OUTLINERS figure out what the story is, then write it.
PANTSERS are writers who “fly by the seat of their pants” and get surprised by their stories.
Which one are you? Or, which would you be, if you were a writer?
I have always been an Outliner. Now, however, I’m changing my tune, and it scares me to death.
The Haven of Preparedness
Outlining may be considered a premeditated act. An Outliner commits Fiction in the First Degree.
This approach has a lot to recommend it. Once you have the whole plot engineered in outline form, you know where you are going. All that remains is to render it in prose.
But the way I personally think of it is: I must do the hard part first, the part I don’t like one bit, the part that intimidates me, which is making up the story.
Inventing plot twists, character actions, and dramatic events is like having all my teeth drilled and filled, one by one, and then extracted, without benefit of Novocain. That’s why I prefer to take refuge in historical novels. The main events have already happened and are known. All I need to invent is a few details. Even that seemingly small effort can leave me wounded and edentulous.
Writing prose, on the other hand—with its delicious prospect of future revision, and further revision; polishing, and then polishing the polishing—is a pleasant gambol in Elysian fields. Given any encouragement at all, I could spend the rest of my life merrily revising a single chapter.
The problem is, people want a story. People consume stories wholesale. People hunger for story. And The Magic of Story is the reason I got into this game in the first place.
I was seventy years old then. In the five years since, I have learned a lot about writing. Mostly about the technique of writing. About craft. About marketing.
But the most important thing I’ve learned is that a story is more than the words by which it is told. It’s more than the plot turns along the way. A story is the verisimilitude of a live person’s meeting and overcoming—or perhaps succumbing to—challenges that are interesting and exciting. A story is the telling, or the showing, of “life as she is lived.”
To bring a story to life by draping a string of phrases over an outline is a highly artificial skill. Only a few people can do it well, like an actor bringing a character to life on stage by sheer technique. For what I’m trying to write now, that just won’t do.
I must become a method actor.
Izzy—or izzn’t he?
A few years ago, I wrote some light-hearted short stories about a 1950s boy named Izzy Mahler. I was thrilled when three of them were e-published by The Saturday Evening Post. (You can read them here, here, and here.)
These Izzy stories replicate my own boyhood. Every detail comes straight from personal experience, with minor re-arrangements to enhance the drama.
Now, I am starting a book about Izzy Mahler. It’s not a collection of Izzy short stories but a full, front-to-back novel aimed at young people, starring an Izzy slightly older than the one who appears in the Saturday Evening Post stories.
The story this novel tells will have a bit more substance. I could never write anything really dark; but growing up in the 1950s was not all Leave It to Beaver. Kids had problems to face.
I started by outlining a plot for this book. It took a great deal of mulling over, but ultimately it went well: I emerged with a real spiffy outline. Then I started to write the text, based on my outline. I got seven chapters in before noticing that, although the writing was going very well, the book was going astray. The story was going off the rails by staying true to the outline.
There was no spontaneity to it. No real voyage of discovery for Izzy Mahler.
I had made a rookie error. I mistook my protagonist for myself.
If Izzy is merely a smudged copy of me, his saga will be a failure. My actual boyhood served me well enough, but it was not the stuff of stories. Whatever unhappiness I owned, whatever traumas in my upbringing, they cannot be cured by rehashing old grudges or inchoate yearnings on paper. That is not fiction, it is whining.
What is needed, if the past is to have meaning for the future, is an imaginative restaging, starring a better and more interesting person than me. That would be Izzy, you see. But this improved Izzy will not take pleasing shape from an outline. Izzy needs to be a true protagonist. He must burst forth from his circumstances and shove the story rudely in its ultimate direction.
In this account of things, Izzy is someone who flies by the seat of his pants. To capture him alive, I must follow his example.
Someone told me:
“The protagonist must protag.”
Don’t waste your time looking up “protag” in your Funk & Wagnall’s. No such word appears. It’s just a writer’s in-joke, meaning that for a book to enthrall readers, big things must happen; and the central character must be the one who makes them happen.
If I have a main fault as a writer, it’s that my characters are too much like me: Timid, passive, inert. Lord, preserve my little hero Izzy from such a fate. But Izzy will only seize his destiny if I grasp the nettle and make him strong where I am weak.
That is why Pantsers are always saying things like, “I thought it was a story about lust and betrayal, but then my hero took it in a whole different direction.”
All I can do is put Izzy on paper and confront him with challenges that he must address. Just fly by the seat of my pants, and hope the story will be worth reading.
But right now, in the moment of doing, it feels like I’m riding the world’s tallest roller-coaster. My carriage, on the top level, has just tilted sharply downward and started its plunge.
Pray for me.
Larry F. Sommers, Your New Favorite Writer
Author of Price of Passage—A Tale of Immigration and Liberation.
Price of Passage
Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois
(History is not what you thought!)