Storytelling: Outlining Workshop

1. Workshop and Project Introduction: Hello and welcome to my outlining workshop. So outlining can be overwhelming if you're new writer or you haven't found in outlining process that works for you. So I thought we would work through my outlining process and that you could use that as a jumping off point for your own outlines in the future. My name is Kit Campbell. I'm a hybrid author, which means I'm both traditionally and indie published. And I'm also an editor, a book for matter of very occasional cover designer, and a manager of an indie press. This class is part of the writer's motivation series, which is a series of classes and books designed to help readers find the techniques that are going to help them reach their writing goals. So this class is for beginning and intermediate authors or for anyone who is new to outlining or hasn't found in outlining process that's working for them. So the outlining technique that we're going to go over in this class is one that I've been using for five or six years now. I find it works really well for stories that are between about ten thousand and seventy five thousand words. If I'm running short story, I do use a different outlining process. And if I'm writing a longer story, that's a 100 thousand words or so. I find that I need more outlining. But this is kind of a good starting place. It's in the middle in terms of information and planning. So if you go through the techniques in this class in there too detailed than you, that's good to know because in the future you know that you don't need as much information before you start writing. And if you go through and it's not detailed enough, then that's good to know too. So you can start to figure out what additional information you need before you can start writing. So our project for this class is to make an outline for a story. And each section of this class, we'll go over a step of the bottling process, starting from expanding a story idea. And at the end of each section, I will tell you what you should do for that step. So for example, in the next section, I will show you how to expand your story idea. And then you'll do that step yourself. Though the supplies you will need for the project include at least one story idea. A computer with a word processing program or a pen and paper, if you prefer to do things by hand. Access to the Internet in case you need to do research or look up some story ideas. In the project section, please post what part of the process you're in and if you're running into any issues and if you have any other questions, please put them in the comments section. You're also welcome to post your outlines if you'd like feedback and please come back and update your projects as you complete steps. So at the end of this class, you will have an idea of at least one outlining technique. And you will have an outline that hopefully you will be able to start reading from. So let's get started. 2. Expanding an Idea: All right, In this section we are going to serve as some story ideas and we're going to expand them to see if any of them will make a good story. So my goal here is to write a novella i 0, 1, 2, my publishing company. And so I'm going to use this class to get it my outline ready so that I can read it. So I'm looking at a story between about 30 to 50 thousand words. So I need to expand one of these ideas enough that I know I can get that much story out of it. So I have prepared some story ideas here. So starting here at number 1, someone thinking they're taking part in a Becker groping session, discovers their deep into the real thing. Sorry. Q, one friend must enter a labyrinth, maze to save the other. End story idea three is this picture which actually took on a vacation. That red and white building in the back is a active elementary school right next to a graveyard on top of a hill called gallows Hill. And if that's not the perfect setting for a horror story, then I don't know what it is. So these are all fairly old ideas for me. I pulled them out of my idea file. So I highly recommend keeping track of your story ideas. It doesn't make sense to always start with a story. When you have the idea, you might be in the middle of a different story. You might be on deadline. Might be an idea that you don't feel comfortable writing yet because you don't have the skills or the knowledge. So keeping track of those, you can find them later is really helpful. I actually have a class here on Skillshare about how to keep track of your story ideas if you want to check that out. But the nice thing is with a story idea file, you can go back and you can pull ideas out that compliment the story to make it more complex and deeper. Or you can go in and find story ideas if you need to write something, but don't have an idea already. Like sometimes, you know, you get a story idea and it comes with everything you need to get started writing and you can just go and it's perfect. But other times like right now, you have a deadline or an assignment. And you don't necessarily have the story just ready to go. This way. You can go in, grab a couple of ideas, see which one is going to work and get going that way without having to wait for inspiration to strike. So at this point, I've identified these three potential stories which seem like they would be good for developing. And what I will do now is I will kind of pre-write to see if I can make enough of a plot, characters, stuff like that, that it would be worth it start outlining. So I pre-write because that's the way my brain works. If you're more visual person, you can also use a mind-map or something like that. We discuss other similar outline methods in my outlining class. So feel free to look over there if you watch this and you're like, I don't know if I can do that. But the nice thing about a free write is you just start reading and you write down everything that comes to mind and you don't send it to