Outline Picture

(Click on the photo to make it larger and more visible)

The Roller Coaster Outline:

Before you take a glance at this and walk away confused. It’s not as complicated as you might think. Looking at the provided picture and then each step. You’ll get it in no time.

Act I - Steps 1-4 + 14-15:

ACCENT BIT (14) - Prologue:

A short scene or sequence that explains the protagonist’s backstory, and possible childhood wound that gives understanding to his motivation or character.

ACCENT BIT (15) - First Image:

An opening image that establishes the emotional tone and setting of the beginning of the story. In a redemptive story, this image may visualize the epitome of the negative side of the moral premise.

Step 1 - LIFE BEFORE [Sequence]:

Your Protagonist (P) has a life, but it’s not perfect. He misses something physical and upstairs there’s a bolt that is either missing or not properly torqued. The P doesn’t know it, but we do. In retrospect, we will notice that put on display in these first minutes of the story are two values, a virtue and an opposing vice, which establish the core motivational conflict of the story. Both values will be evident in all the main characters, and in retrospect they will best be described in the story’s moral premise statement. [a psychological vice] leads to [physical detriment]; but [a psychological virtue] leads to [physical betterment].

Step 2 - THE INCITING INCIDENT [1st Turning Point (TP) 10-15%]:

That antagonist does something that incites the P to recognize the need for change. The change will center around a physical goal and a psychological need. This moment will be the first explicit point at which the core conflict of values in the story are brought front and center.

Step 3 - REJECTS OPPORTUNITY [Sequence]:

The P rejects the need to go after the goal or psychologically change. His friends debate the want and the need with him, the antagonist teases, but the P thinks he is “happy” and refuses the call.

Step 4 - ACT 1 CLIMAX/ACCEPTS OPPORTUNITY (Disaster 1) [2nd TP - 25%]:

The debates and the teasing culminate, coalesce, and boil over in the P’s mind and life, and he makes the decision to pursue the journey. He sets before him a physical goal and decides to go for it. He is probably not aware of the physical or psychological consequences of his decision, or the changes his life will go through, but the die is cast and he’s on his way into the Special World of the Journey. The events depicted in the Climax must be the consequence of his want and need, and he must be the one that chooses to resolve the climax and leave the ordinary world behind and strive to change.

Act II - Steps 5-8 + 16-18:

ACCENT BIT (16) - B-STORY BEGINS (noted by the inverted green triangle at beginning of Act 2):

The B-Story is a subplot involving a character close to the protagonist, such as the romance character, a close friendship, or mentor whose appearance only makes sense because the protagonist had the guts to cross the threshold into the Special World of Act 2 and go on the journey. The B-Story starts within a couple scenes of the protagonist crossing the threshold.

Step 5 - PROTAGONIST (P) TRIES THE NEGATIVE SIDE OF THE MORAL PREMISE (MP) [Sequence]:

In his naive pursuit of the physical goal, the P puts to use his well-worn, tried, and tired vice to get at what he wants. But he has entered a special world, both physically and psychologically. It’s an adventure that will test his body, mind, and spirit… and the values of this place are different. The P’s vice is brought to the forefront of the story mostly in the life and character of the antagonist. Yes, the psychological need (the virtue) of the P is evident, if one looks for it, but what is evident is the role of the antagonist who lures and tempts the P to use the powers of the vice to make progress. Yet, regardless of what the P tries, he makes little progress toward his goal. He won’t see it, but preventing him from making progress is that pesky vice and the natural law consequences of it. Autocracy doesn’t result in teamwork. Arrogance doesn’t lead to relationships. Greed doesn’t foster shared responsibility.

ACCENT BIT (17) - PINCH POINT A:

In novel writing this refers to the appearance of the antagonistic force in one of various forms. One reason second acts bog down is that the protagonist is not being stirred up by the opposing force to his or her journey. This is not a turning point. It’s a reminder that there’s a conflict that is between the protagonist and his or her goal. It is this force that prompts the Moment of Grace. Thus the Pinch Point gives the writer a reminder that the MOG is not going to be realized without conflict.

Step 6 - The Moment of Grace - The Mid-Point (Disaster 1) [3rd TP - 50%]:

This is the mid-point, where story gurus will tell you that the P makes an all or nothing commitment to the journey. And they will be right. This moment in the story, however, is not usually a big physical action moment. It is rather one of subtle but deep realizations. The events of Step 5 will have conspired to form in the P’s mind a conclusion… that using the vice side of the moral premise isn’t working. and he needs to try something else. He BEGINS to understand and use the virtuous side of the moral premise statement to achieve his goal. In LIAR! LIAR! Jim Carey’s FLETCHER REEDE realizes (as he stands literally on the fence line between imprisonment and freedom for him and his towed car) that he’s been a bad father. FLETCHER turns from lying to seeing the value in telling the truth. In KARATE KID V Jaden Smith’s DRE suddenly discovers that the “put on jacket, take off jacket” exercises that he has so disrespected, have taught him how to defend himself against the attacks of an aggressor. DRE turns from disrespect to respect. In A BEAUTIFUL MIND! Russell Crowe’s JOHN NASH discovers that he can control the sick side of his mind with the strong side of his mind and he stops taking his medication. He turns from depending on others to taking personal responsibility. The P will not have learned the lesson perfectly at this point, because we still have half the movie to cover, and there is strength to be gained through exercise, both physically and mentally.

