Inspiration for this ultimate outline:

Screenwriters have often, by necessity, had to make their screenplays fit certain models, often
in a way that seems formulaic (though not in a bad way, as evidenced by the fact that some of
the best films, from Academy Award winners to hugely successful blockbusters all use the same
formula).

Most films even go so far as to have the same number of scenes, give or take a few. (spoiler
alert, it’s around 40 scenes)

I thought, why can’t books be that way?

Most people agree on certain beats that need to be hit in a book, such as the inciting incident,
the first pinch point, the midpoint, etc. But almost no one actually bothered to plot out the
number of chapters this would take, and what should come between each of those points.

So I went to study story structure in depth, and after some time, realized that several people,
especially in the film industry, were suggesting having around 40 scenes. And by researching
almost every major plot guru known to man, I managed to take everything and fit it into a
cohesive 40-scene outline. Assuming an average of 1,500-3000 words per scene, this places a
book at a nice 60,000-120,000 word novel.

The Elephant in the room:

Now, of course, I know that not everyone will like something so prescriptive, and that’s fine. This
is not intended for everyone.

But I do feel like most newer authors (and even a few experienced ones) don’t have a clue what
to do about story structure, and having something more solid like this will help them learn the
basics, so that (once they have improved their writing skills through experience) they will better
know where it’s okay to deviate from the formula and when it’s not.

Additionally, I know that by adding additional viewpoints, worldbuilding info for sci-fi/fantasy, and
other genre-dependent changes may drastically change the number of required scenes. I plan
on eventually creating a modular approach to be able to layer those things into this basic outline
to expand it, but that’s a job for later.

For now, this is just intended to be the ultimate outline for a standard novel with one major
viewpoint character that works regardless of genre.

How This Outline is Structured:

This outline is divided into 4 parts, with ten chapters each. These four parts are:
 ● Act 1: Making up 25% of the story, Act 1 introduces us to the protagonist, the Ordinary
World they live in, their goals, their flaws, and the inciting incident that causes them to
leave their Ordinary World.
● Act 2A: Making up 25% of the story, Act 2A is the first half of the middle section, which
shows us positive rising action as the protagonist enters the New World, learns, grows,
and has more successes than failures.
● Act 2B: Making up 25% of the story, Act 2B is the second half of the middle section,
which is a reversal of Act 2A, resulting in negative rising action as the protagonist
struggles against the antagonist and things slowly fall apart.
● Act 3: Making up 25% of the story, Act 3 is the Climax of the story, where the protagonist
finally confronts their inner flaw and overcomes it, which allows them to defeat the
antagonist despite tall odds.

This outline also contains an optional prologue and epilogue chapter, which may or may not be
used.

Act 1:

0. Prologue (optional):
● Starts with an opening image that visually represents the central conflict of the story
and/or the Antagonist, and shows how the world we’re in is in trouble
● Should set the tone for the genre and conflict level of the story
● Usually does not involve the protagonist, but may be about the protagonist, or
thematically linked to the protagonist

1. The Unusual Day:

● We get introduced to the protagonist and the “ordinary world” they live in. This should be
done through an opening image that visually represents and tells the readers as much
as possible about the main character, the flaw they have, and the ordinary world they live
in.
● The protagonist wants something (doesn’t have to be related to the overall plot) which
they think will “fix” their life
● There is an obstacle/conflict that stops them from getting it (hence the really bad day)
● The protagonist has a need that would solve their problem, but is not self-aware enough
to realize it.
● We learn the character’s flaw, the thing that keeps them from getting what they need
● Introduce some friends and family members
● The protagonist also has a “save the cat” moment (the character becomes compelling,
via an act of kindness, a sense of humor, they are competent in something, or they are
oppressed in a way that makes us feel for them, meaning that even if they are deeply
flawed, they are oppressed by someone who is worse)
 ● This scene should take place in the protagonist’s home, work, or play environment

2. Mystery and Theme:

● An event happens that foreshadows future problems, something that is unusual for the
ordinary world that the protagonist lives in
● There may also be a mystery associated with this event, something peculiar that makes
the protagonist and the reader curious as to what’s going on
● The protagonist has distractions that prevent them from understanding the actual
ramifications of this event
● (optional) have the reader understand the ramifications of the event, despite the
protagonist not knowing.
● Introduce more friends/family members if necessary
● We learn more of the protagonists’s unresolved emotional issues that are the source of
their flaws.
● In this chapter, the theme is stated, usually by someone other than the protagonist
● This theme is a hint at what the protagonist needs/will have to overcome
● This theme/life lesson is often ignored by the protagonist