yourself. And then afterwards you can use what works in your actual outline. Okay? So her story idea number 1. The idea is that there's someone who is invited to do a backyard role-play that is set up like, oh, maybe like a Renaissance Festival. So you know, there's someone pretending to be the king and there's some opportunity to be the princess, and there's nights and stuff like that. All right, so let's see, let's do maybe a teenage boy is invited to join in for my spelling. C by every teacher named me. Maybe lay drama teacher, like you like that. They were acting in the backyard. Although the issue with having a teacher do it, There's lying there. Maybe not a teacher but an older students. Maybe someone who's just graduated. That makes them more appears and it's not weird. Power Ingles, role-play is set up. And there with King gets fine. Clean, nine-eighths, three. Now, I cannot spell today. And see the boys they're doing and thinks it's super fun. And it gets really into it. One day. This would be the inciting incident. P is given mission. Maybe he's a night rescue, axis brown. That's a bit obvious. I don't know that we need to figure that out right now, but he's got to rescue the princess. It turns out it is a real princess in an alternate world. And he is no longer in the backyard. Okay. So let's see, I've got the basic plot of inciting incident. I have main character. So that's enough for me to get into my outline so that, that story has potential. I have enough information where I could start to outline it. So I will move on to the next one. This one has always given me trouble. I had been floating this idea around for oh, really long time. Because I like the idea of the bond of friendship. Mean enough that one friend is going to risk everything to save the other friend. And I love mazes, and I love the movie labyrinth. So but then the issue is I can never get enough details to figure out what direction I need to go in. But we'll give it a try. We'll see if we get stuff and then we will move on to the last idea. Okay, one person must enter, elaborate this maze to save the other. So do I want a boy and girl? Two girls, two boys? I always kinda go a girl and a boy. I don't necessarily want a romance angles, okay, maybe the boy gets kidnapped and again, the middle globin girls got to save him. Why was he kidnaps? Didn't kidnapping maybe this into a Snow Queen adaptation. And they've always wanted to do that too. So the board is taken by the Snow Queen as character. Who all right. Good girl. Feel like she needs to rescue him. We're only showing the way that she feels guilty about k. So then why is he cannot bear with that? I don't know if I'm spelling once. That's essentially just the adequate nose. So or maybe We've been best friends. But now they're currently hurt. Anyone of them. And return relationship. That can be really traumatic for teenagers. And they heights. One is peak in here because of the plate. Right now I like that better. I think we'll leave that one there great Now. And then we have the picture of the school on the gallows Hill Nixon cemetery. So there's really two ways. There's really two ways. I can see this going. Please have a new students, early teenagers, and this is going to be an adult or an adult. If you need to need to keep coming to work at school. If we do that, I think it will be golden school. We don't really have boarding schools here, but it is a good way to have people trapped at the school building. So I think this story, Gothic were, so you've got to be trapped then. The Gothic element is that you're isolated and endanger. Let's see. So we've got our boarding school. You have either a student or a teacher. Say, let's assume schools haunted the connection between the scores. So someone died at school. Maybe they want revenge, or there can be ongoing practices at the school. A link to the problem here is now I've got multiple stories going, so you need to kind of work on one over the other. I'm kinda lean towards doing the teenager lower the peaker. My thought with the teacher was then it could be an elementary school, which is what it actually is. A little pins can be extremely creepy. I'm not actually sure I want to deal with those kids. And it may be better to use the teenager rows. Okay? So next step is to look at my three ideas and pick one. And then two, do the world-building phase. So that will be next section. So what you should do it this point is if your multiple ideas kinda brainstorm them and see which ones are turning to actual stories and which ones aren't quite solidifying yet. And pick one to move forward with. And we'll use that one for our next section. 3. Building Your Backstory: Welcome back. It's been a couple of days and hopefully you have picked a story idea that you are going to expand. The one I picked, the Gothic horror with the boarding school because that's the one that I started to get ideas for after we did the brainstorming session last time. So I have started a Google Doc. This is where I tend to do my brainstorming. And also it helps me keep everything in one place. So I have done between less section and this section is I've gone through Pinterest and added in some additional ideas that might go along with the story. So the thing, what stories is your rain tends to do two things when you start trying to map out your plot. The first is that it tends to go along familiar paths. So stereotypes, familiar plot lines, things like that. So I like to use the backyard RPG star idea for an example where there's a boy who goes to save a princess. That's kind of a stereotype idea. And knowing which ideas of yours or stereotypes can be a good thing because it can help you put those stereotypes on their head or add in new things to him. Or I mean, it's okay to use stereotypes as long as you understand that they are stereotypes and y are using them. The other thing that your brain tends to do is follow the same plot lines from other