Thread by @reimenayee, A thread on creating a story outline based on the Onion Method [...]

A thread on creating a story outline based on the Onion Method (one of many valid ways): (1/)

This is my own homebrew method of developing a story outline. The Onion Method is thus focused on graphic novels, but I hear it's applicable to other forms of fictional writing (prose, etc). The most important caveat is that it's best suited for character-centric stories. (2/)

The Onion Method is a outline method that consists of two major elements (Character-Driven Plot and Thematic Thesis) riffing off each other, producing multiple alternating layers in conversation laser-focused on the story's realisation. (3/)

These 2 elements together will create an Onion Story – a character-based story which when cut open, reveals layers upon layers of character motivation and story themes, ideas, topics, messages in tandem with each other. (4/)

The main goal of an Onion Story is to create an emotional response in the reader that correlates with its intellectual response. For example, if you want to make a book that thematically critiques Orientalism... (5/)

You may also want to provoke empathy from the reader towards the character who experiences Orientalism, so they can feel hurt when the chara is viewed falsely; disgust when the chara encounters Orientalist stereotypes; etc (6/)

This empathy is itself a critique of Orientalism, because it puts the reader in the emotional and mental headspace of the character, therefore disproving the entire premise of the Other as the Unknowable, Foreign Non-Person. (7/)

This was how I wrote my historical comics, The Carpet Merchant of Konstantiniyya. See how the emotional response in my example enhances the theme (the thesis), and how the thesis prompts the emotional response. (8/)

ASK: Who is the agent of the emotional response? Where should the reader experience emotions from?
ANSWER: Strictly the character. (9/)

The plot of The Carpet Merchant is very much based on the character — you can’t switch him easily for anybody else, even if it’s a small change, because it’d mean changing the historical context, the angle of critique, the emotional stakes, the thesis even. (10/)

When you remove him specifically, the entire book no longer exist – its structure collapses. The onion unravels.

Character is the foundation of every Onion Story. But why all this fuss? (11/)

The idea behind this Onion Method is your reader will remember your book better if they are given a reason to care. Rather than focusing cerebrally on a theme, we're putting a lot of power in the human desire for feeling. (12/)

If you like books that explore big themes using characters as the point of conversation, and if you’re a big fan of empathy in storytelling, then this Method may be of use to you. (13/)

But the Method is best suited for stories that are character-driven w/ a preferably tightknit cast (it's possible to write an epic Onion w/ multiple POVs, but it requires a high level of craft)... and (14/)

It's best suited for stories that actively consider and explore big themes in the narrative from the get-go. (15/)

The Onion Method is less effective — in fact it’s not necessary — for books that are autobiographical, slice-of-life, educational, or anything extremely self-indulgent. Not cos of gatekeeping reasons, but cos the Method is tailored for specific goals and scope (16/)

The Onion Method is also the opposite of automated, formulaic writing. As I will explain in the process below, the Onion Method forces you to treat each book individually. It requires a lot of back and forth thinking. (17/)

While I think the Onion Method can be adapted for a pipeline, the rush of a deadline, or the lack of creative coordination between an author and artist (if they are not the same person), may stifle the true potential of an Onion Story. (18/)

Whether the Onion Method makes sense for you depends on your goals for your book, how you work, and if you want to engage deeply in thematic ideas. Luckily there are a lot of advice and alternative methods available, so you don’t even have to listen to me. (19/)

PROCESS FOR THE ONION METHOD
As mentioned, there are two components of an Onion Story: character-driven plot, and thematic thesis.
Note that the nature of the Onion Method means each book must be approached individually. (20/)

It teaches you the skills to make a custom-tailored shirt for each unique body, rather than provide you a one-size-fits-all shirt to place everybody into. Every book comes to life in different ways and requires different needs. The Onion Method is about listening. (21/)

DEFINING TERMS:
CHARACTER DRIVEN PLOT
A story that arises from a character’s internal motivations, or/and from the r'ships between multiple characters. The majority of the narrative is influenced by the actions, thoughts and emotions of the character(s), rather than the inverse.

Term: THESIS
The voice of the book. Its direction. Its end-goal. Its message. Its purpose. The reason why you the author are making this story, and the takeaways you want the readers to get out of it. More simply, themes. (23/)

So how do I bring character and theme together? I'll be using an example from my latest book - Seance Tea Party.

I begin with the character first.

Character-Driven Plot: Lora is 12 years old. She is afraid of growing up and becoming a teenager. (24/)

Then I ask myself: “Why?” I keep digging as deep as possible about my character, even sometimes going off-tangent. I just let the character grow naturally. Most times this means having to put the book aside, in the background of your mind as you work on other things. (25/)

I keep digging and stewing until…

Character-Driven Plot: Because growing up means moving on from her childhood.

I find the starting point of a thesis.

Thesis: Growing up is scary.

(26/)

And I let the thesis talk with the character-driven plot.

Character-Driven Plot: But Lora can’t avoid growing up forever. She’ll have to, sooner or later.

Thesis: Yes, and growing up can happen suddenly that you don’t even know you have done it.

(27/)

CDP: But it doesn’t mean she gets over being scared

T: Ok, so what is the real problem then? What is the fear actually about?

CDP: Maybe Lora is afraid of growing up because she actually doesn’t want to become old. Afterall, being a teenager is one step closer to being an Adult

And so on, so forth (the whole line of thinking is my blog post, which I'll link below). It keeps going, growing in nuance and emotional complexity, bringing the reader response in, until the Thesis or Character hits a jackpot... (29/)

Thesis: Because what that fear actually is, is not knowing what to do with the sudden freedom to do anything and be anyone. What do we want to say about this, to the kids who will be reading this story? (30/)

Character-Driven Plot and Thesis: That this freedom – growing up – is something to celebrate. That this freedom means you’ll never be robbed of yourself, because you always have the choice to stay true to who you are. Growing up stops becoming scary.

AND THERE IT IS! (31/)

At this point, once I’ve gotten into the heart of the story, I can start going wild. I do that fancy writer thing of letting the story flow from my head to the page. I engineer everything to cater to that heart. (32/)

The book becomes driven and purposeful, and naturally has confidence, because as the author, I know exactly what I want to do. I have already grown and harvested my onion and can finally cook it. (33/)

BUT this doesn't mean there's no spontaneous writing, the thing is: it’s all during the brain stew stage. Additionally, in my experience, even after that stage, when I’ve gotten the heart of the story, I still have surprises to be delighted by. (34/)

Due to the continual interaction with the character-driven plot, the thesis will continue to grow, expand, mature, improve, etc. Vice versa. Your character will somehow end up doing something that will change the narrative, and this might have implications for the thesis. (35/)

Should you amend? Should you keep? Should you revamp? And what options does the reformed thesis offer for us and our characters? The Onion Method is dynamic. It starts from the moment you have the idea in your head and ends when you finish that last page. (36/)

What you end up with can be different than what you started. But it'll always have that core, that sureness, and a thoughtfulness. The possibilities are endless! (37/)

The Onion Method for Outlining Stories was originally posted in my blog https://blog.reimenayee.com/graphic-novel-outline-onion-method/ Click for more words and stuff that I couldn't fit into the thread. :O

How I Outline a Graphic Novel: The Onion Method - Blog - Reimena Yee

The Onion Method is an outline writing method based on two major elements (Character and Theme) riffing off each other. Developed by Reimena Yee.

https://blog.reimenayee.com/graphic-novel-outline-onion-method/

And if you'd like to check out my books (The Carpet Merchant and Seance Tea Party), you can buy them here: https://reimenayee.com/buybooks Anyway, hope this helps!

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