How to Outline a 90,000-Word Novel in One Week

You have a novel idea. You want to write it. But the thought of starting without a plan feels like driving cross-country without a map. You could do it, but you'll take wrong turns, backtrack, and maybe end up somewhere completely different than intended.

That's where outlining comes in. And if you're writing commercial fiction around 90,000 words (the sweet spot for most genres), you can create a complete, workable outline in just one week. Not a vague sketch. Not a loose idea. A real scene-by-scene roadmap that will guide you through drafting without getting lost in the middle.

This guide breaks down exactly how to outline a 90,000-word novel in seven days. It's a sprint, not a stroll. But by the end of the week, you'll have everything you need to start writing with confidence.

Why 90,000 Words?

Before we get into the outlining process, let's talk about target word count. 90,000 words is the commercial fiction sweet spot for good reason.

Genre standards: - Mystery/Thriller: 70,000-90,000 words - Romance: 70,000-90,000 words - Fantasy: 90,000-120,000 words (90K is the low end, but doable for debut) - Science Fiction: 90,000-110,000 words - Women's Fiction: 80,000-100,000 words - Literary Fiction: 80,000-100,000 words

90,000 words hits the overlap zone for almost every genre. It's long enough to develop complex plots and characters. Short enough that readers don't feel daunted. And for debut authors, it's much easier to sell than 150,000 words.

If your genre skews shorter or longer, adjust accordingly. But 90K is a solid target that gives you room to work.

What This Outline Will Give You

By the end of this week-long process, you'll have:

A three-act structure with major plot beats marked at the right percentages (inciting incident, first plot point, midpoint, all is lost, climax).

A scene list with 40-60 scenes, each with a clear purpose, POV, setting, and key events. You'll know what happens in every major scene before you write it.

Character profiles for your protagonist, antagonist, and 3-5 supporting characters. You'll know their wants, needs, flaws, and arcs.

A chapter breakdown organizing your scenes into 20-25 chapters with approximate word counts per chapter.

Subplot tracking so you know when your B-story, romance subplot, or character relationship arcs weave through the main plot.

This outline won't be perfect. It will change during drafting. That's normal and good. But you'll have a solid map that prevents the dreaded "I have no idea what happens next" moment at 40,000 words.

Before You Start: What You Need

To outline in one week, you need a few things ready:

Your premise: You don't need every detail, but you need the basic idea. "A detective investigates a murder and discovers her own sister is the killer" or "A teenager discovers she's the last dragon rider and must prevent a war." One or two sentences.

Your protagonist: Who is the main character? You don't need their full backstory yet, but you need to know who they are and roughly what they want.

Your genre: Are you writing mystery, fantasy, romance, thriller, literary fiction? Genre determines structure and reader expectations you'll need to meet.

Time commitment: Plan to spend 2-3 hours per day for seven days. That's 14-21 hours total. You can do more if you want to go deeper, but this is the minimum to create a solid outline.

Tools: Use whatever works for you. Scrivener, Google Docs, Notion, index cards, a notebook. Doesn't matter. Just have something to capture your work.

Ready? Let's break down the seven days.

Day 1: Build Your Foundation (Protagonist and Core Conflict)

You can't outline a story until you know who it's about and what conflict drives it. Day 1 is about getting crystal clear on these fundamentals.

Hour 1: Protagonist Deep Dive

Answer these questions about your main character:

External want: What do they want to achieve by the end of the story? (solve the murder, win the championship, get the promotion, save the kingdom)

Internal need: What do they need to learn or become? (trust others, forgive themselves, find courage, accept love) This is your character arc.

Fatal flaw: What weakness or belief holds them back? (mistrust, perfectionism, fear of failure, selfishness)

Greatest fear: What are they most afraid of? (abandonment, vulnerability, losing control, being ordinary)

Core skills/strengths: What makes them capable of pursuing their goal? (brilliant detective, skilled fighter, resourceful, charismatic)

Starting point: Where are they emotionally and situationally when the story begins? (lonely, stuck in dead-end job, grieving, cynical)

Write 2-3 paragraphs describing your protagonist. Make them specific. "A detective" is generic. "A detective who hasn't trusted a partner since her last one got killed because she missed a clue" is a character.

