If you've spent any time around writers, you've probably heard someone mention they're a "plotter" or a "pantser." Maybe you nodded along, pretending you knew what they meant.
These terms describe two different approaches to the writing process. Understanding where you fit on this scale can help you be a stronger writer and actually finish what you start.
So your next question might be, "Which camp do I fall into?"
Let's dive in.
What Are Plotters and Pantsers?
Plotters plan extensively before writing. They create detailed outlines and character sheets and research every plot detail. They know their ending before they even open Final Draft or Celtx. Famous plotters include J.K. Rowling and John Grisham.
Pantsers write "by the seat of their pants," diving into stories with very little planning. They discover their narrative as they go, following characters and moments wherever they lead. Stephen King and Margaret Atwood count themselves in this camp. Who needs a plan?
Then there's the middle ground. These writers call themselves "plantsers," and they use a hybrid approach that combines planning and discovery. You might have an idea where you want to go, but if a character takes the reins for a bit, you let them. George R.R. Martin describes himself as a "gardener" when it comes to his approach, planting seeds, seeing what sprouts, and weeding anything out that doesn't match his structure.
Indiana Jones: Raiders of the Lost ArkCredit: Paramount Pictures
Why This Matters for Screenwriters
In the novel-writing world, you can choose your method and stick with it. Publishers generally don't care how you get there as long as the pages arrive on time.
Screenwriting operates much differently.
When working under contract for studios, production companies, or networks, outlines are typically required as an early deliverable in most professional agreements. Producers need to see how you'll map out a story before they'll pay you to write the actual screenplay because they want to know you have a plan.
So if you're a pantser, you'll need to adapt.
Plus, starting without knowing the ending can hurt you as a screenwriter. Both experienced screenwriters and industry professionals usually prefer to break their story and plan its structure before diving into pages, according to Lee Jessup.
That doesn't mean pantsing is impossible in screenwriting. Many working screenwriters start as pantsers when writing spec scripts. But if you're under a deal or writing on assignment, some level of planning will be necessary and expected.
The Plotter's Advantage
Outlining allows screenwriters to work faster once they begin the actual script, because they've already solved major story problems during the planning phase.
Outlines also let you make changes to your story without the pressure of rewriting an entire screenplay, which is much more daunting.
Complex or plot-driven stories particularly benefit from outlining. You probably can't approach a complicated mystery as a pantser; otherwise, a lot of it probably won't make sense.
As we've said, on professional assignments, outlining becomes collaborative. Once an outline is complete and approved, the actual writing process flows more smoothly, and notes on first drafts tend to be minimal because major story elements have already been agreed upon.
The Pantser's Side
Why would anyone avoid outlining if it offers so many benefits?
For some writers, creating an outline scratches their creative itch to tell the story. If they outline, they've already gotten the satisfaction from planning and lose motivation to actually write it.
Pantsers often describe their writing process as characters coming alive and telling them what to do next. Almost any writer knows this sensation, and it is certainly electric. That spontaneity can lead to authentic character voices and surprising narrative turns that outlined scripts might miss.
But free-form screenplay writing typically results in more rewrites, as these scripts need editing to cut excess material and reorganize scenes.
Many relatively new writers have numerous scripts they quit because they lose direction.
One of the most experienced and successful writers ever, David Koepp, swears by outlines. He told me that many people can write about 20 good pages of a screenplay, but after that, without planning, it becomes a struggle.
"I think most people who want to have 20 pages of a movie in them, and they could sit down and write it, and it might not be bad," he told me. "And if you don't have an outline, that's exactly where it will die."
Indiana Jones: Raiders of the Lost ArkCredit: Paramount Pictures
Finding What Works for You
Most writers exist somewhere on the spectrum between extreme plotting and complete pantsing. You might outline major plot points, but discovery-write your character interactions. Or you might pants your first draft entirely, then create a reverse outline to identify what you've written before restructuring.
For me, pantsing is more of an exercise. I might write a unique conversation between two characters who will never meet to see how they act with each other, or I might write a sequence from a different character's perspective. These might make it into the script, and they might not. But typically, I don't plan these bits out and just see where characters take me.
Overall, the screenwriting community leans toward plotting out of necessity.
But even within that framework, you can maintain spontaneity. If inspiration strikes or you spot something interesting, take a detour and return to your planned route when ready.
If you're naturally a pantser but need to embrace outlining for professional work, start small.
Begin with a beat sheet, which is a condensed version of your screenplay that's longer than a logline but only a few pages.
Set your act breaks, identifying your inciting incident, major turning points, and ending.
As you start thinking about scenes, move to index cards or digital equivalents to track different plot threads for your A-story, B-story, and other subplots.
During the writing process, you'll likely discover that things that worked in the outline don't work in actual scenes. So you still need to be flexible.
Your first outline sketches the basics. As you write, you'll develop new ideas that feed back into the outline. The second draft then becomes informed by both planning and discovery.
Learning to outline doesn't mean abandoning discovery-writing. You can still use the pantsing method, especially early on. Outlining is just adding another tool to your process, one that will make you easier to hire in the long run.
Get writing!
