What do you think of the snowflake method?

As a comics writer, I used the snowflake method long before I knew people called it that. It just lends itself naturally to breaking stories down into acts, acts into pages, pages into panels. I used to call it the outside-in approach.

I'd start by roughing out the acts as far as I knew them at the point, then deciding how many pages each act should have. Next, I'd break the acts down into as many beats as I had pages, pencillling each beat description on top of a notebook page, leaving the blanks, well, blank. (This is why I love this approach: It doesn't just tell me there are blanks. It tells me where exactly they are and, knowing about story structure, what should happen at that point.) Then flesh out the pages either panel-by-panel or as continuous scenes, whatever works, still as outlines. That's when I'd start scripting.

You'll notice the past tense. I just finished a new book of Conny Van Ehlsing shorts, and while compiling the back matter, I noticed I didn't actually have scripts for any of the stories. Mostly for time reasons (at least I think that's why), I went straight from the roughest outlines to pencilling the thumbnail pages, doing the actual scripting in the pencils.

So I guess I'm not a very strict snowflake guy. But it's a good method especially when you're unsure what needs to happen when, or when you get stuck plotting.

Max Vaehling said:

As a comics writer, I used the snowflake method long before I knew people called it that. It just lends itself naturally to breaking stories down into acts, acts into pages, pages into panels. I used to call it the outside-in approach.

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I've noticed that many screenwriting how-tos follow a similar philosophy. Outside-in is a good way of putting it: start from the whole and work your way to the smallest parts... first a concept, then a synopsis, then a treatment, then a first draft... For some reason, in novel and short story writing it seems to be more common to start from the small stuff and build towards the whole. I don't know why this is—both types of writing have roughly equal amount of creative challenge to them and the act of writing is always the same. Maybe scriptwriters are less burdened by Romantic notions of how an artist should work?

bearilou said:

How odd because I also love ordered, structured and to have rules and I found Snowflake fit the bill for me. Funny how that works.

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Lol! Right? It's weird that I feel like it's pantsing. I tried it when I thought I was "supposed" to be a pantser and it was too hard then, too. I just couldn't do it. I think it's because the way the method wants you to order the discovery process. I can't do it in the order snowflake steps fall in.

I'm sure I didn't explain it well but it's a really hard thing to explain, I think.

I always did it more or less like this, only I didn't have a name for it. This is the first time I'm actually trying out the snowflake method, however (I have a rather complicated mystery plot this time so I felt I needed to do a pretty thorough outline). While I can tell I am going to deviate, I'm liking it so far. Since I have have a cast where everyone has their own distinct hidden agenda, I like that it is so character-focused.

Orchestra said:

I've noticed that many screenwriting how-tos follow a similar philosophy.

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That's because you can't teach people to just start writing and see where it leads them. That's just practice. You can, however, teach analytic aspects of writing like story structure and stuff.

For some reason, in novel and short story writing it seems to be more common to start from the small stuff and build towards the whole. I don't know why this is—both types of writing have roughly equal amount of creative challenge to them and the act of writing is always the same. Maybe scriptwriters are less burdened by Romantic notions of how an artist should work?

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I think graphic novelists do that, too. It's the whole notion of Not Being Restricted By Structure And Page Counts. Me, I find page counts and story structure endlessly useful. Even blank pages aren't entirely blank when you have a feel for what needs to go there, structurally. It's so much easier to start from there. Also, it forces me to edit more strictly than I would otherwise.

I guess if I were to write a screenplay, I'd folllow Bill Cunningham's advice and make it exactly 90 pages.

I've tried the Snowflake method, but I skip or skim through some of the steps. I do like the approach, especially for getting to the heart of the story in terms of theme and emotion.

Mharvey said:

(I like to go in with a very basic structure and ending in mind and give all my characters the ability to break free of my structure if it feels right), the snowflake method was good for me to learn, but ultimately evolved into something much less restrictive.

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This is what works for me, as well. For years I wouldn't start a story until I had a highly detailed outline, float chart for the plot, character outlines. The result was a very plot-heavy, rigid story because I was forcing my characters to stick to the game plan--ie, stick to the plotline I'd designed. No room for growth, no room for surprises or "happy accidents" that can come to you during the writing. At least, that was my experience.

I eventually just gave up on all that and started writing a novel without knowing much more than the premise, setting, and a few major characters... no outlines, no character sketches. The most fun I ever had writing. But it meandered and the editing took a lot longer than usual.

So now I get the premise in mind, setting, few main characters, and give myself a target to write towards--not necessarilt the end, but definitely the last turning point that leads to the end. And everything's open for change if that's the direction the story takes.

The highly regimented outline-type of writing I did before taught me to pay attention to structure and keep a plot going. I needed that experience. I think it makes my current way of writing possible... and better.

Like everyone else says, do what works for you. You'll no doubt learn something from whatever method you use. I'm sure it'll come in handy if you later decide to switch up the way you write.

Good luck with your writing.

I use some of the steps, and then some ideas from other methods and some stuff I came up with myself, to combine it all into my own way of doing it. That's the key, I think, don't think you have to stick rigidly to any method and don't assume you can't combine the method with others. And then adapt it all to work for you and for your story. And that's another thing - you probably won't outline every story in the same way. Different outlines work for different types of story. Always be flexible!

Like any writing process and advice it's really only saying "this works for me, try it and see if it works for you. Tweak it to make it work even better for you."

It might work for me if I can manage to focus long enough to make it through all those steps...