Judgers VS Perceivers
When I started writing outlines for authors, this was the place I went to first. The difference between a judger and a perceiver was the easiest for me to find and the simplest to assess. It gave me a better understanding of how to structure the outline approach. I, of course, learned there were a lot of other factors that went into this, but this is still, in my experience, a good first indicator even though it’s the last leg of the Meyers-Briggs personality designations.
When I’m sitting down to do an outline with an author, this indicator tells me what type of outline structure to provide. It doesn’t tell me how much detail to give or what kinds of details, but I know whether each chapter or scene needs a beat or sub-beat, or if there can be long swaths of story without any beats at all. I worked with a lot of judgers, so I have an extensive catalogue of beats and sub-beats that range from plot to emotional arc. It helps that I’m also a judger, a high-spectrum judger. So, outlining the large swaths of space between beats was very hard for me.
Take a look at what I’ve gathered and this will help you to determine what type of outline structure you need.
For Judgers (J):
Structured Outlining:
Judgers like ridges in their structure. It’s not because they need a box to stay inside of. They’re sometimes the biggest challengers of the world around them. It’s because this allows them to make the snap decisions they’re famous for as quickly as possible. Most judgers are able to take a look at a beat sheet, review the titles of each beat, and run with a general idea of what needs to happen in that chapter or set of scenes. They’re the reason we have so many versions of the same beat sheet but with different titles. That title gives them the explanation of what to do with the scene. “Save A Cat” doesn’t have the same impact to some people as “Do Something Good To Catch The Guys’ Eye,” for instance. They need more structure so they can move faster.
Goal Setting:
Judgers are high achievers. When they write an outline, there are goals lined out in their character and plot arcs, but also writing goals sketched into each beat. They’re the ones with word counts for each chapter, and, sometimes, schedules. When I have an outline written, I plug each of those into my schedule to keep myself on track. I know which beats take more time for me, and which sections are going to basically write themselves. As long as I can maintain the boundaries on my time, I can stick to schedule with an outline in my hand.
Timelines and Deadlines:
Taking this one step further, I’ll not only plug my outline into my schedule, but I’ll also set a timer. This doesn’t work all the time, but if I’m struggling to stay focused or to power through a scene because of what I’m writing or due to what’s going on in my life, I’ll put a timer on and sprint.
This is where word sprints come into play and they’re great for the judger who is struggling to push through their deadline. Start with small word sprints and then work your way up. I typically word sprint for no shorter than thirty minutes. I like having at least a thousand words in a sprint, though. Seeing that number gives me a healthy dose of energy and keeps me going. So, if I’m having a slower day, I’ll set the timer for forty-five minutes so I get the word count I want.
Consistency in Writing Routine:
Judgers will oftentimes keep a planner with a daytime schedule. We’ll block out our days so we get the consistency we need. It’s more than just blocking out the time, though. You also need to ensure that the time you give yourself has an energy level that ensures your ability to focus and work.
Revising and Editing Plan:
Judgers see the writing of a book in systems. Each system has it’s own energy, so thinking of each system as its own project can help to ensure the right energy is applied to the different areas.
Closure in Story Elements:
Keeping things open and having cliff hangers annoys high-spectrum judgers. We’ll typically close the scene each time. Opening hooks are a little easier for judgers, but closing hooks can be brutal. When outlining a book, go ahead and write the closing of your scene, but then shift it to the opening of the following scene so that you leave yourself with a closing hook at the end of each chapter or scene.
For Perceivers (P):
Flexible Outlining:
Perceivers don’t need as many beats to follow as they can quickly perceive what the scene needs and move through it long swaths of unguided territory. They don’t need sub-beats or character beats. They just need the big eight and they’re able to craft a story with great energy and speed. Having too many beats will actually deflect their energy and make it harder to stay motivated through the writing of the book.
Adaptive Writing Sessions:
Perceivers don’t have to write a book from beginning to end, and I actually recommend that they don’t if the story doesn’t move that way. This includes how they write their outline. They might start at the beginning or the end, and then move to somewhere in the middle and come back again. Allow yourself to write within your own energy.
Open-Ended Storylines:
Perceivers tend to make incredible opening and closing hooks, but due to the fact that they don’t always write from beginning to end, sometimes, they can miss following up on a closing hook. Use your outline to keep an eye on your hooks to ensure you’ve answered all the bait you left out there.
Exploration of Multiple Ideas: Outlining a book isn’t going to be a one-shot deal for most perceivers. You can go through several different plot ideas and briefly sketch out each one without wasting energy. This is an energy engine for you. Don’t get too lost in it because you will need to write the book at some point, but those different ideas and character views you were test driving might be the beginning of new short stories, free leaders, or even sister series that can be written down the line.
Intuitive Character Development:
Perceivers are the type of writer who doesn’t need to go into a ton of detail on their character development. Yes. They need to know their character, but only to a point. You generate energy by getting to know your characters on the fly. Outline the major decisions and where you want the story to go, but in the large swaths of un-outlined space, stretch your legs and let your characters take you for a ride of their choosing. Use your outline to guide them back to where you want your book to go so you can get land where you want in the market.
Less Rigid Deadlines:
Perceivers aren’t great on deadlines. The stress of an approaching deadline strips away energy like icy weather strips away body heat. Your outline will be used as a guide to inspire your energy, but when you sit down to write, you need to give yourself the flexibility to write at your own pace. You work faster with fewer rules.
Defining Your Beat Sheet
Knowing how you use structure is the key starting point when developing your outline. Do you need to do the math to determine how many chapters you’re going to have so you can see what beats you need for each one? Or do you need the flexibility to run in percentage-based beats where you flow more easily, but still work to stay on track for a bestselling page turner of a book?
No matter where you fall on this spectrum, there are hundreds of beats to follow in a wild variety of variances. Structure isn’t a bad word and it doesn’t mean you’re a cookie cutter author. In this case, we’re looking at what you need to quickly make decisions as your characters are moving through the story you’re creating.
