The 8 Point Story Outline: It’s as easy as 1-2-3…-4-5-6-7-8. The clue's in the name! Outlining a story is no easy feat and there is no 'one size fits all' style when it comes to this part of the planning process. Fortunately there are many tried-and-tested methods which many writers swear by.

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Point 1 - Routine

Opening a story should give the reader the opportunity to understand the 'status quo'. This could be how your characters live their everyday lives, establishing the current 'normal' before the upcoming upheaval. Or, for those who like to open with action and disruption, the reader should know what is being disrupted. This orientation acts as a soft intro rather than letting readers fall with a thump into a life they know nothing about. Not only will readers be more likely to push on feeling capable, but later events will be better received if there's clear understanding early on.

Point 2 - Inciting Incident

Think of this as the moment readers can look back on as 'the moment that started it all'. Upsetting the 'routine' does not need to be explosive or directly impact the protagonists, but it should at the very least start the waves of consequences that they will need to react to. In essence, it is whatever kick-starts the whole story. These incidents could be positive, such as an exciting job offer which will take our hero somewhere new, or negative, such as a death or betrayal. Either way, the everyday life has now been disrupted and we are set on a new path. It should be clear why this 'inciting incident' has not occurred before, and why now. After all, arbitrary or random turns of events rarely satisfy readers.

Point 3 - Story Goal

Otherwise known as the ‘story quest’, this will drive the main action and motivations of the characters involved. Now that the 'inciting incident' has upheaved the characters into a new direction, it is a good idea to identify the overarching goal of the story - what the protagonist wants to achieve before the story's conclusion. What is their accepted solution to the main problem?

A few things to note: First, over-arching goals do not need to be morally upright. In other words, the reader may not agree with the protagonist(s) desires but they do need to understand why they are what they are. Second, they do not need to achieve their goal, but they must have one. Third, the goal does not need to remain the save beginning to end. Mid-story twists often cause characters to re-evaluate their entire plan - do not be afraid of letting events mould the end goal. Forth, it is helpful to differentiate between 'major' and 'minor' goals, and jot down some smaller, less important objectives for various characters to have. These minor objectives could involve love interests, small victories, personal growth moments and other noteworthy boxes your characters may look to check before the last page. Separating them from the main plot goal allows you to keep the over-arching objective clear.

Point 4 - Complications

These are the obstacles which stand in the way of your character’s road to achieving their goal. Complications can vary in severity and size, and last anywhere from a page to the main bulk of the plot. A good story keeps things varied, and has at least one complication which messes with the protagonist’s morals and one that genuinely seems almost impossible to overcome. Throwing in minor barriers here and there will keep readers on the edge of their seat and allow for periodic elation when any complication is overcome. This may be the right moment to look at your 'minor objectives' and manouver events to challenge their goals.

Point 5 - Response

Each complication should have a corresponding response which aims to ‘fix’ it. It can come from any of the characters, intentional or accidental. The response might fix one problem, multiple, or none at all. Some may perhaps cause additional problems. One complication may have numerous responses as characters try and fail to beat the issue. A well-thought out response may not immediately fix the problem, but instead require time. Or, perhaps a fix for Problem A fails, but unintentionally fixes Problem D later in the story. Readers enjoy not knowing if their responses will work, so it is good practice to keep results varied. A protagonist who repeatedly gets out of issues first try will become very boring to follow, and yet one who consistently fails could be too depressing. Switch up the response results to keep it interesting.

Point 6 - Climax

This is the highest point of tension, the final challenge and your protagonist’s major stand. Tension before this should be rising to reach a crescendo-effect - and readers should be aware that 'this is it'. How do you achieve this notion? The eventual appearance of a 'big bad', the promise that this event will make-or-break the main objective, or the long-foretold occasion that the preceeding events have been angled towards should be big clues. After the climax, the tension should drop and some (or all) complications should be resolved. Excellent elements for this section include: testing a character’s strength, requiring them to use what they have learned before this point to succeed, and some form of give-and-take in the struggle. Whatever the outcome is, you should ensure it is justified. Unearned success - such as the young, inexperienced farm boy winning a sword fight against a renowned knight will not sit right with even the most optimistic of readers.

Point 7 - Impact

Now that the climax is over, the effects of the result should be made known. This is when the chips are dropped, and the protagonists and reader are watching where they land. There could be some knock-on events happening here, though not as intense or key as the climax proved to be. This may be where disarray is smoothed out or – if you plan to write a sad ending or extend the story into a second book – new conflicts rear their heads. This should read as a 'process', with action still taking place and situations morphing.

Point 8 - Conclusion

No matter if you plan to continue the story in another book or if it is an unhappy ending, the ‘New Normal’ is setting up a foundation. It will prove to be a low-intensity portion which establishes the way the world is now. A new routine should be laid out, life going back to ‘stability’, and concluding the story on a more reflective note. Characters will be working within the new confines, either happily or disgruntled. There is nothing wrong with looking to the future - after all, this new normal may be opening up new avenues or experiences. By the end, readers should feel that the story's arc was worth investing in and - good or bad ending - this must mean something has changed. Situations, personalities, relationships or simply outlooks should be altered to make clear we are not back where we started.