Discover the most popular and inspiring quotes and sayings on the topic of Outline. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Outline Quotes And Sayings by 97 Authors including Kami Garcia,Marie Lu,Ali Smith,Sun Tzu,Milan Kundera for you to enjoy and share.
I start with a beat sheet, which is more of an abbreviated outline. It hits all the major plot points. From there, I move to note cards. But the most important part of my process is my inspiration board.
I am a hopeless pantser, so I don't do much outlining. A thought will occur to me, and I'll just throw it into the story. I tell myself I'll worry about untangling it later. I'm glad no one sees my first drafts except for my poor editor and agent.
Here was all about the visible-invisible borders, the thin lines between here and gone, then and now, here and there, random and meant, big and small.
Chapter1
Laying Plans
Draw a line; draw a line that pleases you. And remember that it is not the artist's role to copy the outlines of things but to create a world of his own lines on paper. (pp.28-29)
I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.
The sketch hunter moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook.
My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.
Outline of your frame
My paper witness your silhouette
Sipping in coffee
My muse, my Juliet.
Afternoon spent,
In hungry desires
Ending with a kiss
On your coffee lips.
I remember being taught in school that you would underline things that you liked. I remember just underlining everything as a kid, thinking, 'This has all gotta be important!' I would just underline the whole thing!
In writing one draws in the rest, the forgotten parts.
Line is so versatile - you can do a fine, tight, closely observed description or simply put a line around an idea - like a cartoonist.
Pencil in your plans but write your visions in ink
colored pencils to fill in blank spaces. Being
When I'm doing a drawing, I'm personifying the place that is empty. A place that is unmarked.
I don't like outlining, because books are organic things. Sometimes a book doesn't want to be written in a certain way.
A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.
The lines are all imagined.
Within these margins I find my serenity - with a blank page and a pencil, I am set free.
I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.
It is what is painted between the outlines that makes the difference between merely competent painting and really meaningful art.
I wrote my first novel in the same conditions as most first novelists - I had a full-time job, I shared an apartment, I had no time - and so I became a compulsive outliner of everything. Ever since then, my process has consisted of trying to forcibly rid myself of that compulsion.
I try to make concrete that which is abstract.
When I'm writing the first draft, I'm writing in a very slovenly way: anything to get the outline of the story on paper.
First I have a think, and then I put a line around it.
The abstract is no more than an instrument, an organ, to see the concrete clearly.
I start with an idea that is no more than a paragraph long, and expand it slowly into an outline. But I'm always surprised by the directions things take when I actually start writing.
You need demarcation."
"Demarcation?" I asked.
"It means a clear separation between two things," he told me. "A solid end before a clean beginning. No murky borders. Clarity.
Drawing is the art of being able to leave an accurate record of
the experience of what one isn't, of what one doesn't know. A
great drawer is either confirming beautifully what is commonplace
or probing authoritatively the unknown.
::: Brett Whiteley :::
Writing is a process of discovering. I could never outline a narrative; that just sounds boring. There's no joy of discovery in what you're doing if that's your strategy.
In my stand-up, I generally improvise from an outline.
Abstract is not a style. I simply want to make a surface work. This is just a use of space and form: it's an ambivalence of forms and space.
Even someone you've inhabited rooms with, and seen naked everyday, seen sitting on the toilet through a half-opened door, can fade out after a while and become an outline.
These rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes saps the vitality and powers of those who never know when to leave off.
I chart a little first-list of names, rough synopsis of chapters, and so on. But one daren't overplan; so many things are generated by the sheer act of writing.
Don't start with the details. Start with the key ideas, and in a hierarchical fashion, form the details around these larger notions.
Pure geometrical regularity gives a certain pleasure to men troubled by the obscurity of outside appearance. The geometrical line is something absolutely distinct from the messiness, the confusion, and the accidental details of existing things.
The triumph of an uncluttered mind.
To know what you're going to draw, you have to begin drawing.
I've often wished when I started a book I knew what was going to happen. I talked to writers who write 80-page outlines, and I'm just in awe of that.
SOON was the first novel where I used a rough outline. Usually I have characters and an idea and write as a process of discovery. Like working without a net.
If you are drawing a blank, or are having a hard time drawing a certain thing, then it is because you have not studied it enough.
The motif must always be set down in a simple way, easily grasped and understood by the beholder. By the elimination of superfluous detail, the spectator should be led along the road that the artist indicates to him, and from the first be made to notice what the artist has felt.
I don't want to be penciled in anywhere, pencil can be erased.
Drawing is a form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.
When I make my drawings ... the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.
The fundamental thing about sketching is that it isabout asking not telling
I never work from an outline, and often I don't know how the story will end.
I envy those writers who outline their novels, who know where they're going. But I find writing is a process of discovery.
Somebody was using the pencil.
A life of clean lines
The essence of drawing is the line exploring space.
The second draft is on yellow paper, that's when I work on characterizations. The third is pink, I work on story motivations. Then blue, that's where I cut, cut, cut.
