Ana muses about understanding the core issues for her hero and heroine.
I completed my plot outline last week.
I filled in duh! details like what the heroine does for a living. Spaced believable plot twists appropriately. Relocated premature hints.
I checked that the sub plots were resolved. (Two subplots were eliminated. I tend to try to make things too complicated, too intricate for my skill level.)
I solved the vexing issue of who would deliver the break that the heroine needs to unravel the mystery--and why.
Most importantly, I started and ended with the prime external story issue: namely what happened to the heroine's mother.
Emotionally, this question keeps the heroine frozen in time. She can't move forward even when her friends, her father, and even the villain urge her to. She feels if she devotes a single minute to anything other than solving the mystery of her mother's disappearance, she's stabbing herself in the back.
The hero is the opposite in that he knows he sabotaged his life and is determined to climb back up the hill toward his dream of being in big league baseball. However, he is so fixed on his goal, he's in danger of losing his soul. Meeting the heroine will change that.
I am happy with my hard work. This is the first time I've plotted an entire story in detail.
Now I have to write a marketable synopsis. Back to the brain strain.