Hour 2: Antagonist and Opposition

Your antagonist doesn't have to be a villain. They just have to oppose your protagonist's goal. Answer these:

Who or what opposes the protagonist? (person, organization, nature, society, themselves)

What does the antagonist want? They can't just be evil. They need their own goal that conflicts with the protagonist's.

Why are they formidable? What makes them a real threat? (smarter, more powerful, has resources protagonist lacks, knows protagonist's weaknesses)

What's their method? How do they pursue their goal? (manipulation, brute force, political maneuvering, staying hidden)

If your antagonist is internal (character vs self) or environmental (character vs nature), define what makes this opposition challenging and how it manifests.

Hour 3: Core Conflict and Stakes

Now connect protagonist and antagonist into conflict:

Story question: What question will readers keep reading to find answered? (Will she solve the murder before the killer strikes again? Will he win her heart? Will they stop the villain from destroying the city?)

Stakes: What happens if the protagonist fails? Make it personal and specific. "The world ends" is vague. "Her sister goes to prison and her family is destroyed" is personal.

Why now? Why is this story happening now and not a year ago or next year? What creates urgency? (the killer will strike again in 48 hours, the tournament is in two weeks, the villain's plan reaches completion in days)

Write one paragraph that captures: [Protagonist] wants [goal] but [antagonist/opposition] stands in their way. If [protagonist] fails, [stakes]. This is your story's core.

End of Day 1: You should have clear protagonist and antagonist profiles, and a one-paragraph summary of your core conflict. This is your foundation.

Day 2: Design Your Character Arc and Thematic Layer

Plot and character are intertwined. Day 2 connects your protagonist's internal journey to the external events you'll plot tomorrow.

Hour 1: Map the Character Arc

Your character arc is the internal transformation. Map it across the story:

Opening state: Who are they at the start? What belief or flaw defines them? (doesn't trust anyone, believes success means being alone, thinks they're unworthy of love)

First challenge to belief: Around 25% (first plot point), something challenges their belief. They resist or double down. (they're forced to work with someone, they're offered help and refuse it)

Midpoint shift: At 50%, something makes them question their belief. A glimpse of who they could become. (they trust someone and it works out, they show vulnerability and aren't rejected)

All Is Lost reinforcement: At 75%, their flaw seems justified. The thing they feared happens. They revert to old patterns. (they're betrayed, they fail when they tried something new, they push away the person who cared)

Climax realization: At 90%, they must choose. Cling to the old belief and lose, or embrace change and possibly win. (trust their partner despite the risk, choose love over safety, ask for help despite pride)

Resolution state: Who are they at the end? How have they changed? (now trusts others, accepts that they need people, believes they're worthy)

Write out this arc in 5-7 sentences. This is the emotional backbone of your novel.

Hour 2: Supporting Cast

Identify 3-5 key supporting characters. For each, answer:

Role in story: (mentor, love interest, best friend, sidekick, foil, secondary antagonist)

Purpose: What do they provide for the protagonist? (wisdom, comic relief, challenge, support, temptation)

Their own want: They're not just there to serve the protagonist. What do they want?

Key scenes: When do they appear? What major scenes involve them?

You don't need full backstories, but you need clarity on who they are and why they matter.

Hour 3: Theme and Subplots

Theme: What's this story really about beneath the surface? (redemption, the cost of ambition, finding family, overcoming trauma, power of forgiveness) One word or short phrase.

You don't have to beat readers over the head with theme, but knowing it helps you weave it through scenes naturally.

Subplots: Identify 1-2 subplots that run alongside your main plot. Common ones:

For each subplot, note: starting point, midpoint development, resolution. You'll weave these into your scene list later.

End of Day 2: You have character arc mapped, supporting cast defined, and subplots identified. You're ready to structure.

Day 3: Build Your Three-Act Structure

Now you create the skeleton. Day 3 is about placing your major plot beats at the right story percentages.

Word count breakdown for 90,000 words: - Act 1 (0-25%): 0-22,500 words - Act 2a (25-50%): 22,500-45,000 words - Act 2b (50-75%): 45,000-67,500 words - Act 3 (75-100%): 67,500-90,000 words

Hour 1: Act 1 (Setup)

Opening scene (0%): Where and how does your story begin? Show protagonist in their normal world. Establish tone, voice, character. Hint at the conflict coming. (1-2 sentences describing the scene)

Inciting incident (12-15%): The event that disrupts normal and introduces the main conflict. (detective is assigned the case, protagonist discovers they have powers, love interest walks into their life) (1-2 sentences)

First plot point (25%): The point of no return. Protagonist commits to the journey. Can't go back to normal. (accepts the case officially, decides to fight the villain, agrees to the relationship) (1-2 sentences)

Also note for Act 1: - What world-building needs to happen? - What supporting characters are introduced? - What's the protagonist's emotional state? - What subplot threads start?

