Two days in an empty house, one of which spent beating my head against the wall of exhaustion masking as writer’s block, four colours of Sharpie, 107 index cards and a pot of goulash. That’s what it took to completely re-outline Underworld Calling, my supernatural thriller, from scratch. Into that rewrite went notes from members of the London Writers’ Circle, friends on Twitter and excellent paid feedback from Drew Hilton, the Screenplay Mechanic.
As much as I loved the ideas and characters, and the last draft and story as a whole, I knew it had major issues: Dangling plotlines, insufficient visual and commercial appeal, redundant characters and poor structure. Most of it was due to not outlining from the get-go, then re-tinkering with it over and over, rather than just biting the bullet and outlining it all over again. My key tool to ensure the story was nice and tight this time around was to enquire of my inner five-year old. Every index card was greeted with a plaintive ‘But whyyyy?!’. And if I couldn’t answer it simply on the index card, it got shuffled off until I had either an answer or a better plot point. And by that method, many darlings were murdered, sometimes literally, always brutally.
I’m a long way from done, of course. There are currently oodles of index cards on the floor, in columns by sequence. I’ve taken photos, but I need to write them up, and then turn them into a treatment. And when all that’s done, then starts the actual writing wherein there’s a decent chance the plot and characters and outline will shift a little. But I have a solid starting point, an outline that has managed to survive my most brutal self-criticism, and the relentless enquiries of said inner five-year old. And that’s no bad thing at all.