The Novel OutlineWorksheet

by

Instructions:
Fill in the worksheet below according to the prompts. Spend some time on this, but don’t worry

if it’s not perfect. Remember, you’re trying to write and publish a novel—not an outline.

A few tips before you get started:

1. Ground your scenes in action. Internal debate is a great way to add emotion, but action keeps
your pace moving forward.

2. Don’t settle on the scene you come up with first. Pixar recommends writing a list
of 20 options before deciding on one—this is why their stories feel so fresh.

3. Each “beat” doesn’t represent a single scene. Feel free to add more scenes where appropriate.

Your first 5 pages are the most important in your novel.

I worked as an assistant for a well-known literary agent my first year out of college, and part
of my job was to read queries from the slush pile. Each query included a five-to-ten-page
sample from the beginning of the novel. Ninety-nine times out of a hundred, these pages fell
flat. You wouldn’t believe how many people open their book with the main character waking
up to start her day. Your first scene introduces the reader (or agent, or editor, or sales-rep) to
your world. It has to set up your main character, your central conflict and your story arc in
just five to ten pages. And it has to do this in a way that feels unique. If you fail, you risk the
reader closing your book and never picking it up again.
It’s important. So, I’m going to show you how to do it right.

The Pixar Method

Pixar is famous for brainstorming twenty ideas before settling on the best option. Below,
you’re going to follow their lead, and brainstorm twenty ideas for how to open your novel.
Think of your character’s arc as a makeover that takes place throughout the book. This first
scene is the “before” snapshot.

Keep in mind:

Scenes grounded in action are more interesting than scenes inside a character’s head.
Your book should open immediately before everything changes.
Your main character’s “want" should be front and center.
What your character “wants” and what she “needs” are different.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.
16.

17.

18.

19.

20.

The Set-Up
Now that you’ve got your opening scene handled, you’re going to take us through your main
character’s everyday life. A great way to handle this is to show her at work, home and play.

Example: In THE HUNGER GAMES, Katniss’s “work” is hunting with Gail.

Example: In HARRY POTTER, “work” and “play” are combined in the trip to the zoo with
the Dursleys.

Work:

Home:
Play:

Catalyst
During one of the previous scenes, something happens that changes your main character’s
status quo. Suddenly her want is within reach, but achieving it will be challenging.

*Tip: consider another Pixar brainstorm if you get stuck on this beat!

Keep in mind:

Keep them wanting more. Show the reader just enough to get a taste of the main
character’s life, but don’t let it get boring!
If you’re having a hard time showing what your main character wants, consider coming
up with three to six problems she’s facing that could be solved by achieving her goal.
Debate
Change is hard. Your main character is scared and unsure of whether she can risk her status
quo to go after her want. This debate can be internal, or it with another character.

Break into Act 2

Once you’re done with the debate, your character must choose to enter Act 2A. How does
your character make this choice?

Example: Katniss volunteers as tribute in the Hunger Games, her name isn’t chosen for
her.

*Tip: ground this choice in action!

Promise of the Premise

Consider this the “meat” of your story. It’s the reason readers pick up your book in the first
place. If you’re writing a romance, these are the scenes filled with romantic tension. In a
mystery, this is where the main character starts uncovering clues and getting closer to the
truth.

Example: In HARRY POTTER, these are the scenes where Harry meets Ron and Hermione,
explores Hogwarts and starts learning magic.

Example: In THE HUNGER GAMES, they’re the scenes showing Katniss preparing to enter
the games.

These scenes should have both conflict and action to keep them from getting boring.

Keep in mind:

These scenes will take you to the middle of your book. Make sure you have enough going
on to keep things interesting!
Keep your main character’s goal top of mind. If you aren’t sure how to do this, consider
showing how the problems she faced in the set-up become easier as she starts going
after what she wants.
Your main character should push the action forward. Think of your scenes in terms of
choices she’s making, instead of things happening to her.

Example: Harry chooses to break the rules by riding a broomstick when he isn’t
supposed to, and sneaking out to meet Draco for a midnight duel. These choices alter
the course of the plot.
Midpoint High
Something happens to bring your character closer to her goal than she’s been at any other
point so far. This is a false win, but it should feel real in the moment.

Example: Katniss enters the Hunger Games and manages to snag a bow and arrow.
Midpoint Low
This is the lowest point in the book so far. Your main character falls hard after her false win in
the previous scene(s). She questions whether she can actually do this.

Example: Katniss discovers Peta is working against her.

Raise the stakes

Think of your “promise of the premise” section as a rollercoaster going up. The “mid-point” is
when it reaches the top, and you can see out over the entire amusement park. “Raise the
stakes” is when the roller coaster plummets into a heart-racing dive. The journey is harder
than your main character thought it would be. Villains are closing in around them, and they
have to dig down deep to keep going.

Keep in mind:

Your pacing needs to speed up! Consider using the Pixar method to brainstorm a bunch of
action scenes that’ll move your plot forward.

Unlike the “promise of the premise,” your main character is beginning to realize that getting
what she wants won’t solve all her problems. She’s starting to recognize the difference
between what she wants and what she needs.
Example: After Rue’s death, Katniss covers her body with flowers, even though this is
dangerous. She wants to live, but she needs to take a stand about the evils of the
games.

Example: Harry is unpopular in school after sneaking out and losing points for
Gryffindor, but he realizes that Lord Voldemort has an evil plan. He wants to find a
home at Hogwarts, but he needs to stop Voldemort from regaining power.
End of Act 2 High
After a hard journey, your character emerges triumphant. She thinks that she’s won. This
should be her happiest point in the book.

Example: Katniss and Peta defeat the final tribute and emerge as victors of the Hunger
Games.

Example: Harry makes it through each of the tasks and reaches the Philosopher’s stone.

End of Act 2 Low

A new challenge ruins everything your main character has worked for. This is the lowest point
in the book. Your main character is ready to give up.

Example: The rules change, and now Katniss must now kill Peta in order to survive.

Example: Harry isn’t fighting Snape for the Sorcerer’s Stone—he’s fighting Voldemort
himself.
The Showdown
Act 3 is often much shorter than the other acts, especially in commercial fiction. Don’t worry
if your plot wraps up fairly quickly here, with only two or three more scenes before you write
“the end.” The most important thing to focus on is your character’s arc. How did you
character change over the course of the book? Do we see the evolution of your character
evidenced in their choices and actions?

In the “showdown,” your main character must find the strength for one final fight. If you find
yourself unsure of how this is different from the end of Act 2 high, consider what your
character wants, vs. what she needs.

In Act 2, your character goes after what she wants and fails. In Act 3, she goes after what she
needs and is triumphant.

Example: Katniss refuses to kill Peta, even though doing so will help her achieve her goal
of living through the Hunger Games. She chooses what she needs—to protest the evils of
the Hunger Games—over what she wants—to live.

Example: Harry is once again faced with the Mirror of Erised, which shows his ultimate
want—reuniting with his parents. But, this time, when he looks in the mirror, he sees
himself finding the Sorcerer’s Stone, which he needs to do in order to defeat Voldemort.

Final Scene
The final scene is the inverse of your opening scene. It’s the “after” shot of the makeover.
Show us how much your character has changed by placing her in a similar moment of action,
but reacting to that action differently.
Example: HARRY POTTER opens with Harry under the stairs, literally and figuratively cut
off from the people around him. The book ends with Harry surrounded by friends and
loved ones.