3. Link to the Antagonist

● This scene should take place in the protagonists’s home, work, or play environment
(whichever hasn’t been used previously)
● Something happens to the protagonist: a challenge, threat, or opportunity that is
somehow related to the antagonist, even if indirectly. The two become linked.
● May be presented as an opportunity to the protagonist
● The mystery deepens

4. Grasping at Straws
● The want that the protagonist has deepens
● We get a stronger glimpse of the character’s flaw as they criticize the ordinary world they
live in
● They are not yet fully honest with themselves about what they need

5. The Hint of Death

● This scene should take place in the protagonist's home, work, or play environment
(whichever hasn’t been used previously)
● We learn that if the protagonist continues to live their life the way they are, they will
eventually die (literally, socially, financially, in their relationship, etc.) and they will never
truly be happy
 ● And even if they don’t die now, they will eventually die unfulfilled
● This scene basically sums up what we’ve come to learn in the previous scenes

6. Inciting Incident:
● Something dramatic happens to upset the status quo in the ordinary world
● There should be a lot of conflict
● The disruption is something that cannot be resolved on its own
● This should impact the protagonist deeply, but not enough that they are quite willing to
leave their ordinary world yet

7. The Call to Adventure:

● The protagonist is forced into a situation where they have no choice but to focus on the
new issues arising and the immediate fallout of the inciting incident
● The call to adventure should get in the way of the protagonist’s previous goals
● Answer these questions:
○ With the character and their flaws in mind, how does the Protagonist react to the
Call? How do they begin to push back against it?
○ What is the Protagonist's emotional state in light of the Call? Are they mad or
perhaps depressed over having their original plans foiled?

8. Meeting the Mentor:

● A mentor enters the Protagonist’s life, which can be but doesn’t have to be a person but
could also come in the form of crucial information, supernatural aid, etc.
● The mentor encourages the Protagonist to take action and heed the call to adventure
● The mentor gives the Protagonist tools, training, information, or other forms of support
that they will need to heed the call to adventure.
● The mentor gives the Protagonist the first hint of their Fatal Flaw, but the Protagonist
either doesn’t realize it or chooses to continue ignoring it

9. Refusal of the Call:

● The protagonist refuses to deal with or accept the reality of the Call to Adventure.
● Intrigue, tension, mystery, perhaps supernatural events, etc. are building, but the
Protagonist is trying to put their head in the sand. They do not want to face the new
challenge of the New world
● The Protagonist begins to build regret and doubt
● The Protagonist is increasingly unable to continue in the Ordinary World
10. Pull Out Rug:
● The Protagonist tries to fix the issues in the Ordinary World in order to resist the Call to
Adventure
● Something happens that pulls the rug out from under them and sends them tumbling into
the Point of No Return
● They are forced into action
● Examples include: kidnapping, killing of a pet/loved one, loss of financial security, driving
from one’s home, etc.
● The protagonist must take on the mission or be placed in a life or death situation
(whether that’s literally life-threatening, or social life threatening)
● The event is more personal, forcing the protagonist to get involved, even if they still do
not want to
● This scene should hook the reader
● The stakes/tensions should be high

ACT 2A

11. First Plot Point:

● The protagonist actively chooses to enter the New World, which is new and they are
uncomfortable
● It may or may not involve an environmental change, but could also involve the
protagonist simply trying something new, i.e. a new relationship, getting a gym
membership, confronting their boss, etc.
● This is a big turning point in the story
● There’s no going back to the Ordinary World at this point
● The protagonist still has their flaw and is still chasing the thing they want, and this still
gets in the way, but the protagonist is at least willing to push through into the New World,
which is a good sign

