WHY OUTLINING SAVES YOU FROM THE REWRITE PILE
When you sit down to outline your story before you write a single scene, something shifts. You stop thinking like a writer and start thinking like a builder. That's the whole point.
Most new writers want to jump straight into scenes and dialogue. They've got a great opening line in their head, and they just want to get on with it. But here's the problem: when you write first and figure out the story second, you end up rewriting. A lot. You'll discover halfway through chapter five that your killer couldn't have been at the scene, or that your protagonist's motivation doesn't hold up, and now you're tearing apart pages you already fell in love with.
Outlining lets you put on a few different hats before you ever put on your writer hat. Each one has a job to do, and if you do those jobs first, the writer hat gets to show up later and just write — no backtracking, no throwing chapters in the trash.
Here are the professional hats you'll need to wear:
The Brainstorming Hat — This is the first hat, and it's the loose one. You wear it when you're sketching out a few possible storylines, just to see which one has legs. This is quick work — short, messy ideas, not finished plots. The goal isn't to pick "the" story yet. The goal is to make sure whatever story you commit to actually has enough potential for twists, turns, and a full novel's worth of trouble. Don't skip this hat. Committing too early is how writers end up 40,000 words into a story that runs out of gas.
The Story Engineer Hat — Once you've picked your storyline, this hat goes on. This is where you lay out the bones of the story — what happens, in what order, and why. You can do this with short paragraphs, a bulleted list, index cards, whatever gets the structure out of your head and onto something you can look at. It won't be pretty. It's not supposed to be. This is the layer where you make sure the story actually holds together before you build anything on top of it.
The Location Scout Hat — This one comes after your story has taken shape in the engineering stage. Now you go looking for the places where all of this is going to happen. Where does the crime scene sit? What's down the street? What does the neighborhood look like? Putting in a little effort here pays off twice — it makes your story feel grounded and real, and if you've ever thought about your book being adapted for film or streaming, having real, scoutable locations gives you a head start.
Wear these three hats well, and by the time you put on the Writer hat, the heavy lifting is already done. We'll talk about the other hats you wear before the Author's Hat in our next article.
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Writing a mystery is like building a clock. While the reader only sees the hands moving steadily forward, the internal gears—the secrets, the motives, and the hidden history—must mesh perfectly for the story to "tell time" accurately.
This is the "Backstory" or "True History" of the event. It begins long before the first chapter and usually ends the moment the detective arrives on the scene.
A mystery novel isn't just a logic puzzle; it’s a story about people. This timeline tracks everything that isn’t the murder—romance, personal growth, professional conflict, or side-mysteries.
Writing the first draft is about getting the story down and not much else. So this timeline tracking doesn't start until you have finished the first draft. The first draft is merely blurting out the story. You don't even have your writer's hat on yet. You are only the story engineer and location scout at this point.
The biggest hurdle for new writers isn't a lack of ideas; it’s the pressure to be an "Author" too soon. If you sit down at a blank page expecting to produce polished, rhythmic prose on your first try, you’ll likely stall before Chapter Two.
Before the first sentence is written, you are an Engineer. You aren't worried about the beauty of the bridge; you’re worried about whether it can hold weight. During brainstorming, your job is to stress-test your concept. Does the plot have enough tension? Is the protagonist’s motivation strong enough to power 300 pages? You are building the foundation.
If you are writing a mystery or a thriller, it’s time to put on your Investigator’s hat. You are working backward, looking at the "crime" and deconstructing it. You need to know exactly how the deed was done before you can hide the truth from your readers.
This is the most critical phase. Now, you put on your Town Crier hat. Your only job is to blurt out the story as fast as you can.
It is only when the draft is finished—when the "The End" is typed and you finally sit back to review the context of the entire journey—that you finally put on your Author hat.