Step 7 - P TRIES THE POSITIVE SIDE OF THE MP [Sequence]:

Now that real progress can be made toward the goal, the stakes are raised. The antagonist sees that all may be lost, and so even greater obstacles are raised against the P’s portending success. Thus the conflicts become more frequent or of greater difficulty. It seems during this part of the story that both the P and the antagonist both make progress. At least the antagonist is scared that the P is gaining on him.

ACCENT BIT (18) - PINCH POINT B:

This serves the same basic purpose of PINCH POINT A in Act 2. Except this time the Pinch Point is more aggressive and actually contributes to the A2 Climax and the false end of the story. It is the antagonist rising up and apparently defeating the protagonist, which brings on the Near Death of the A2 Climax.

Step 8 - ACT 2 CLIMAX/BURNS BRIDGE, FALSE END (Disaster 1) [3nd TP - 75%]:

Finally, the P makes a decision that is the equivalent of burning his bridges. He removes the last remnant of the vice mask that he has worn. He reveals his true essence, and engages the antagonist. The only problem is that the antagonist wins the battle, and it appears that the P is forever lost and doomed. At times it can appear that movie is over. End of story. The P has given his all and lost.

Act III - Steps 9-13 + 19-20:

Step 9 - Dark Night of the Soul, All or Nothing Decision Reached, Removal of the Mask [Sequence]:

The P rises out of the ashes of battle in Step 8, passes through a dark period of contemplation and consideration, and now at least mentally stronger with a perfect understanding of his true essence, he enters the lair of the antagonist with a small team at his side. He has removed a mask of false identity (having lost it in the Act 2 climax) and this rally’s those most loyal to him. Time is now the essence of virtue; things move quickly. He and his small force forge and sharpen their “swords” and begin the attack, face-to-face, hand-to-hand. This can be described as the beginning of the story’s climax, but as you’ll see there are turns ahead.

(Formerly, labeled Step 9 “Hand-to-Hand Combat,”

what I meant was that it was the preparation for Hand-to-Hand Combat. Often the Resurrection Beat accent (description that follows) will occur early in Step 9, allowing the protagonist and cohorts to actually prepare with their hands for a battle even as they fight their inner turmoil and despair.)

ACCENT Bit (19) - Resurrection Beat (noted by the inverted green triangle at beginning of Act 2):

The moment when the P is given a hopeful revelation as to the solution to his predicament that is capable of bringing him out of the despair of Step 9. But before he can act on this new and possibly supernatural insight…the final incident occurs.

Step 10 - Final Incident [4th TP - 85%]:

But the antagonist has one more trick up his sleeve, or is stronger in one way or another, and is able to defend his position, and move the P’s forces to the side, make them ineffective or kill them. Like the inciting incident this final incident is the moral decision by the antagonist. Yet, where in Act 1 the action was offensive, now the antagonist’s decision/action is defensive. But it is has impact. It has the effect of making the entire conflict PERSONAL for the protagonist. It’s no longer about the team, because through this final incident the larger picture has been shoved aside.

Step 11 - Prepare to Die [Sequence]:

Now it has gotten down to this. The P must face the dragon alone. There are no others. It is the pure essence of the protagonist against the “false” identify of the protagonist personified in the antagonist. It is the vice vs. the virtue, in the metaphoric forms of the two main characters. Whether the weapons of choice are words, tortes, knives, guns, or a flying round-house kick - the story’s outcome is being prepared by the protagonist and antagonist during this sequence.

Step 12 - Hand-to-Hand Death Fight. Act 3 Climax - Victory or Defeat [5th TP - 95%]:

This step may be either an escalated continuation of the action or events in Step 11 or a discrete battle. In a tragedy the P will decide wrongly and be utterly destroyed. In a redemptive story the P will give his all, and in one final flurry of effort, decide to use the one weapon or tool or word to win the day.

Step 13 - Dénouement - Life After [Sequence]:

We show the final consequences of the many decisions and turning points of the story. In an action story, this will be less than a minute in length. In more serious drama it will take 5 minutes. But it is quick. One thing that’s important to show is that even after all the P has been through, and although we now see the essence of the character shine (in a redemptive story) or the tragic end (in a tragedy), or the improvement of life – perfection never reigns supreme. Things are better or worse, but never perfect.

ACCENT BIT (20) - Last Image:

A closing image that establishes the emotional tone and setting at the end of the story. In a redemptive story, this image may visualize the epitome of the positive side of the moral premise.

Do you like my longer outlines like this one or do you prefer the shorter ones? Drop me a comment down below.