12. Enemies & Allies:

● We get a sense of the protagonist’s new life in this uncomfortable New World
● The protagonist feels like a fish out of water
● Any remaining characters should be introduced
● We get additional information on the main antagonist
● A good time to introduce character archetypes such as the side character, ally, or love
interest. At least one of these characters should represent the “B story” who will
ultimately help the protagonist learn the theme, or the thing that they need.
● A new role for the protagonist is established
● The protagonist may face antagonism from side characters
● There should be initial friction between the protagonist and other characters
13. The B Story
● The protagonist spends this scene with the B story character, where the B story
character figuratively holds a mirror to the protagonist to see their flaw. This could be
through a love interest or a mentor
● It is explained to the protagonist that there is no going back, and is given reasons and
the motivation to continue
● The theme is restated here, often as advice on how to succeed, though often
overlooked/ignored/not fully understood by the protagonist

14. Games & Trials:

● Some of the most interesting and exciting things the New World has to offer are
presented
● The protagonist gets to explore the New World and learn how to navigate it.
● There is lingering friction with side characters such as the love interest
● There is some form of training and/or learning required for the protagonist to harness
their abilities in their new role
● The Protagonist undergoes one trial and either succeeds or fails (if they fail, it must still
be a victory of some kind, even if that victory is just growth/learning a valuable lesson)
● This should be another glimpse of the protagonist’s flaw that is keeping them from fully
achieving what they need
● This chapter is an opportunity to wow readers through wonder
● This and the next few chapters are also where the author should deliver on the promise
of the premise of the story
● There is a good opportunity for needed exposition in this and the next few chapters

15. No More Games:

● The protagonist makes a second attempt at overcoming a trial and seemingly fails
(though there must still be overall growth and lessons learned)
● This time the cost of the failure is more pronounced to the protagonist
● The protagonist should experience a lot of frustration and self-doubt

16. Earning Respect:

● With the third trial, the Protagonist succeeds
● Even though the Protagonist may not have complete control over their abilities, they
experience a small victory that proves they’re not completely useless
● This should result in increased self-confidence for the protagonist
● This may also gain the attention of the allies and enemies
● The protagonist, confident after their recent success, may show overconfidence that will
lead to the first pinch point
 ● This is an opportunity for the B character to remind the protagonist of the life lesson they
need to learn
● But the protagonist clearly shows that they have not learned that lesson yet

17. First Pinch Point:

● Can be a literal or nonliteral battle, the first major interaction between the Protagonist
and Antagonist (or forces of evil).
● Antagonist may not be visible yet, but should be the one pulling the strings.
● The Antagonist is after something, something tied to the Protagonist.
● The Protagonist still has little idea of what is going on, but still finds themselves at the
center of the conflict.
● The protagonist may not win, but they do survive, and the stakes become clearer
● The stakes should be as dire as possible. Answer these questions:
○ What’s the worst thing that could happen, and how could I make it even worse for
the protagonist?
○ What can we add to make the setting reflect the mood?
○ What can we add to make it more urgent?
○ What can we add to deepen character?
● This is a big turning point for the story.
● Portray how the Protagonist is humbled by the event and their realization of what is
actually happening.
● This is an ideal spot for a plot twist

18. Problem Revealed:

● The Protagonist feels down and overwhelmed once more as they realize how much they
don’t know, as revealed by the challenges in the previous chapter.
● One or more of the allies may have known the danger and true level of threat, but did not
tell the Protagonist. Or the information might come in the form of “Meeting the Goddess”
as in a trusted advisor or other individual
● The Protagonist confronts the Allies, demanding answers.
● May be brushed off initially/told they are not ready/need to further develop their powers
● The Protagonist will insist on more information

19. Truth & Ultimatum:

● The Protagonist learns critical new information that changes their whole worldview
● Now they know the full extent of the Antagonist’s forces, the backstory of the problem,
what they are up against
● May also have a new perspective on the Allies, realizing they are not as cut and dry as
originally thought, or even a new sympathetic perspective on the Antagonist
● With this more complete information, the protagonist must decide whether or not to
continue “all in” for the remainder of the journey.
 ● May involve a plot twist or revelation that causes the Protagonist to second guess their
decisions
● The Protagonist considers trying to find a way out to get back to the Ordinary World
● If they do decide to go forward, they will be committed until the end

20. Midpoint:
● This is a single scene that marks either a false victory or a false defeat
● This marks the point when the protagonist decides to be more proactive, to stop being
the victim and instead take action
● They form a new goal
● They are forced to figuratively look at themselves in a mirror and confront who they are,
and contemplate what they need to change to become the person they need to be to
succeed at their new goal
● The first time the protagonist fully engages with their flaw and realizes that they need to
change, even if they can’t yet. This is a moment of true self-reflection.
● The stakes of the story must be raised (a love story ramps up, ticking time bomb, a plot
twist, a public “outing”, etc.)
● The A and B story must intersect here
● This is a major turning point of the story

