Ray Bradbury is one of my go-to authors when it comes to understanding the creative experience. His advice about constructing the plot of a story mirrors many other great writers. Here’s an excerpt from his introduction to Fahrenheit 451:
I sat down to another nine-day schedule to add words and scenes and turn the novella into a novel of some 50,000 words. Again, an emotional process. Again, as before, I knew that “plot” could not be imagined ahead of the event, that you had to trust your main character to live out his time, to run before you. You followed and found his footprints in the snow. Those footprints, after the fact, found in the snow, are “plot.” But they can only be examined, intelligently, after the emotional sprint, or your actors must quit the stage. In ballet, any dancer who asks himself what step comes next must freeze. Any man who takes a sex manual to bed with him invites frigidity. Dancing, sex, writing a novel–all are a living process, quick thought, emotion making yet more quick thought, and so on, cycling round.
I don’t remember exactly, but I think Cormac McCarthy wrote “plotting is death.” I’m pretty sure Bradbury would agree.
Bradbury says you must “trust your main character to live out his time, to run before you.” In trusting your character, you’re trusting yourself. Sketching the whole plot ahead will make the story artificial. Imagine a slightly older person who has undergone plastic surgery. The lip injection or facelift may be unassuming at first, but upon closer inspection, the work is unnatural.
The dancer who thinks about her next step or the man who brings a sex manual to bed are acting unnaturally as well, so the results won’t be dynamic. Better to live passionately in the moment. This goes also for creating.