy learns more about the kingdom as Jimmy and Tom are walking path away from the village behind them, time and Jimmy talk about random things to build a relationship. So I'm going to have some character development here. To me then asks whether people live outside the kingdom and why they hate the king so much. And yada, yada, yada, I'm going to explain the background. This kingdom that I made up and basically have this kind of be, this'll be an info dump in a way, but I'm hoping that I can make it short enough that it doesn't feel too much of an info dump. And the caret and the reader actually enjoys reading that. And I'm going to have it cut off. Because the next scene, the conversation will be interrupted by giant's Tommy Jimmy here, large footsteps ahead of them. They duck and cover as they approach and wait, what is to come. They aren't seen by the giants, but they hide in a bush they shouldn't have. So this is how you extend an obstacle and extended conflict because next is varies. The boys escaped the giants by saying hidden, but then they realize they've walked into a bush of fairies. The various kicking, punching bite, which feels like bee stings. They overcome this obstacle by jumping into a pool of water. They are now soaked. So this is extending the conflict again. And then here we go again. The boys are now safe, but they find that their packs on their backs are now soaked. Include the map. The map is not fully weather proof and they don't want to get worse. They decide to build a fire and set up camp. The end, this ends up being a bad idea as a smoker, their fire is seen by a nearby camp of Thieves. The thief surround the boys is even incomes and tie them up. So this is three bad things that happen right in a row. The fourth thing is they're going to escape. So I haven't written that part yet. That is how you kind of have your conflicts keep going, you'd have. And like I said, the rule of three so powerful because if I kept having bad things happen from here, the reader would be like, Oh my goodness, like have something good happened already? The reader would be annoyed by that. But if I have three bad things happen, it will be like, oh no, oh no, oh my goodness, this is awful. And then I can hit them with the escape. So that is just a quick example of an adventure written. And I can add other things in here, like, like in here, I didn't, I didn't read all this. But basically, I'm saying that king long stock band humanoids from living in their kingdom or one of the king long stocks before King absolute. And the boy, Jimmy will mention that he never knew there were wars and their history never speaks of humanoids like he doesn't even know about all this stuff. And that'll be a twist in the story so you can add twists throughout your outline. But I hope that this entire, entire outline helps you understand how you can write yours. And yeah, I just really hope this benefits you and I will see you in the next video. 10. Step 4: Outlining The Failure: Hey, what's going on, guys, I apologize for the delay. I haven't been able to upload in the past month or two because I actually just moved, but I'm finally moved in and I can start making videos again. Hopefully this is the last interruption of finishing this course. And I can continually put out more videos for you guys because I love teaching on Skillshare and I love that. I am seeing a lot of people are enjoying these courses, so let's keep going. Right now we are on step four, the failure. So what is the failure? The failure is also known as the hardship or the emotional climax. I like personally calling it the emotional climax because this is where our main character is at their all-time low. You know, your character feels like they want to give up. They feel like they are defeated. There's no way, you know, all hope is lost. They just want to go home. They feel like it's done. If you've seen the movie, Shrek, for example. There's a part in Shrek where Shrek wants to tell Fiona how he feels about her. And so he decides I'm going to go tell her. And he walks up to the door to talk to her. And when he goes to the door, he overhears Fiona and donkey talking. And Fiona is talking about herself and calls herself an ugly beast or whatever she says, Shrek thinks that she is talking about him. So then you see this emotional climax because Shrek is at an all-time low. He gives up, he literally gives up Fiona to Lord far quad and he goes home. He's done, he wants to give up. So sometimes in stories, you see the lake physically that the main character actually goes home. They actually give up. Other times, they just want to give up. You know, maybe your character gets locked in a prison cell, or maybe they get really injured, or maybe they lose an ally that was close to them. And they just don't want to lose anyone else. So they're at an all-time low. So whatever it is, your failure or your emotional climax is where your emotions peak for the main character because they're at a devastating low. You want whatever this incident is to be so low that even your reader is sympathizing with the main character. They also feel awful. They also feel defeated. I'm sure that you can relate to a movie that you've watched or a story that you've read where something awful happens and you want to cry because you were so connected and you're like, Why does this have to happen? So that is what the failure really is at its core. And that is part of the journey of the story. You want to show that your main character is human and they have flaws. And the best way to show that they have flaws is by showing that something that was special to them or something that they want. Or, you know, whether it's reaching the goal of this journey or a close friend or a love relationship, a love interest, whatever it is you want to take that from them or make it at least seem that way, because that's where you're going to see the human side of our main character. You're going to see the emotions come out and you're going to see them want to give up. Failure should be emotionally relatable, like I just said, you want three or to feel sympathy for the main character, just like the first chapter when you build sympathy. So I forget if I actually mentioned this in the intro video that I put out. But in your intro, you're trying to build likeability with your main character. And if you're building likability, a lot of times that's