stories that you have done. Because each of us has kind of comfortable stories, stories that we like, stories that we bring before. And your brain just kind of wants to write the same story over and over. Maybe, you know, one times its speed. So when time gets in the Old West, but it's still got similar elements, which isn't a bad thing. If you become a published author and you write up a lot of books, having some similarities in between those books can make it so that your readers know what they're getting. But it's, again, it's good to be aware of. But because your brain tends to take the path of least resistance, what I like to do before I really get into the meat of determining what my story is going to be about. I like to go through my story idea files and pick out little ideas that can enhance or change my original ideas so they don't get stuck in the same runs over and over. So here we have my document. So here's the original story idea that we did last time. And then here you see that I have some Pinterest links and then a couple of additional notes on the bottom. So I keep my story ideas files in two different places. I have some Pinterest boards and I have a Google Doc. Will pull good. Okay, So this is my Google Doc. And it's literally just like little bits of thoughts from all over the place. Tumblr posts, National Geographic articles, things I over here, random thoughts. So I always go through here and see if any of these ideas can go along with the story ideas I'm working on. And then I have my Pinterest boards. So I have five of them. And then I also sometimes do board specific to stories, but select this board is specifically for scenery. So whenever I come across the picture that I think is cool or interesting and I can see, you know, setting a story there. Then it goes on this board. And then I have a character board, same sort of idea. And so have some text posts. So far I've never used the text posts, but the idea is that, you know, if I needed kind of a pre-built character, I could pick one of these options and use it. And so I always kind of cruise through here by sometimes, you know, characters come with their own descriptions, then I don't need to do this. And sometimes I just cruise through and see what I've got. Then this one is my inspiration board. This is like My very favorite ideas. So this is a mixture of everything. It's got some prompts, It's got some characters, it's got some settings. It's just anything that really speaks to me, goes on the inspiration board. And then I've got writing prompts. Typically use these for short stories. But it's just any sort of prompt goes on here. And this one, this is kinda my catch-all. So like this, not even like necessary lea stories that are triggering anything but they might at some point. So they go on here. So this prompt board or prompts that I am more likely to use and the other one. There's not really a good reason to have to prompt board that just kinda ended up that way. So I go through my Pinterest boards, I go through my random idealist and I pick out any aspects that seem like they can help me with my story. So for this particular story, I've opened a couple of the ones I picked out to go along with it. And I'll just put through them real quick. So a lot of the ones I picked out here with the story include like creepy Force, ghost, spirits. Then this is who I'm considering using for my main character. Actually, I went through my character board and I had like three or four pictures that were essentially the same girl. Some of them were drawn, some of them were pictures, but it was the same dark-haired girl, dark eyes, freckles, which I thought was interesting because, you know, I add them over time. Okay. So here you can see all the things I added on that might help me build up my story. And then the very bottom, I have my ones off the random idea folder. So turning P holds up to down, keeps goes out. Apparently. Doppelgangers, scary. Now know about this one but something to consider. A ghost or really just people who are temporarily in the wrong place or time or dimension, right? So at this point, I've kind of got all my vague brainstorming done. And what I will do at this point is start to build out specific. So I'm going to look at backstory. I'm going to look at characters, and I'm going to look at setting. So I did actually guys can't see this. Okay, there we go. So I'm not necessarily going to build this up in any particular order, but we are basically going to use the same techniques we did last time where we are going to pre-write. And then we are also going to take note of any research we need to do, which I will do before I do my actual outlining. So let's see here. So background. Let's see. Main character turns a rare scholarship spot at prestigious. And see if I can spell it. Currently, I can't boarding school. One that has turned out. Let's see, this one that practical good would practically guarantees success in life. Now I like this because nobody likes reading about rich people. They like to have an underdog in building conflict where you have poor people, rich people or you know, the insiders versus outsiders and all that jazz. Okay? And again, it's going to be a small school. 