To write a novel outline, start with a one-sentence premise, decide your ending and the three or four big turning points that lead to it, then break the story into chapters or scenes, each with one line on what happens and what changes. How much detail you add after that depends on how you write: plotters may outline every scene, while discovery writers often draft first and outline afterwards to fix the structure.

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This guide goes deeper than the outlining overview in the live guide to how to write a novel. It shows one example story outlined five different ways, gives copy-and-paste templates for a one-page outline, a chapter-by-chapter outline and a scene card, and explains how series authors keep a series bible so book four does not contradict book one.

At a glance

• An outline is a tool, not a contract. Its job is to stop you getting lost; change it whenever the story improves.
• Five reliable methods: the one-page skeleton, the Snowflake Method, a beat sheet, a chapter-by-chapter or scene-card outline, and the reverse outline.
• Know your ending early. Almost every method works backwards from it, even loosely.
• Every scene needs a change. If nothing shifts for the character, the scene probably belongs in someone else’s chapter or in the bin.
• Series need a bible: a running record of characters, places, timelines and threads.

Do you need to outline a novel?

No method is required. Writers are often described as plotters (who plan first), pantsers or discovery writers (who find the story while drafting), and the many people in between. Stephen King, in On Writing, describes starting from a situation rather than a plot and letting the story develop. Others, especially in mystery, thriller and romance, plan carefully because clues, twists and emotional beats must land in the right place.

An outline helps most if you:

• have stalled in the middle of a draft before
• write in a genre with strong reader expectations, such as romance or crime
• are writing to a deadline or a rapid-release schedule
• are planning a series with linked plots

It helps least if planning drains your interest in the story. In that case, a reverse outline (method 5) gives you the structural benefits after the draft.

The example story

To compare the methods fairly, all five use the same simple story, invented for this guide:

Ruth, a ferry pilot on a remote Scottish island, rescues a man from the sea who has no memory. As storms cut the island off, she must decide whether he is a victim or the reason three islanders have gone missing.

It has a clear protagonist, a hook, a setting that creates pressure and a central question, which is all an outline needs to start.

Method 1: the one-page skeleton

The fastest outline. You write the premise, the ending and the major turning points on a single page. It suits discovery writers who want guard rails and anyone starting a first novel.

Ruth’s story as a skeleton:

• Premise: a ferry pilot rescues a man with no memory as islanders vanish.
• Opening: Ruth’s ordinary life and her guilt over a past accident at sea.
• Inciting incident: she pulls the stranger from the water.
• First turning point (about a quarter in): the storm closes the harbour; nobody can leave.
• Midpoint: Ruth finds evidence the stranger knew one of the missing islanders.
• Second turning point (about three-quarters in): Ruth’s own brother becomes the prime suspect.
• Climax and ending: Ruth confronts the real culprit at sea, facing the fear she has carried since the accident.

The live guide to plot structure explains where these turning points usually fall and compares seven common structures.

Method 2: the Snowflake Method

Developed by Randy Ingermanson, the Snowflake Method grows a story outward in stages, like a snowflake: from one sentence, to a paragraph, to a page, to a full scene list. In his ten steps, you write a one-sentence summary, expand it to a paragraph with the setup, major disasters and ending, write short summaries of each main character, expand the paragraph into a one-page synopsis, write character synopses, expand to a longer synopsis of about four pages, complete detailed character charts, build a scene list, add notes to each scene, and then draft.

Ruth’s story, step 2 (one paragraph): Ruth rescues a stranger with no memory just as the island’s third resident goes missing. When the storm traps everyone, she hides him rather than hand him to the islanders, who suspect him (first disaster). She learns he came to the island to find one of the missing, and he lied to her about remembering nothing (second disaster). When her brother is arrested, Ruth must trust the stranger to help her find the truth (third disaster), leading to a confrontation at sea where she finally faces the accident that has haunted her.

Suits: logical planners and writers who like to build steadily. Watch out for: spending weeks on charts and never drafting. You can stop at any step that gives you enough direction.

Method 3: the beat sheet

A beat sheet lists the key emotional and plot moments in order. The best-known version for novelists is Jessica Brody’s Save the Cat! Writes a Novel, adapted from Blake Snyder’s screenwriting book. It names 15 beats, including the opening image, catalyst, break into two, midpoint, all is lost, dark night of the soul and finale. Romance writers often use a romance-specific beat sheet instead, such as Gwen Hayes’s Romancing the Beat.

Ruth’s story, selected beats:

• Catalyst: the rescue.
• Break into two: Ruth chooses to hide the stranger instead of reporting him.
• Midpoint: the evidence linking him to the missing woman raises the stakes.
• All is lost: her brother’s arrest; the islanders turn on Ruth.
• Dark night of the soul: Ruth admits her role in the old accident.
• Finale: the sea rescue that mirrors the opening, with a different result.

Suits: genre fiction and writers who struggle with a saggy middle. Watch out for: forcing every beat at a fixed percentage. Beats are guides, not page numbers.

Method 4: chapter-by-chapter outline and scene cards

This is the most detailed approach. You plan each chapter (or each scene) with a short summary. Many writers use index cards, a spreadsheet or outlining software so scenes can be moved around. Shawn Coyne’s Story Grid approach adds a useful test: each scene should turn, meaning a value in the story changes from positive to negative or the other way round.

