Not a bad idea! I’ll have to try theme songs.
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For me there is usually no real planning, I just try to think about what is going to happen in the story while I am working or sleeping (Lucid dreams anyone?).
Keeping a notepad with you is always a good idea if you want to write down great ideas that pop up in your head and then vanish.
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(Ooh, we should totally make a theme song thread. I am definitely jamming along to some tunes right now, too.)
I have a Wordpad file with a list of possible endings, character backgrounds, and a few vaguely defined story arcs with ‘THINGS TO INCLUDE’ written in caps. A lot of '???'s next to stuff I need to figure out and possible tweaks, too.
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I haven’t really ever used an outline before but I am learning that I really need to… I’m still just not sure how detailed I need to make them… I know of a great novel writer that uses 3 by 5 cards and writes out the basic idea of each scene and then they can move them around in different orders if need be… seemed like a good idea for this kind of writing as well.
I’m not a very visual person, so I don’t really like or need to graph out branching story lines. Typically, I’ll just write out a basic outline of the plot and work with each chapter/scene independently. Before I write the chapter I’ll write down everything that can and needs to happen and work with it from there.
If it gets convoluted, though, I find that outlining each path as an independent story is a lot easier to work with than making one massive outline with different things happening.
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I tried notebooks, kept misplacing them or getting them ruined. Since I usually have my phone, I got a free voice recording app to use for notes. (I also have a voice-to-text converter for drafting text.) they have the added benefit of being usable while my hands are full, so if I’m running errands or folding laundry I can still talk at it.
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Well… I don’t outline. Per se. Except that I do. Confused yet? ^_^’
I think that my mind works in this certain way where it’s used to organizing things like characters and plot and interactions- copying any of that down just gets redundant, although I do so if there’s a stat-related link. And I just kind of… write. I typically know what I’m going to write before I do, but I don’t typically know how long it will take me- how long it will end up and such… but I can break things down in short-term. Like what sections I want to include in a chapter, and how much I’ve gotten done- the work that I do monthly (my job) has me very used to taking things section by section and rationing a certain amount each day to meet a deadline. If I procrastinate, I know I’ve got that much more work to divvy up. Outlining tends, for me, to serve better as a tool for other people to understand my process than for me to do so.
Because I make my own card games as a hobby, I’m used to taking things in certain layers. First, I like to create an overall set of structure, or ‘rules’. This can apply to a story as well- like if it’s fantasy, is there Magic? If so, how does it work, where does it come from? What’s the technology like? The people? What’s the flavor of the world? Is it dark and scary and dangerous and largely untamed, or solidly in control by sentient races? Structure. Then, after I’ve got the overall idea, I try to work within those rules to create interesting pieces. Maybe this land views magic this certain way and so has this interesting culture that works this way because of it, or maybe this character had this happen to them in the past which makes them this certain way… whether or not that comes out in the story… is kindof up to the story. Sometimes you can coax something out, other times you can’t force it, or it’ll grind towards writer’s block on ya’. But the story winds and flows through this structure you’ve created, and it takes the path natural for it to take based on what you’ve created. Or fights against it, and you end up with a bit of story that just ‘feels’ rough somehow.
For the games I make, and so thus probably the stories, too… I try to tackle balance before I even start. In a game, this might mean different strategies of playing, or different factions you could play as. In a story, it could be gender and sexuality, as well as other aspects of personality. Trying to consider fair representation (and potential unfair representation) before even beginning. So that one style of play isn’t going to create a significantly more rewarding game/story than another. Sometimes it still happens. There’s always editing. But… I think of it as weird to write down something about something before the something itself… because the something itself explains itself. (confused again yet?) - If I create an outline for a story, and somewhere the story ends up taking an unexpected turn and half the outline is useless, I’d be more frustrated than happy- but if I don’t try writing down how I want things to go, it’s no big deal. Something where a Bob Ross would make a happy little tree. XD It seems like it belongs there because it does. Writing an outline feels kindof like trying to have precognitive powers, to me. And maybe in terms of story, an author -does-. They know what’s going to happen… but to what level of detail?? I like to keep it rather general.