ACT 2B

21. External Demons Close In:

● The protagonist is beset by external demons, the antagonist or forces of the antagonist
● This is where the bad guys regroup after the first pinch point and midpoint.
● Even if we don’t see these bad guys directly, we see evidence or speculation of their
preparations
● This could also be a chance to inflict more complications on the protagonist
● Another great opportunity for a plot twist

22. Things Get Worse

● Just when things can’t seem to get any worse, they do
● This could be through the betrayal of a side character, an unexpected plot twist, a
shocking revelation, etc.
● The stakes heighten
● The protagonist survives, but only barely, and only because they have (at least partially)
started to doubt that the flaw they have been holding onto so hard is still good for them
23. Internal Demons Close In:
● Internal doubt and the weight of the protagonist’s flaw messing everything up becomes
apparent
● This is where the protagonist’s psyche messes things up, such as messing up
relationships, self-sabotage, fighting to go back to the ordinary world and trying to
convince the protagonist to stop fighting their flaw, etc.
● May involve a continuation of the external demons closing in, exploiting or magnifying
the internal demons

24. Plan of Attack:

● The protagonist and their allies regroup
● The protagonist decides to go all in and formulate a “plan of attack”
● They create a plan to confront the problem presented in the “Problem Revealed” chapter.
● A planning session working with the Allies to use their new information to form a plan
● Understanding of what the Antagonist’s plans are and what needs to be done to stop
them

25. Crucial Role:

● The protagonist is given a crucial role
● This is their chance to prove themselves and be tested in the real world
● Other characters are beginning to trust the Protagonist
● The Protagonist must be responsible for what happens in order to build emotion

26. Second Pinch Point:

● A second battle with the Antagonist (or the Antagonist’s forces), often instigated by the
Antagonist, taking the Protagonist by surprise
● The result of the Protagonist taking action in the previous chapters
● The Protagonist is determined to see this Battle through and feels responsible for the
outcome
● Chances must be slim
● During the conflict, the Protagonist realizes they have underestimated the Antagonist’s
power.

27. All Is Lost:

● The Antagonist defeats the Protagonist’s forces
● The Protagonist’s plans go horribly wrong and they fail
● Being in direct contact with the Antagonist’s forces means their (the protagonist and their
allies) identity is revealed and real consequences may arise, such as the death of an
 Ally, permanent disfigurement, loss of an important object, etc. This should raise the
stakes.
● The Protagonist and their Allies are in danger, the plan has been shattered
● Deepen the problems for the Protagonist and their Allies
● The Allies should be at a loss of what to do next.
● Usually the failure is due to the Protagonist’s flaw or lack of knowledge

28. Shocking Revelation:

● The Protagonist learns new information in the new predicament they are facing
● The Antagonist’s full plan/true identity is revealed.
● The Protagonist may experience guilt and anger – anger at themselves for failing and/or
anger at the Antagonist for outsmarting them or getting away. They may also feel
personally responsible for letting everyone down.
● The stakes are raised as the worst has happened.

29. Giving Up:

● Having lost the battle, the Protagonist loses their confidence and essentially gives up as
they face the Dark Night of the Soul.
● They underestimated the Antagonist, their plan didn’t work, and they lost their one shot
at getting it right.
● They feel powerless as whatever hope they had is gone, leading them to self-doubt and
feeling like a failure. Adding to their problems, they may also feel guilt and responsibility
for the outcome.
● There is a real fallout from their failure
● There should be a sense that the stakes are raised and the impression that victory is
impossible

30. Pep Talk:

● The Protagonist no longer believes in themselves and needs someone else to pull them
out of their depressive cycle.
● They receive a pep talk, which could be encouragement from an Ally, or someone
sharing a vulnerable story
● The Ally helps the Protagonist realize what their fatal flaw is, and how it has been a blind
spot for them, though this may not be perfectly obvious yet.
● Having this pep talk rebuilds their confidence, reaffirms what is at stake, and presents
the choice of how to move forward
Act 3