Hour 2: Act 2 (Confrontation)

Act 2 is the longest and hardest to structure. Break it into two parts:

Act 2a (25-50% - Rising Action): - Protagonist pursues goal - Faces obstacles and setbacks - Learns new information - Builds relationships - Small victories and failures - Character arc: first challenges to their belief

Midpoint (50%): The game-changer. Something major happens that shifts the story. Common midpoints: - False victory (they think they won but didn't) - Major revelation (they learn the truth) - Shift from reactive to proactive (protagonist takes control) - Point of no return (stakes are raised) (Write 2-3 sentences describing what happens)

Act 2b (50-75% - Complications): - Consequences of midpoint - Antagonist fights back harder - Obstacles get worse - Protagonist struggles - Character arc: glimpses of growth, then setback - Subplots develop

All Is Lost moment (75%): The lowest point. Everything seems to fail. Protagonist considers giving up. Their flaw seems justified. Death (literal or metaphorical) of something important. (2-3 sentences describing this moment)

Hour 3: Act 3 (Resolution)

Act 3 (75-90% - Rising to Climax): - Protagonist finds resolve - Gathers resources/allies - New plan or approach - Final preparations - Character arc: makes the choice to change

Climax (90%): The final confrontation. Protagonist faces antagonist (or internal demon, or nature). Everything comes to a head. They must use what they've learned. They must embrace their character arc change to win. (3-4 sentences describing the climactic sequence)

Resolution (90-100%): Immediate aftermath. Show protagonist in their new normal. How have they changed? What's different? Tie up major plot threads and subplots. Emotional satisfaction. (2-3 sentences)

End of Day 3: You have your major beats placed. This is your skeleton. Everything else hangs on these bones.

Day 4: Break Acts Into Sequences

Beats are too broad to write from. Day 4 is about breaking each act into sequences (mini-arcs of 3-5 scenes).

What's a sequence? A series of scenes that build toward a mini-climax or turning point. Like chapters in each act.

Hour 1: Act 1 Sequences (0-25%)

Divide Act 1 (22,500 words) into 3-4 sequences. Example for a mystery:

Sequence 1 (Opening to Inciting Incident): - Scene 1: Detective's normal day, establish character - Scene 2: Gets call about the murder - Scene 3: Arrives at crime scene, meets key characters Sequence 2 (Investigation Begins): - Scene 4: Examines evidence, interviews witnesses - Scene 5: Discovers first clue that makes this personal - Scene 6: Decides to take lead on case (First Plot Point)

For your story, identify 3-4 sequences in Act 1. List 2-4 key scenes per sequence. Don't write full scenes, just one-sentence descriptions.

Hour 2: Act 2 Sequences (25-75%)

This is the beast. 45,000 words needs 6-8 sequences. Break into two halves:

Act 2a Sequences (3-4 sequences to Midpoint): Each sequence should escalate. Each sequence ends with a setback or small victory that propels into the next. Example sequence structure: - Sequence builds toward mini-goal - Protagonist tries approach A - Obstacle or antagonist blocks - Protagonist adjusts, tries approach B - Mini-victory or setback that leads to next sequence

Act 2b Sequences (3-4 sequences to All Is Lost): After the midpoint, sequences get darker. Obstacles get harder. Antagonist is more formidable. Each sequence takes something away from protagonist or makes situation worse.

List out your 6-8 Act 2 sequences with 3-5 scenes each. This is where most of your story lives. Take your time.

Hour 3: Act 3 Sequences (75-100%)

Act 3 (22,500 words) typically has 2-3 sequences:

Sequence 1 (Recovery and Preparation): - Protagonist picks themselves up after All Is Lost - Gathers what they need for final confrontation - Character arc moment: makes the choice to change Sequence 2 (Climax): - The final confrontation/challenge - Multiple scenes building to peak - Character uses growth to succeed (or fails if tragedy) Sequence 3 (Resolution): - Immediate aftermath - Emotional wrap-up - Show new normal

List your Act 3 sequences with scenes.