through sympathy. And you can see this in my character in this story where the servant boy, he is scrawny, he small, he is a nobody, nobody likes him. He's mocked in the beginning. So you feel sympathy for him. And he's also an orphan boy. So there's sympathy being built form in the beginning. So now at the, towards the end, we've already gone through the adventure and we're now hitting the emotional climax where we've built this relationship with him. He has a friend with him now, and he knew he was probably very likeable now, he has some traits that have grown. He has a lot more knowledge than before. And now he's at an all-time low and perhaps he is thinking about the parents that he used to have. He's thinking about the safety of the kingdom and this perilous journey he's gone on. He's thinking about all of them mocking that's happened. And he's like, you know, maybe all those people, right, maybe I should've never went on this adventure in the first place. Like I can't do this anymore. So maybe my story, I can have the servant boy be captured by goblins and he has trapped in one of their prison cells. So it looks like it's all over. And that's exactly what you want to happen in the failure, because that's where you see characters at their lowest point. Usually the failures overcome by an outside source. So for the most part, a main character does not overcome this just on the role and not always. There are some exceptions to this rule. You might think of a way that your main character actually works up the confidence on their own in actually gets out of their situation on their own. But for the most part, the main character will not get out of their failure alone. Whether a mentor comes and saves them or a friend comes back and saves them. Maybe there was an argument in the story and a friend leaves them. And then the friend comes back, sees that they're in trouble and comes and saves them and that relationship is fixed. Perhaps one of the characters I had along the adventure can, maybe he was following the boy the entire time and he comes and saves him. Maybe somebody's talking to the boy and maybe it's not even that, maybe it's not that someone else saves him, but maybe someone talks some confidence into them, gives them some motivation, and he finds a way out on his own. So there's a lot of different ways it could happen if I use the example Shrek. In the movie Shrek when treks that his all-time low donkey comes and talk some sense into him and helps him realize where he's gone wrong. And that's when Shrek overcomes his failure and takes action. Then lastly, the failure should ultimately teach the main character something that will help them in the end. So you don't want your failure to just be, oh, no, something bad happened. Now what you want your reader to realize that this failure was important to the story. There was a reason for this failure to happen. So if, for example, if my servant boy, he gets trapped by goblins in a prison cell. Perhaps the way they captured him, when he's escaping the prison, they tried to capture them in a similar way again, because he's gone through this experience of failing. He knows how to escape this time. Or perhaps he learned something lies in the prison cell, maybe talks to someone and they teach him something valuable. Maybe like leading up to this failure. It all happened because of pride or at all happened because of whatever it is, you know, whatever the case may be and this conversation can lead them to realize their mistake, realize their pride issue or whatever it is. And in the climax or when they break out of the prison cell, they can use that information to their advantage and actually win the victory. Something I don't have my notes here, but I also want to mention that your failure is sometimes before the climax, sometimes after, after. Personally, I like to have my failure before the climax because then I can show how my main character struggle with something. And then I can contrast that with when they get to the climax, they aren't struggling with that thing anymore or they overcome that issue. They had some stories, don't do that, so I keep using Shrek, but it's in my mind, so I'll use Shrek again. If you look at the story, Shrek, he has this failure by, before the failure seemed took place here to save the princess from the dragon. And that was the largest physical climax of the story. So technically the climax already took place. But someone else could also also argue that the physical climax is at, towards the end when he goes back and tells the princess he loves him. And Lord far plot is, is eaten by the dragon. So you could make an argument that that's the physical climax of the story because that's the most tense part of the story. Where do you think that Fiona and Trek are going to be captured by guards and killed? So it really depends on where you want your failure to be, whether it's before or after the climax or if you want multiple climaxes for different reasons or whatever. But I personally like having my failure right before my climax. I think As a lot more emphasis if a drug for the climax and it is portrayed much better when your character fails, they are reborn and recover from that failure. And then they go and take on the hardest obstacle because, because they've overcome this really hard struggle, now they have the confidence to take the victory. So hopefully that makes sense. Hopefully this was helpful. Let's get into the example. 11. Stay Tuned!: Hey, what's going on, writers, thank you so much for watching these videos and coming this far in the course to really big milestone for you to be just taking this seriously and committing time to learning more about writing and the craft of writing. And I really hope that these videos on how to outline and structure a story or beneficial to you. And all this advice is being added to your own arsenal so that you can learn more about writing and use it to your advantage. Now I'm going to be putting out more videos on the next few sections that I haven't gone over yet. They will be coming very shortly in the future. So stay tuned for those that will be probably upload in the next few weeks. So I would recommend that you follow my profile so you can be notified of those uploads or saving this course so that you can see one more videos are being added to it. So thanks again for watching all these videos and happy writing.