Ruth’s story, first three chapters:

1. Chapter 1: Ruth’s last ferry run before the storm; a body in the water turns out to be alive. Change: safe routine to danger.
2. Chapter 2: the stranger wakes with no memory; Ruth learns a neighbour has gone missing. Change: relief to suspicion.
3. Chapter 3: the harbour closes; the islanders want the stranger locked up; Ruth hides him. Change: Ruth moves from bystander to accomplice.

Suits: mysteries, thrillers, multiple points of view and dual-timeline novels. Watch out for: losing energy because the draft feels “already written”. Leave some room inside each scene to discover detail.

Method 5: discovery draft, then reverse outline

Write the first draft freely, then outline what you actually wrote. List every chapter with one line on what happens and what changes, and note the point of view, timeline and word count. The gaps and repetitions show up immediately: three chapters in a row with no change, a subplot that disappears, a midpoint that arrives too late.

For Ruth’s story, a reverse outline might reveal that the stranger’s lie is never discovered on the page, or that her brother appears only twice before his arrest. Both are easy to fix once you can see them.

Suits: discovery writers and anyone revising a stalled draft. Watch out for: heavier rewrites than a pre-planned draft might need.

Outline methods compared

Method	Time to create	Detail	Best for	Main risk
One-page skeleton	An hour or two	Low	First novels, discovery writers	A vague middle
Snowflake Method	Days to weeks	High, built in stages	Methodical planners	Over-planning and delay
Beat sheet	A few hours	Medium	Genre fiction, romance	Formulaic pacing
Chapter or scene outline	Days	Very high	Mysteries, thrillers, multiple POVs	Losing spontaneity
Reverse outline	After the draft	Matches the draft	Pantsers, revision	More rewriting

Many writers combine them: a beat sheet for the shape, then scene cards for the first act only, then a reverse outline at the end.

Novel outline templates (copy and paste)

One-page outline template

• Working title and genre:
• One-sentence premise (character + goal + obstacle):
• Main character’s want and inner flaw:
• Opening situation:
• Inciting incident:
• First turning point:
• Midpoint:
• Lowest point:
• Climax:
• Ending and how the character has changed:

Chapter outline template

• Chapter number and point-of-view character:
• Where and when:
• What the character wants in this chapter:
• What gets in the way:
• What changes by the end:
• Hook into the next chapter:

Scene card template

• Scene goal:
• Conflict:
• Outcome (usually a setback):
• Value shift (for example, trust to betrayal):
• Clues, set-ups or payoffs planted:

For the character side of your outline, the live list of character development questions helps you fill in wants, flaws and backstory before you plan scenes.

How to outline a novel: step by step

1. Write your one-sentence premise.
2. Decide the ending, even provisionally.
3. Choose your main method based on your genre and how you like to work.
4. Plot the four anchor points: inciting incident, first turning point, midpoint and climax.
5. Decide your point of view; the live guide to choosing a point of view helps if you are planning multiple viewpoints.
6. Fill the gaps between anchor points with chapters or scenes, each with a clear change.
7. Check the outline for a rising line of tension and a middle that escalates.
8. Plan your opening scene in more detail; see how to start a story.
9. Start drafting, and update the outline every few chapters as the story evolves.

Outlining a series: the series bible

If you are writing a series, add a series bible alongside each book’s outline. It is a single document (or spreadsheet) that records:

• every character’s name, appearance, age, relationships and key events
• places, maps and rules of any magic, technology or organisation
• a timeline across all books
• open plot threads and where each will be resolved
• recurring phrases, in-jokes and running details readers will notice

Update it as you draft, not after. The live guide to planning a book series covers the bigger decisions, such as standalone instalments versus a continuing arc.

Common mistakes

• Outlining events, not changes. “Ruth goes to the pub” is an event; “Ruth learns her brother lied” is a change.
• Planning the beginning in detail and leaving the middle blank, which is exactly where most drafts stall.
• Treating the outline as fixed when the draft finds a better idea.
• Over-planning as procrastination. If you have outlined for months, start drafting from what you have.
• Forgetting the character arc. Plot points should push the character toward change, not just move them around.
• No ending. Without one, it is hard to plant clues or set up a satisfying payoff.

Sources this guide draws on: Randy Ingermanson’s Snowflake Method; Jessica Brody, Save the Cat! Writes a Novel, and Blake Snyder, Save the Cat!; Shawn Coyne’s Story Grid approach; Gwen Hayes, Romancing the Beat; Stephen King, On Writing. All methods are described in this guide’s own words.

Frequently asked questions

How detailed should a novel outline be?

Detailed enough that you know what each chapter is for, and loose enough that drafting still feels alive. For many writers that means one or two lines per chapter. Complex mysteries and multi-viewpoint books often need more.

How long should a novel outline be?

Anything from one page to twenty or more. A one-page skeleton works for many first novels, while a chapter-by-chapter outline for a 90,000-word book can run to several thousand words. Length matters less than whether it shows clear turning points.

What is the easiest way to outline a novel?

Start with the one-page skeleton: premise, opening, inciting incident, two turning points, midpoint and ending. It takes an hour or two and gives you enough shape to begin drafting.

Should I outline before or after writing?

Either works. Plotters outline first; discovery writers often write a draft and then reverse outline to find structural problems. Many writers do a light outline first and a reverse outline during revision.

How do you outline a fantasy novel?

Use the same structure as any novel, but keep world-building in a separate document so it does not swamp the plot. Outline the character’s journey and turning points first, then add only the world details each scene needs.

The best novel outline is the one that gets you to the end of the draft. Pick a method that suits your genre and temperament, keep it as a living document, and let it change as your story does.