End of Day 4: You have 12-15 sequences spanning your whole novel. Each sequence is broken into scenes. You're getting close to a scene-by-scene outline.

Day 5-6: Create Your Scene List

This is the most detailed work. You'll turn your sequences into a full scene list. Expect 40-60 scenes for a 90,000-word novel (average 1,500-2,250 words per scene).

For each scene, capture:

Scene number and title: (Scene 12: Detective Questions the Sister)

POV character: Who's perspective? (If single POV, skip this after establishing)

Setting: Where and when does it take place?

Scene goal: What does the POV character want in this scene?

Conflict/obstacle: What prevents them from getting it easily?

Outcome: Do they succeed, fail, or get a partial victory? Does it lead to next scene?

Key events: 2-4 bullet points of what happens

Character development: Any character arc moments or relationship changes?

Subplot elements: Does this scene advance any subplots?

Estimated word count: Rough target (action scenes shorter, emotional/dialogue scenes longer)

This is tedious but valuable. You don't need to write the scene, just map it.

Day 5: Tackle Act 1 and Act 2a scenes (roughly 20-25 scenes). Work through your sequences, expanding each into detailed scene entries.

Day 6: Tackle Act 2b and Act 3 scenes (roughly 20-25 scenes). Finish your complete scene list.

Tips for this phase:

Every scene must do at least two of these three things: 1. Advance the plot 2. Develop character 3. Deepen relationships or world

If a scene only does one, consider cutting or combining with another scene.

Vary your scenes: Don't have five investigation scenes in a row. Mix action with quieter character moments. Alternate tension and release.

Check pacing: Are you front-loading action and back-loading character development? Spread both throughout.

Subplot weaving: Make sure your subplots appear regularly (every 8-10 scenes minimum) so readers don't forget them.

End of Day 6: You have a complete scene list with 40-60 scenes mapped. This is your writing roadmap.

Day 7: Polish and Organize

Final day is about organizing everything into a usable format and filling any gaps.

Hour 1: Chapter Breakdown

Group your scenes into chapters. Typical chapter length: 3,000-4,000 words.

For 90,000 words, you'll have 22-30 chapters. Most novels land around 25.

Group scenes into chapters based on: - Natural breaking points (cliffhangers, scene transitions) - POV shifts (if multiple POV, chapters often switch POV) - Pacing (end chapters at high-tension moments) - Roughly equal length (some variation is fine, but wildly uneven chapters feel off)

Create a chapter outline showing: - Chapter 1: Scenes 1-3 (est. 3,500 words) - Chapter 2: Scenes 4-5 (est. 3,200 words) - And so on...

Hour 2: Gap Check

Read through your complete outline looking for:

Logic gaps: Does scene B logically follow scene A? Any jumps that need bridging?

Character arc holes: Does the protagonist's emotional journey track smoothly from opening to resolution? Any missing steps?

Subplot payoffs: Do all your subplots resolve? Or are some forgotten?

Motivation questions: Does every character's action make sense for who they are and what they want?

Pacing issues: Any sections that feel slow or rushed? Too many quiet scenes in a row? Too much action without character moments?

Fix gaps by adding, removing, or rearranging scenes. Your outline is flexible.

Hour 3: Reference Materials

Create supporting documents you'll reference while drafting:

Character sheets: Expand your protagonist, antagonist, and supporting character profiles. Add physical descriptions, backstory details, voice/dialogue patterns.

Timeline: If your story spans specific dates or has flashbacks, create a chronological timeline.

World notes: For fantasy/sci-fi, document world rules, magic systems, technology, geography. For contemporary, note setting details you'll reuse.

Subplot tracker: A simple chart showing when each subplot appears and resolves.

Writing order notes: Will you draft in order or jump around? Any scenes you want to write first?

End of Day 7: You have a complete, organized, usable outline. You're ready to write.

What to Do With Your Outline

Your outline is done. Now what?

Start writing. Don't keep outlining forever. At some point, you have to draft. Use your outline as a guide, not a prison.

Expect changes. Your outline will change as you draft. Characters will surprise you. Better ideas will emerge. Scenes won't work as planned. That's normal. The outline got you started and prevents major structural problems, but it's not set in stone.

Refer to it regularly. When you sit down to write, check your outline. What scene are you writing? What's the goal? What needs to happen? Then write the scene. After, check if it hit the goal or if you need to adjust.

