# Planning



## Vesuro (Jul 23, 2008)

When embarking on a relatively long story, what is your planning process?

I tend to do basic character designs then planning chapter by chapter then descriptions of all the places so that I keep consistancy.


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## TakeWalker (Jul 23, 2008)

For my current multi-part works, I've been planning out major plot points for each chapter, then breaking that down further once I get around to writing said chapter.


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## GatodeCafe (Jul 23, 2008)

I only plan in very basic terms. Most of my stories are really semi-related vignettes, and I like to run similar threads through all of them, but really, for each self-contained story, there is no planning.


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## twilightiger (Jul 23, 2008)

I'll write my ending first, then go back and write the beginning, then I'll just fill in whatever blanks come up as I go along.

It tends to ---- (Something important happens) end up looking ---- (Character development) something like this ----. (Satisfying conclusion) Seriously, blanks and all. They're a great tool for maintaining your train of thought.

And of course a few of the more basic techniques get applied to the whole planning process. Foreshadowing, Effect precedes Cause, and the all important (and often ignored) Escalation effect. Also, I title my chapters so I don't have to go, what was chapter twenty-three about again? Oh yeah, "Beyond the boundaries of another world" I remember now.

But other than that I just tend to wing it when writing. (Although you wouldn't think it what with the sheer volume of notes littering my desk. Ah well, c'est la vie and all that)


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## johnothano (Jul 23, 2008)

I get the basic plot in my head, then write about a metric ton of notes on characters I'm using, then just write.

I try not to worry about suspense, foreshadowing and all that jazz untill I've got a rough draft down. Most of the time, I manage. I really worry about continuity when I do a first edit of my rough draft.

Not conventional, but it works for me.


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## Xioneer (Jul 24, 2008)

johnothano said:


> I get the basic plot in my head, then write about a metric ton of notes on characters I'm using, then just write.
> 
> I try not to worry about suspense, foreshadowing and all that jazz untill I've got a rough draft down. Most of the time, I manage. I really worry about continuity when I do a first edit of my rough draft.
> 
> Not conventional, but it works for me.



I do something like the above too. I tend to work mostly on web and print comic materials, so I generally have more of a script than a story, but the process is very simular. Basic plot, moves to filling out the cast, building them and specifying their roles, determining locales which are important to the plot or will make it more interesting, ect. Writing for commercial projects geared toward visual presentation is a bit trickier, because you have to consider Censorship, presentation formatting, logical develpment, backstory support, considerable originality of various aspects and elements and very logical and clear progression of the story, plus visual contruction and dynamics, tones and moods suggested by color palettes, art styling, interproduction consistancy, and mass appeal in general, especially for Anthropomophic productions.

Foreshadowing can be useful if construction and result are important to you, but it depends on how casually you are approaching a work and whether or not you have to spell the plot out to potential co-writers and concepts or production artists.

Suspense is built directly in the writing, so beyond distinct plot points, you really can't plan it out om paper/screen beforehand, unless it is a matter of construction notes to yourself.

I personally find that it is the dialogue which makes a story, as the actions of the characters is usually spelt out in the dialogue. Locale descriptions and character action/expressions can often wait, as defining the dialogue often clearly suggests the latter and the former is usually unnecessary until last things, provided the writer has a vivid imagination. Bottom line, the more flighty and unordered your mind, the better to plan more in advance and make extensive notes. Of course, if you find you can "wing it" with favorable results, don't change things. The best way to write is YOUR way...


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## M. LeRenard (Jul 25, 2008)

I guess it seems like I get started, get stuck, write out a vague outline for the whole thing (usually single sentences to describe chapters), and then keep going with the outline sort of in mind as I go (I don't by any means adhere myself to it).  But I turned out to be one of those people who can keep nearly all of the important details in a book straight from beginning to end, even if the writing process takes years.
The crappy novel I'm writing just for FA is done entirely without an outline, and no one's complained about any gaping plot-holes yet (except how I set up the MC to be an alcoholic and then proceeded to completely ignore that aspect of his personality, but I'll worry about that later).  But outlines do help keep things straight, especially if the plot's real convoluted and sneaky.


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## lobosabio (Jul 25, 2008)

To be honest, I usually approach it the same way I do any of my other stories:  with semi-reckless abandon.  I am a firm believer in the creative power of improvisation.  However, there is a reason I said "semi-reckless".  I do at least go in with at least a vague idea what is going on in terms of plot and characters.  After I start writing, that plot might get tossed out the window or it might be kept.  I just don't know.


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