Outlines and preplanning are useful tools for writing coherent, tight stories. But they’re tools, and you can—and should—allow your story to move where it’s organically headed.
Lauren Beukes’ take on the slasher genre isn’t lurid, puritanical, or exploitative. Its sympathies lie with the victims, and it marshals considerable anger to great effect.
The tools you use to write are not important. If you make rituals, you will be bound to rituals, and that’s a bad thing.
James Marsh’s documentary is a sharply observed portrait of French trickster Philippe Petit. It begins with a faint whiff of hagiography, but where it winds up is somewhere much more complicated.