Update as you go. When you make major changes while drafting, update your outline. This keeps your roadmap accurate and prevents continuity errors.

Don't use it as procrastination. Outlining can feel productive while avoiding the hard work of drafting. One week of outlining is plenty. Don't spend another week tweaking it. Start writing.

Common Outlining Mistakes to Avoid

Too much detail too soon: You don't need to know every line of dialogue in your outline. That's drafting. Outline the shape, draft the details.

Neglecting character arc: Plot without character growth is just things happening. Make sure you've mapped both external plot and internal journey.

Ignoring genre expectations: Romance readers expect certain beats. Mystery readers expect clues and red herrings. Know your genre's structure and meet those expectations.

Perfect outline syndrome: Trying to make the outline perfect before you start writing. You can't. The outline is your best guess. The story reveals itself in drafting.

Outlining as procrastination: Spending months on the outline to avoid writing. One week. Then write.

Forgetting subplots: Main plot is mapped but subplots are vague afterthoughts. Treat subplots with intention.

Flat middle: Act 1 and 3 are detailed, but Act 2 is just "stuff happens." Act 2 needs as much planning as the rest. That's where most novels fall apart.

Adjusting for Different Word Counts

This system works for 90,000 words, but what if your novel is longer or shorter?

For 70,000-word novels (shorter genre fiction): - Act 1: 17,500 words - Act 2: 35,000 words - Act 3: 17,500 words - 30-45 scenes - 18-23 chapters - Same beat percentages, just fewer words

For 110,000-word novels (fantasy, sci-fi): - Act 1: 27,500 words - Act 2: 55,000 words - Act 3: 27,500 words - 50-70 scenes - 28-35 chapters - Same beat percentages, more scenes to fill space

The structure stays the same. The percentages stay the same. You just add or reduce the number of scenes to hit your target word count.

For Pantsers Who Think They Don't Outline

If you're a pantser (write by the seat of your pants) and this whole guide feels wrong, that's okay. But consider this: you're probably outlining in your head. You have some sense of where the story is going, even if it's loose.

Try a compromise: spend one week doing just Days 1-4 of this system. Get your foundation, character arc, and major beats. Then pants the scenes. You'll have the structure to prevent disaster, but freedom to discover in the moment.

Many successful authors are "plantsers" - they plan the big stuff, pants the details. This system works for that approach.

Your One-Week Outlining Checklist

Here's your full week at a glance:

Day 1: - Protagonist profile (wants, needs, flaws, fears) - Antagonist profile (goals, methods, why formidable) - Core conflict and stakes - Story question Day 2: - Character arc mapped across story - Supporting cast (3-5 characters) - Theme identified - Subplots outlined Day 3: - Three-act structure with major beats - Opening, inciting incident, first plot point, midpoint, all is lost, climax, resolution - Word count targets per act Day 4: - Acts broken into sequences - 12-15 sequences total - 2-5 scenes per sequence identified Day 5: - Act 1 and 2a scenes detailed (20-25 scenes) - Scene goals, conflicts, outcomes, estimated word counts Day 6: - Act 2b and 3 scenes detailed (20-25 scenes) - Complete scene list with 40-60 scenes Day 7: - Chapter breakdown (group scenes into 22-30 chapters) - Gap check (logic, character arc, subplots) - Reference materials (character sheets, timeline, world notes)

That's it. Seven days. 2-3 hours per day. By the end, you have everything you need to write your 90,000-word novel without getting lost.

The Real Value of Outlining

Outlining isn't about removing all surprise or creativity from drafting. It's about giving yourself a map so you can enjoy the journey without fear of getting lost.

When you sit down to write with a solid outline, you're not staring at a blank page wondering what happens next. You know. So you can focus on how to make that scene come alive. You can focus on voice, description, dialogue, emotion. The what is handled. You get to play with the how.

And when you hit a scene that isn't working, you can look at your outline and understand why. Maybe the scene serves no purpose. Maybe it's in the wrong place. Maybe it needs to be combined with another scene. The outline helps you diagnose and fix problems fast.

Drafting with an outline doesn't take away creativity. It focuses it. You're not wasting creative energy on structure. You're pouring it into prose, character, and story. That's where the magic happens.

So take your week. Build your outline. Then write your novel. You've got this.