For example, the outline I actually have for my CScomp entry:
This month CSComp Outline:
Stats - finished
Character introductions - finished
(this is the first compilation)
Small scene with a bad-mannered character - finished
Part where you get to choose what you do several times (time progression!) - finished!
Meal scene - finished! (but I may add more if I have time)
Another part where you choose what you do several times - (merged with first part) finished!
(second compilation point will be here)
Short bit regarding the arrival there - done
And yet another part where you choose how to spend your time - in progress (1 sections left)
Turning point scene- first major story branch and use of CScomp theme - done!
4 different -actual- endings! - done! (bonus, yo!)
(this will be the third compilation point, and goal to have reached for the CScomp entry)
It’s been revised a few times, not counting the status updates of each section. Considering the entire thing is all contained in one scene, which is the first chapter, I’ve divvied things up by way of ‘what happens in what order’. Sometimes it could be a lot of different things happening, but it still happens after or before such-and-such. ‘Sections’ aren’t necessarily even labels to me. I don’t know what to call them. Story bits. There might be several inside just one label, or there might be only one. Sometimes multiple sections sort of… conglomerate. Come together for a bit of the story. This is going to be weird, but I’m going to use Sashira’s ‘Monsters of New Haven High’ to explain because I don’t have a story of my own visible.
There’s character creation. That would be one ‘thing’. It would probably be one section divided into multiple parts depending on the race you choose (by my way of thinking about organization). Then pre-lunch would be it’s own block, with the different classes being different sections. So writing a section, when I refer to it, would be a little like writing one classroom’s worth of story, which might be further divvied up depending. Then lunch would be its own block with different sections. And study hall would be its own block with a bunch of small sections The rest of classes would be a block, and the after-school at-home would be a block. But in that story, even though the structure is the same for all of them, and there are choke-points for all the races, each block may have scene branches depending on your choice of race. @Sashira Sorry for talking so casually about your story- it’s a great reference tool for me.
So - perhaps a section is a long conversation with a character- whether or not it definately will happen. If it’s a certainty, that would be its own small ‘part’, and if it’s a possibility along with other choices, part of a larger block. I may be able to create the outline structure for a chapter… like ‘block containing blaaahh stuff’, followed by conversation with character A about blaaahh stuff, followed by branch of A thing part or B thing part depending on how character A reacted, followed by block of non-blaaahh stuff’, followed by short part talking to character A again. Maybe with a choice to talk to character B instead. And that’s about as organized as I get until I’m actually writing the part I’m on. Then I chew through it bit by bit…
I’ve kindof rambled too much, I think. Sorry everyone. ^_^’
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Old Thread Resurrection Time.
For a while I thought I was a “write it by the seat of your pants” type guy, but I’ve come to appreciate and use outlines much more. Immediately I’m seeing that there are a few big differences between creating an outline for IF and creating an outline for a prose or scripted story. This is my first venture into IF so I’ll see how my process goes, but right now my approach is writing down the premise, a rough idea of the characters, and background info about the world. Then I’m going to draft everything out in Twine and take it from there.
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Of course I have an outline, cough it’s inside my head cough.
I didn’t write my outline, because when I do. I take a step back and stare at it. It looks so outlandish. deletes outline. So basically, it’s inside my head. 
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Outlining and story structure is more of a science than an art. I don’t know if its part of human DNA or what, but even from a young age we understand what a story is. We start with a simple understanding (what feels “right”) which is enough to enjoy a movie or a novel, but if you actually want to direct and write these things, you have to learn the science behind it. This is the single greatest difference between the amateur and the published creator.
You can look towards different sources for how to outline and setup your story. I look towards screenwriters, because every scene they write costs thousands to bring to life. They can’t make it in the business if they’re wasting screen time on situations that aren’t integral to the story.
I wrote a blog post on the premise line here. And now for an example from a classic film!
