There comes a moment in every writer’s life when you look at your cute little premise, your shiny protagonist, your Pinterest board full of vibes, and you whisper, “Okay… but what actually happens?” Welcome to Plotting in Lipstick, the chapter where I finally admit that a book is not, in fact, a 300‑page mood board. Apparently, readers want events. Cause and effect. Tension. Stakes. A plot that doesn’t wander off like me in a Target candle aisle. This week, I’m taking you behind the scenes of how I’m building a story that slays and not just in theory, but on the page.

The more I research it the more I realize that writers love to act like outlining vs. pantsing is a moral stance. Sort of like an eternal cage match between writers. Most writers really have a firm stance on what they think is right and wrong as if choosing one will determine whether your book becomes a bestseller or a beautifully chaotic Google Doc that never sees daylight. Here’s the truth I’ve learned while stomping around in my metaphorical heels. Simply put…..

Outliners

• Love a plan
• Color-code like their life depends on it
• Sleep peacefully knowing what happens in Chapter 17
• Tend to write faster drafts because the map already exists

Pantsers

• Thrive on chaos
• Discover the story by writing it
• Often surprise themselves (and sometimes their characters)
• Tend to revise more because the first draft is basically a treasure hunt

I’ve realized I’m really a hybrid. A plot-switch hitter. A woman who needs just enough structure to avoid writing myself into a swamp, but enough freedom to let my characters misbehave. I can’t fully get behind outlining a full book because it feels like I’m being boxed in. When I write it’s from feeling. After a few chapters I go back and reframe anything that was gibberish. I do however stick to a plan of schedule when to write, edit, and all that jazz. I do outline the background of characters because I feel like I need to know them before I can write about them. How can I write about someone’s reaction or action consistently if I don’t know them? I guess my rule is to outline the bones and pants the lipstick. I know the major beats but the details like banter, meltdowns, dramatic entrances, those just happen in the moment.

Every story needs a shape. A silhouette. A structure that holds everything in place while still letting your creativity strut. I’m not here to preach one method, but here are the structures I flirted with while currently building my book so far….

The Three-Act Structure

Classic. Reliable. The literary equivalent of a perfect red lip.

• Act I: Set the stage
• Act II: Make it messy
• Act III: Fix it… or don’t

The Hero’s Journey

Great for character-driven stories. Your protagonist leaves their comfort zone, faces trials, grows, and returns changed, like a spiritual makeover montage.

The Beat Sheet

For writers who want a step-by-step vibe. It’s like having a personal trainer for your plot: “Okay babe, now raise the stakes. No, higher.”

For me, I chose a loose beat sheet. Because I need checkpoints, but I also need room to be dramatic on purpose. It just works best for me. It doesn’t keep me in a box and lets me freely write how I want and it also lets me push however the story seems to be taking me. One thing I’ve learned from writing is that, for me, I do not control the story. The story controls me. I do go back and clean it up to make sense though and maybe the other structure would help with it, but the beat sheet is just working for me.

Keeping your plot tight and stylish is just as important as any other step. A plot must feel like a well tailored outfit. It needs to fit, be intentional, and capable of turning heads. Here’s what I’m doing to keep mine from sagging in the middle like a sad pair of leggings….

Every Scene Must Earn Its Place

If it doesn’t move the plot, deepen character, or raise tension, it gets cut. Brutal, but necessary. Like cleaning out your closet.

Stakes, Stakes, Stakes

If nothing matters, nothing matters. I’m constantly asking: What does my protagonist stand to lose? If the answer is “meh,” I crank the heat.

A Dash of Mystery

Not full thriller mode but just enough unanswered questions to keep readers leaning in and looking for answers.

Emotional Continuity

Characters shouldn’t bounce from heartbreak to brunch like nothing happened.
I’m tracking emotional arcs the way some people track macros.

Style Matters

Plot is structured, but the voice is the outfit. I’m letting my protagonist’s personality shape how events unfold because a stylish story isn’t just what happens, but how it’s told.

My plot currently is making me happy. I’ve got my major beats and my midpoint twist. I haven’t quite figured out how my finale is going to play out but I’m getting there. I need my finale to feel like I’m wearing 6 inch heels and walking in slow motion through a wind machine and having a moment. I’m still discovering the fun stuff and the chaos of writing my very first book. Plotting I’ve realized is less about having every detail nailed down and more about trusting the runway beneath my fingers if you know what I mean. You can sketch the silhouette, you choose the heels, and then you strut. Wobbling is allowed and drama is encouraged. My pot isn’t perfect yet but it’s standing taller, sharper, and a little more dangerous every day. So far, for me, this is the fun part. Now if you’ll excuse me, I’m off to rearrange my beat sheet for the 12^th time and pretend this is all part of the artistic process. 

XOXO,

Savi Monroe