50 people down here. Small school, maybe 50 people isolated. Surrounded by a graveyard. Know. And beyond that, that's the isolated on top of a hill, a desk breakfast. So I'm thinking New England. This because New England forests are super creepy. They're very dense. They have a lot of like the force out here are not scary. There are a lot of empty spaces. The trees are kind of spread out. You can see pretty far. So they're not inherently creepy. New England forests or computer. So let's say Connecticut. I don't really know anything but communicate what we want. So this is where I would make a note. It says like research forests in New England. There No, I can not typo on doing this. And then I will highlight this, I really do it and it's visually obvious. Also need to research boarding tools in general. It turns out there's quite a few of them in country. And they tend to primarily be only secondary or like high school. So let's see. The research I've done so far says that boarding schools tend to only be 4 ninth through 12th grade, though some also operate lower grades for the day only, like a normal school. Okay. We're going to give her heart paths and maybe Scott, single parent, no siblings. Maybe just got no parents. Maybe you're granted it. Maybe they just died. Just died. So this is an opportunity to turn her life around. Is that doing in Boston? However, something is not right at the school. Now, this, this information that we're doing now doesn't necessarily need to go into the book at any point. It's just important for you to understand why things are the way they are. So that, that comes across through the writing without you having to be explicit about it. So this is all going to either not being included or come out as the book goes on, the info dump, the stuff that we're doing right now. So my thought is that there's a pact with something at the school which guarantees its success. How ever in return, every, let's say 20 years. That's like once a generation. Every 20 years or so. Someone unless be sacrificed in order to maintain the pat MC. Well, be the sucker guys if she's not careful. But someone is trying to help someone who sacrifice get math. Since the NCSBN be haunted. But that goes to trying to algebra. So the idea is that, you know, she's going to see strange things and he's gonna think someone's out to get her supernaturally when really the ghost is trying to protect her from being sacrifice like they were. Okay. So characters, so we have our main characters. Thank you. Need to name. So my favorite name website is behind the name. You can search by meaning, you can search by at this city. You can do mythology names, you can do historic names, biblical literature, basically everything you'd want here. So I like to search by mean. Ainsley, Let's see. Lone, solitary. Right? So then when I find a name that might work. All right. In here, normally give myself a couple of names. Not really and your linen names here. So let's see, let's search something else. So we can search like grave, for example. Then you can do it by gender too. So this is another thing you can do if you know like the timeframe of your character. So assuming she's like 16 through here and see if anything that interests. You got put on here. So for this one, I'm not doing much for me. The names that Shakespeare turns out. Sometimes you can click on the name and they have related names. Like people are named after it. C with some name days for today, including Finland. Around it. Like you didn't. I tend to like names that I can make nicknamed of maybe Mary who already has a takeover, but I kinda like it. Okay. These Henry like Alice clue is this vector. Let's see what else to be done, right? Okay, So I've got a couple of names now. So normally I leave it for a little bit, see which one kind of grows on the overtime. So the NC is going to be. Click senior, little old school. Not really have a good idea of her personality it, so I'm going to do some work on that. Then I also need it goes is going to be protecting her. She's also going to be 16 years old. And whenever died, let's see. Maybe 80 years. No. She was sacrifice. And now try to save other marked. I don't do attend. I don't tend to do a ton of character work at this point just because I'm not a 100 percent sure how many characters I'm going to need. So normally, there'll be some sort of antagonists decide from the ghost. Probably in her class is like a coil and see a mentor who will be triggered. Then close tours of that later went on. Okay. And have it be a couple hours though. And you made your town maybe happening. So they really are isolated and see great stories. I will need to draw a map of where they're reading. Let's see a new story or rules to get lessons. Then of course, are often without. Okay, so I have edited out some parts of this process just because it's long and not very interesting to watch. But basically the idea is to start to build the basis of the story. Third, Tickets, my ideas flowing. So what you should do at this point is go through the same process, figured out why your character is where they are at the beginning of the story. Why the antagonist is doing what they're doing? Who do you need in your story? What places it's going to take place? And any research need to do before you can actually start doing your full outline. And then next time, we will actually sit down and outline the story. 4. Working Through the Outline: Hello and welcome back. So it's been a couple of days since the last section. And I've gone through and fleshed out my backstory and world-building more from last time. So let me show you guys this. So you're still, you know, the basic idea of the stuff. You'll notice characters have names now and positions in the story. Done some research on boarding schools and porous. And I've made a list of things I still need to do before I can start reading. The main, one of which is making a map of the school that is going to be very important. And I also need to decide whether it's a girls only school or whether it's mixed gender. And I also need to decide if I want to do character wants and needs. Basically that's just kinda figuring out your character's motivations. And oftentimes, what's oftentimes what they want and what they need are not the same thing. I don't do that a lot. Sometimes it's helpful, other times it doesn't really help. So I just need to decide if I want to do it or not. So basically I have done most of what I need to make my outline. And so I'm going to go ahead and do that now. I'm actually going to go through two different types of outlines. I've used both for longer works, but I don't normally use