Clause#1 = Character, Constriction
Clause#2 = Desire, Relationship
Clause#3 = Resistance, Adventure
Clause#4 = Adventure, ChangeA fearful, “outsider” Police Chief [Clause#1] of a small, coastal vacation town is asked to investigate the possible shark death [Clause#1] of a local swimmer, and his worst fears are realized when a marine biologist confirms the cause of death, prompting the Chief to hire a crusty local fisherman [Clause#2] to hunt down and kill the beast [Clause#2]–forcing the fisherman to take the Chief and biologist [Clause#2] along on the hunt; only to find himself caught between the town’s greedy mayor [Clause#3] demanding a quick kill so beaches can be reopened to make money again, and the controlling, resentful fisherman [Clause#3] who thinks the Chief is a wuss, and who doesn’t need or want the Chief and biologist on his boat–leading to the three men bonding as a team as they battle the monster; where the Chief proves his value and courage, overcomes his fear of water, and secures his place in the community when he saves the town by killing the beast [Clause#4].
That is the premise line for Jaws. Following and understanding these four clauses will help guide your writing like nothing else will. I can personally attest for how much more comfortable and fun writing is when you know where you’re going, how you’re going to get there, and why you need to get there in the first place!
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I’ve always been a discovery writer. Up until I started writing for CoG, I’d make a very basic outline of the story concepts, how I might want it to end, and what the setting will be like. My first three gamebooks (Westward Dystopia, Spire Ablaze, and The Lords of Benaeron) were almost entirely done off the cuff, with the settings and characters realizing themselves through my writing. I’d manage branches and keep things in order by using graphing software (yEd, to be specific) so I didn’t lose track of any given tree branch as I wrote.
Now with CoG, things had to change a little. CoG requires a fairly in-depth outline to be offered a contract, so I needed to shift my thinking a bit. For Werewolves: Haven Rising, I had the majority of the story planned out in advance, but that outline was hard as hell to write because I didn’t know the characters as I would come to know them while I was writing.
I started with the basics of course: Setting, character-skeletons, ROs… and then I added the primary variables. The primary variables being known ahead of time allowed me to come up with branches based off choice tests, and I could more easily imagine how a player would choose to build their character and choice-trees. That being visualized, I was more easily able to hack together an outline of each chapter. Of course by the end of the writing process, the ending three chapters were virtually unrecognizable from the ones in the outline other than a few key features, so even when I’m working off a plan I’m still a discovery writer at heart.
TL/DR: Outlines are important for helping you build your story and world, but don’t underestimate the ability of your mind to just run with it and let the characters breathe through your writing and dictate their own path.
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I can’t help but recognise language co-opted from “script gurus” in the screenwriting world. It’s more of the whole “one simple trick will attract producers by the dozen and make you millions when they recognise how well you’ve followed this formula I made” kind of spiel. Unfortunately it’s a bit (read: predatorily) misleading.
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I don’t…
well…I don’t write down anything . I always sucked at making plans…write down your thoughs , write downs something for later…write down stuff !
I use my brain like the library + safe where everything is stored . when I do this outline stuff ? I do it in my brain lol if it fly fine then I can start writing . Unless I get a clear picture in my mind…I can keep musing until I get it .
I think about the scene , actions , characters all of this when I go to bed lol brainstorming before sleep…put me to sleep 
I have no idea about selling scripts, @will, or really even about getting published (Hosted Games takes everybody that meets a basic criteria). I’m sorry that my words came across that way. What I actually wanted to say was that outlining is what tends to separate people who start these games and those who actually finish them and get them released.
You can definitely do it without outlining and luck into some story structure. I did it with Fatehaven. But it was slow going, the ending sucked, and there was about a half a hundred other problems that could’ve been avoided had I spent a week or two outlining before writing page 1. I strongly encourage writers to take the time because it really pays dividends when you’re in the thick of it.
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Story structure and the Hero’s Journey is pretty basic Writing 101 stuff. It’s important, but you can have all of that and still be a bad writer.
I ran across this blog post by the Choicescript team that has actually helped me immensely. I’ve already planned a lot for my story and have more ideas I’m ready to write down once I can get to my computer and get some free time.
As I am totally chaotic, I first make the outlines on paper, then lose the papers. Then I remake them on the Desktop, and afterwards crash the computer. So I now have detailed outlines in my mind, and have to find another Motivation, to Pin them down, again. 
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Your mind is not chaotic, it is organize in its own way
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