Launch your vessel, And crowd your canvas, And, ere it vanishes Over the margin, After it, follow it, FollowThe Gleam.
I finally get to the place where the book has matured in my mind and I can hardly wait to start writing it. Then I just sit down and I start. I hit the go button. I have an outline, which is 70 pages, but I don't look at it. I never have to look at it.
I write to cover a frame of ideas.
Draw what you see.
A blank is the only thing I draw well. --T-SHIRT
John looks at the motorcycle and he sees steel in various shapes and has negative feelings about these steel shapes and turns off the whole thing. I look at the shapes of the steel now and I see ideas. He thinks I'm working on parts. I'm working on concepts.
My outlines are always very goal-based. What do I want to have happen by the ending and how can I earn that.
You ask me what I'm looking for, and I outline you.
you don't recognize the shape, offer other names.
you say my time will come, and I hope.
drawing pad. He withdrew it and
I think best with a pencil in my hand.
Be Lion in drawing a Line
Someone who is incapable of drawing, and cannot master line or colour perspective can always express themselves in some form of abstraction.
From the outset my main concern was with the shape and the self-contained nature of discrete things, the curve of banisters on a staircase, the molding of a stone arch over a gateway, the tangled precision of the blades in a tussock of dried grass.
Look at the subject as if you have never seen it before. Examine it from every side. Draw its outline with your eyes or in the air with your hands, and saturate yourself with it.
What comes to me always is a character, a scene, a moment. That's going to be the beginning. Then, as I write, I begin to perceive an ending. I begin to see a destination, although sometimes that changes. And then, of course, there's the whole middle section looming.
I am a big proponent of writing a great outline. That way you can avoid hitting a roadblock. There is no worse feeling than writing yourself into a corner but if you've figured it all out in the outline then you won't have that problem.
Since I've been rereading this book I'm anchored at point zero, considering a thousand strategies and points of view which soon dissolve, abstraction, abstraction, the gaze melts.
My technique, starting with a quick outline in pencil, is designed to record first impressions, with no time for second thoughts.
She eased across the creaking floorboards to the nearest window.
The view encompassed the woods, with dark shapes smeared into one entity, like in her sketchbook.
What lay amongst the trees?
How to Draw a Picture (XII)
Know when you're finished, and when you are, put your pencil or your paintbrush down. All the rest is only life.
I use a special tool. I make it myself; very sharp steel point and a handle like a pencil. For me it is a pencil. Maybe I have a special talent, a feeling you might say that lets me control it, to express my ideas as though I were sketching black on white.
My preference for clear structures is the result of my desire - perhaps illusory - to keep track of things and maintain my grip on the world.
I have notebooks and sketchbooks for ideas. I also have drawers full of envelopes covered in quick outlines, scenes or scraps of dialogue that I don't want to forget. I tend to grab whatever's to hand and just get the thing down before it's lost. It's not what you would call a streamlined system.
Writing takes a pen, a sheet of paper and, to start with, just the shadow of an idea.
For 'The Big Wander,' I probably had ten different outlines before I made myself start writing. I would sleep on each one, thinking it was wonderful, but I would always awake perceiving some flaw.
I sometimes begin a drawing with no preconceived problem to solve, with only the desire to use pencil on paper ... but as my eye takes in what is so produced, a point arrives where some idea crystallizes, and then a control and ordering begins to take place.
I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
from outside: I have
drawn no lines
tersely. Then the line
Writing is not a series of strokes, but space, divided into characteristic shapes by strokes.
My goal is to draw a line with some 'flavor' to it.
The very act of drawing an object, however badly, swiftly takes the drawer from a woolly sense of what the object looks like to a precise awareness of its component parts and particularities.
Pure drawing is an abstraction.
When I teach sketch writing, there's still a beginning, middle and end.
Eight years ago, I wouldn't have painted this subject I'm starting now: a clearing filled with grasses. It would have seemed too much of a jumble. I had to keep looking and drawing, and looking. Now, because of all that time I spent drawing these grasses, I know what I'm looking for.
My books were always full of ink blots, always stained and covered with smeared sketches and pictures, which one draws idly when his attention wanders from his task.
There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.
I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
I don't take notes; I don't outline, I don't do anything like that. I just flail away at the goddamn thing. I'm a salami writer. I try to write good salami, but salami is salami. You can't sell it as caviar.
Drawing architecture is a "schizoid" act: it involves reducing the world to a piece of paper.
I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better.
I sit at my desk
each night with no place to go,
opening the wrinkled maps of Milwaukee and Buffalo,
the whole U.S.,
its cemeteries, its arbitrary time zones,
through routes like small veins, capitals like small stones.
How People Learn. If you want people to be able to pay attention, don't start with details. Start with the key ideas and, in a hierarchical fashion, form the details around these larger notions. Meaning before details.
redacted proposals.
I think of it as the lasagna approach to writing because I'm always adding layers. I'll sometimes do it layer by layer, with dialogue, attribution, action, objects in the scene, setting ... It can be sometimes that delineated.
When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain.
I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.