both for the same work. But I thought it might be good to go through both just so you can kinda see how they're different and how they work. Okay, So the first one is this tent pole outline. So if you think of your plot as a tent, you've got a couple of major pulls that hold the tent up. These are your biggest pop points, the most important ones in the story. So you have your first plot point, which is where Act 1 moves into two. You have your midpoint in the middle of the story where something has to change. It's often called the midpoint reversal. If things are going well, then they switch so they're going poorly and vice versa. But anyway, something major needs to happen at the midpoints, something that kinda changes everything. And then the second plot point is where we move from ACT to interact. Three. So when I do my tent pole outlining, I always make notes of my arcs. So I have an internal arc and external arc. And if I had a relationship that was important to the plot, like if it was a romance or there's friends or family that are important, have a relationship arc. Now, Gothic horror tends to have an isolated main character. So I'm not going to have any major relationship works for the story. And then if I had more than one main character, like I was doing a dual point of view, like a romance for example. I would put the eternal art for both characters. External are for both characters. And I would do that here as well. So I was tracking all of them. So I've gone through already and I've come up with my arcs for the story. So an arc is kind of how things change over the course of a story. You'll hear like character arcs and stuff like that. An internal arc is something that the character is dealing with internally. You know, if they're trying to get over something, if they have abused, that need to be changed. If they have worldviews that need updating, things that are going on inside their head or inside their heart isn't internal arc. And then the external arc is essentially the main plot. So what they're dealing with outside of themselves. So for the internal arc, where my main character, whose name is Marty, she's going to be learning to cope with the death of her parents. And then her external arc is going to be figuring out how to stop being haunted for each point. And we'll go through and I'll write down what's happening in the internal art there and also what's happening in the external arc. Again, if I had like a relationship, I would do that as well. So for the first plot point, we're going to be, she's going to be moving. Trying to be strong about her parents deaths, to realizing it's harder than she thought. And then externally, the haunting is going to become more obvious and or aggressive. So basically it's going to become something she could not ignore anymore. Let's see for the midpoint, perhaps she decides to embrace the ghost stuff and see if she can contact her parents. Okay. And then experimentally, perhaps the Han teens reached a point where she feels she needs help from someone, perhaps a teacher. And then second plot point is where we move from two into act three. No, it's not the climax. It's before that. It's sometimes called the dark moment or the black moment. It's basically where your character is at their lowest and they're about to start their, their path to the final confrontation in the climax. So let's see. So let's say she realizes her parents are gone and she's not going to get some bad. And then on the ghost print will have her realize that the ghost has been trying to protect her this whole time. Okay. So as you can see, this is pretty general. I don't need a lot of details. When I do my outlining. I basically just need to know what is generally happening when which fixes my pacing issues. I find that it's actually better for me to not go into too much detail. Because the stuff I come up with, well, I'm writing as long as I'm staying in the general form of the outline tends to be better than if I tried to like spit it all out before I start. So I my outlines are always pretty general and it works just fine for me. Now, you may find you need more information, but go ahead and do this first and see how it feels to you and see if you feel like you have what you need to start running. Or if you feel like you need something more definite. Alright, the second outline that we're going to go through is the act outline. This is similar to the tent pole in that it revolves around your plot points, but it's more in depth and it goes through more of them. So in order for the act outline to work, you need to generally know how long your story is going to be. So I'm writing a novella is going to be alone or in a villa at about 50 thousand words. So I've set up my word counts in the document to reflect that. And if you're doing a differently, basically, just adjust your map. So it's like 0 to 10 percent, 10 percent, 10 percent to 25 percent, 25 percent, 25 percent to 50 percent, 50 percent, 50 percent, 75 percent. 75 percent, 75 percent to 90 percent. 90 percent, and then 90 percent to a 100 percent. All right. So I'm basically going to do the same thing here as I did with the 10 poles, except I'm only going to focus on plot. If you, if your internal arc is. More important to the overall plot. Or if you feel like it will help you to have the internal art outlined as completely as the external arc. Go ahead and do that. I don't typically do that. So I'm not going to do it here. So stage one is your setup. It's basically your introduction to your character in your world. It's not very long, but it basically, it sets a baseline so that when things start going differently, It's obvious. So for my learners going to write at school, it started with classes. And then I will probably very slowly introduced back story about how she ended up there. You don't want to start with backstory. It slows your pacing down. And it's good to do it in small chunks so that your