Expanding on an idea

[polymath]

I've gone both ways, expanded an idea and contracted an idea. Meeting mine or others' word count expectations is one reason. Another is wanting a different degree of thematic focus. Another is changing the plot type between complex and simple. A complex plot has either a profound discovery or a profound reversal or both. A simple plot has neither. Complex plots tend to be longer word counts, simple plots shorter, but not exclusively.

A useful writing principle for making an outline starts with a main dramatic complication. A dramatic complication is like a dramatic conflict, where opposing antagonism forces clash. A simple template for a dramatic complication is purpose and problem opposing the purpose. Conflict, though, is also about the stakes and outcomes, like life or death, riches or rags, triumph or defeat, and so on, which closely connects to a central theme, and with stakes and outcomes in diamteric opposition. A complication doesn't need to be in diametric opposition, but there should be a an appreciable degree of distance between the purpose and the problem. Like wanting a candy bar: But the buses aren't running, the stores are all closed, and there's no money to buy one anyway.

A simpler principle for starting from is to give a central character a desire and then prevent the character from achieving the desire. Note the desire is the same as a dramatic complication's purpose and the prevention (opposition) is the same as the complication problem. Desire, goal, want, need, etc., narrative drama is all about the purpose, and the problem(s) opposing the purpose.

I suspect you've had some exposure to the five-paragraph format of recent high school composition instruction expectations. A dramatic complication is like the thesis paragraph of that type of composition. Setting up the complication is the opening act of a three-act narrative. The three topical-point paragraphs are like the middle act, where efforts to address the complication take place. The conclusion paragraph is like the ending act, where the final outcome of the complication happens.

Word count of a three-act narrative is roughly divisible by four, as it is for a five-paragraph composition: one-fourth opening, two-fourths middle, one-fourth ending. If the dramatic complication is of a high magnitude (a great degree of separation between purpose and problem), then word count is generally longer than for a lower magnitude complication. Fixing a flat tire, for example, is a much lower magnitude complication than fixing a broken engine.

[Mira]

Congrats on finishing NaNo, Mudpuppy?

I don't know any exact links, but I am sure I've heard of sites with pre-set up tools that help an author outline. You could poke around in Google, I'm sure you would find something that helps you plug into the outline of a plot arc, etc.

Good luck - I hope it develops into something wonderful!