31. Seizing the Sword:

● The Protagonist now has the courage to make a deliberate choice to continue, no matter
how impossible the odds of success are.
● A piece of critical information may be revealed that has been hidden up to this point
gives the Protagonist and their Allies an extra boost
● The Protagonist gears up for the Final Battle, assembling any needed assets, such as
special weapons, information, gathering forces, etc.
● Another plan of attack is created

32. Gathering the Team:

● The protagonist gathers the team they need via inspiration
● They may need to make amends with previously scorned allies
● There is some antagonism between the protagonist and the allies, but the protagonist is
more confident now and they agree to help
● Together they coordinate on what to do next
● They also gather any tools they will need to enact their plan

33. Final Battle, First Stage:

● The plan moves into motion
● This is the first stage of that plan
● This is the “Storming the Castle” moment
● This part of the plan goes relatively smoothly, and there is hope that the protagonist
might succeed
● Skills and information learned in Act 2A help the protagonist succeed here
● There may be payoff for subplots between the protagonist and other ally characters here

34. Final Battle, Second Stage:

● The protagonist and their allies move on to the next stage of the plan
● This stage also goes relatively well, though more difficult than the first
● Once again, skills and information learned in act 2A help the protagonist succeed here
● There may be payoff for subplots between the protagonist and other ally characters here
● There is a real test here that proves that the protagonist has indeed learned to reverse
the flaw that held them back in Act 2A, or at least that’s how it seems
● Often the Allies drop off by this scene, either sacrificing themselves or being needed
elsewhere, forcing the protagonist to go on alone
35. Final Battle, Third Stage:
● The Protagonist goes into the third stage of the final battle alone
● The Protagonist so far has thought that they understand their Fatal Flaw, but they really
did not, not fully
● They go into the battle confident, which leads to their undoing.
● But the protagonist is fighting to save others or perhaps the world, heightening the
stakes
● This is another “All is Lost” moment for the Protagonist and the reader.
● There is a final plot twist that is completely unexpected and causes the Antagonist to
have the upper hand

36. Ultimate Defeat:

● The Protagonist has a humiliation scene, where they are at the mercy of the Antagonist
● The Antagonist reveals their full plan, allowing the author to tie up any loose ends of the
story
● The Protagonist comes to a full understanding of their flaw and lets go of whatever was
holding them back
● The Antagonist may even be the one to point the flaw out
● The Protagonist has no hope of winning unless they are able to face their Fatal Flaw

37. The Drop:

● The Antagonist believes they have won.
● However, the Protagonist now has a new understanding of themselves and the unhealed
wound (the Fatal Flaw) that was holding them back, and they decide to let it go or move
past it.
● The Protagonist’s want versus need comes to a head here, and they realize they may
never achieve their want, but they are going to sacrifice it and fight anyway
● The Protagonist realizes that they’ve been wrong all along, and they must rid themselves
of their flaw and embrace their new self in order to win

38. Unexpected Victory:

● The Protagonist, now having fully abandoned their flaw, executes a new plan, one that
allows them to achieve success
● They may also have a secret weapon, one unexpected thing that was overlooked for the
duration of the story. This could be a secret item, ability, or hidden Ally
● This secret thing, plus their newly changed self, gets them out of trouble and brings them
victory
● There is a satisfying ultimate victory over the Antagonist
● (optional) sacrifice more Allies and character in this scene, perhaps even the Protagonist
themself.
39. Bittersweet Reflection:
● The Protagonist has won the battle
● Now is the time for joyful celebration or bittersweet reflection
● (if part of a series) They may not have defeated the Antagonist, but driven them off or
been in a battle with a powerful but lesser henchman
● The Protagonist is now a changed person

40. Death of Self:

● All remaining loose ends are tied up, such as the storylines and character arcs of the
other main characters and Allies
● This chapter should come full circle and represent the rebirth of the Protagonist
● They always wanted their own thing, tried to get what they wanted, but ultimately
sacrificed it to save others and defeat the Antagonist
● This is a very big shift and may even deserve an acknowledgment ceremony or public
recognition
● (if part of a series) Hints of future challenges
● Ends with a closing image of the protagonist, which should complement the opening
image but show just how much they have changed.

41. After-Credit Scene (optional):

● Should involve a closing image, visually representing the upcoming conflict for future
books/series, and in a way that increases the stakes
● Similar to a Marvel after-credit scene that teases upcoming films