momentum doesn't get stagnant. Okay? And then so turning point number one is your inciting incident. So this is where the first thing happens that introduces the main plot essentially. So the turning point here, the inciting incident is that she's going to start to be haunted. And then stage 2, the new situation is the rest of Act 1. So it's basically your character reacting to what happens in the inciting incident. Right? So we're going to do more intense. The school is Hong Kong. Hold on. Let's see, at this point I also want her to have a non paranormal subplot going. So let's see, maybe she has first confrontation with school nemesis. Okay, sorry. So more hints at the school is hunted. And learning begins to wonder if this was the appropriate course of action following God against felt. Okay? Okay, so turning point to here is essentially the same as our first bullet point from the tent pole. So I'm essentially just going to write the same thing here. So on pain becomes more obvious and aggressive. Okay, So we move into the first half of Act 2 here. At two is really two separate x. In the first step. The first part of that too is reactive. So your main character is dealing with what happened in Act 1. And then starting at the midpoint, it turns into a proactive section where they're actively making plans and trying to deal with things. But so this is the reactive stage of Act 2. Okay, so we're going to do Mardi take steps to protect herself from quarantine. And she'll start to make friends, connect with pictures so that she's feeling more at home at the school in general. And I bring this to the midpoint, which as we talked about, is called the midpoint reversal. And something major has to happen here. So looking back up at the temple, we're going to have her reach out to a trusted teacher or help with the ghost. Basically start to admit to yourself that she can't do this on her own. Right? Now, this section here, stage 4 is the second half of Act 2 that we were talking about earlier. Okay. So let's see, whatever start to learn disturbing things about the school. Such as people disappearing and runs into issues, trying to contact your parents. Okay. And then TurningPoint for is that dark moment. Second tent pole we talked about earlier. So where things have gone horribly wrong and you begin to wonder how It's going to become red again. So the realizes she can't contact your parents, they're gone and realizes that the ghost has been trying to her about something this whole time. All right, so now we move into X3 or Stage 5. This is what moves us from this low moment to the climax. So let's see, shall investigate. Let's do tries to figure out what the ghost once means. Okay? And then so the climax is here 90% through the story. So it's the final. And I guess first, okay, well, just get a confrontation with teacher who is in charge of the prep room school. Marie. And obviously she's not I mean, I guess not obviously in her words hit or miss whether, you know, the main character actually gets eaten by whatever or not. But I'm not going to have her getting eaten. I'm going to have her, Linda, have her be triumphant. Let's see, and changes the pack so that sacrifices are no longer needed. Alright, and then the resolution is basically the aftermath of the climax. So dealing with whatever changes have come about because of the climax. So it's a okay, so we'll have Marty finally begins to grieve for her parents and helps with ghost, whose name is Alice? On? Okay. All right. Okay, so that's the basics of the act outline. As I said earlier, I tend to be very general. This is enough for me. I will kind of fine tune things as I go on. But this is enough for me to get started and to go get through the entire story. Now, I will say that outlines are dynamic documents. A lot of people feel like you make your outline and then you have to stick to it no matter what. That's not true. Your outline exists to help you write your story. If it's not helping you write your story, then it's not working. And you can change it. You can add more detail if you don't have enough and you need more to keep going, you can change how the story is going. If it's not working, it is dynamic, it is changeable. It needs to work for you. Alright? So at this point, I'm ready to go. You should go through this process with your story and then kinda see how you're feeling. If you feel like you need more detail. Go to my other outlining class. Look at the more complex outlining systems and kind of work through what you think you still need. But otherwise, this is a good kind of middle of the road outlining technique. You've got your entire story, the basic shape of it. It may not be very complicated, but you can kind of see where you're going from the very beginning. All right, so next time we will summarize what we've done throughout the workshop and wrap everything up. 5. Summary and Wrap-up: All right guys. Thank you for doing my first workshop with me. Please let me know in the comments if you found it was a good format or if you've taken some of my other classes to let me know how you feel on the workshop versus the lecture style classes. All right, so here's what we've done so far. We went through a couple of different story ideas and expanded them to see which we could turn into a full story. We went through our idea files to expand the stories. And then we did background information or world-building. And then we did more expansion where we felt like we could outline and we did a temple outline and act outline. So at this point, you should have an outline that you feel that you can write a story from. And if you don't feel like you're a story, feel free to go to the other outlining class that I did and look at other outlining procedures that feel like they might be for use to you, especially if you feel like you need more than what I did. Next step from here is to start reading. So good luck, and I'll see you next time.