You start writing a novel with a vague idea of where it's going. Around chapter 10, you realize you're lost. The middle sags. Subplots go nowhere. You're not sure how to end it. You either push through writing scenes that feel aimless, or you abandon the project entirely. Another unfinished novel.
Most abandoned novels don't fail because of bad ideas or weak writing—they fail because of insufficient structure. Without a roadmap, you wander. With an outline, you know where you're going and how to get there. The trick is finding the outlining method that gives you enough structure to prevent wandering while preserving enough flexibility for discovery.
This guide shows you how to outline complete novels. You'll learn flexible versus rigid outlining approaches, three-act structure and hero's journey frameworks, balancing structure with creative discovery, incorporating character arcs into plot structure, handling multiple POVs and subplots, avoiding common mid-book sag, and examining outlines behind award-winning novels.
Flexible vs. Rigid Outlining
There's no one "right" way to outline. The method depends on how your creative process works.
The Spectrum
Pantsers (Discovery Writers): Minimal or no outline. They discover the story as they write. Strengths: Organic, surprising, characters feel alive. Weaknesses: Higher risk of plot holes, structural issues, abandoned drafts when they write into corners.
Plotters (Outliners): Detailed scene-by-scene outlines before writing. Strengths: Clear structure, know the ending, efficient first drafts. Weaknesses: Can feel restrictive, less room for discovery, risk of outline becoming homework.
Plantsers (Hybrids): Outline major beats, discover specifics while writing. Strengths: Balance of structure and flexibility, best of both approaches. Weaknesses: Requires discipline to return and fix structural issues discovered during writing.
What Every Method Needs
Regardless of your approach, know these before starting:
• Your ending: Where is this story going? You can change it later, but start with a destination.
• Your protagonist's arc: Who are they at the beginning vs. the end? What transforms them?
• Your central conflict: What's preventing the protagonist from getting what they want?
• Your inciting incident: What event kicks off the story?
• Your major turning points: What are the 3-5 moments that change everything?
Even the loosest pantser benefits from knowing these anchors. They're compass points that prevent getting lost.
Finding Your Method
Try this test:
Start with minimal outline (just the five elements above). Write 5,000 words.
• If you feel lost and anxious: You need more structure. Add detailed chapter outlines.
• If you feel excited and confident: Minimal outline works for you. Continue.
• If you discover major plot points that surprise you: Good! Update your outline and continue.
Your method is whatever allows you to finish the draft without feeling either paralyzed by lack of direction or creatively stifled by over-planning.
Three-Act Structure Basics
Three-act structure is the most common framework for novels. It divides your story into Setup (25%), Confrontation (50%), and Resolution (25%).
Act 1: Setup (First Quarter)
In an 80,000-word novel, Act 1 is roughly 20,000 words (about 6-8 chapters).
Purpose: Establish normal world, introduce protagonist, show their flaw or false belief, deliver inciting incident that disrupts status quo.
Key Elements:
• Opening: Start with action, tension, or strong character introduction. Avoid slow warm-ups.
• Status Quo: Show protagonist's ordinary life and internal flaw (perfectionism, cynicism, fear).
• Inciting Incident (10-15% mark): The event that disrupts everything. Often happens in chapter 3-4.
• Debate/Resistance: Protagonist resists the call to action. Shows what they'll lose by engaging.
• Plot Point 1 (25% mark): Protagonist commits to the goal. Point of no return. Can't go back to normal.
Example: In The Hunger Games, Katniss's normal world is District 12 (Act 1 setup). Prim is selected for the Games (inciting incident). Katniss debates letting Prim go versus volunteering (resistance). Katniss volunteers (Plot Point 1 – commitment, no going back).
Act 2: Confrontation (Middle Half)
In an 80,000-word novel, Act 2 is roughly 40,000 words (about 12-16 chapters). It's split into 2A and 2B by the midpoint.
Act 2A (25-50%):
• Fun and Games: Deliver on the premise. Thriller = suspenseful investigation. Romance = courtship. Fantasy = exploring magical world.
• Progress: Protagonist learns, makes small wins, builds confidence.
• Rising Stakes: Complications increase but feel manageable.
• Midpoint (50% mark): Major twist or revelation. Stakes become personal. Protagonist shifts from reactive to proactive.
Example: In The Hunger Games, Act 2A is Katniss learning to survive, making allies (Rue), managing the Games. Midpoint: Rule change allowing two victors from same district. Now she must decide about Peeta. Stakes shift from pure survival to love vs. survival.
Act 2B (50-75%):
• Bad Guys Close In: Antagonist gains power, protagonist's plans fail, relationships strain.
• Internal Doubt: Protagonist questions ability to succeed. Flaw causes problems.
• Pressure from All Sides: Not just external conflict—subplots complicate, allies turn, internal fears surface.
• All Is Lost (75% mark): Lowest point. Major defeat or loss. Feels hopeless.
• Dark Night of the Soul: Protagonist wallows, questions everything, confronts false belief.
Example: In The Hunger Games, Act 2B escalates danger. Rue dies (major loss). Katniss and Peeta face Career tributes. Finally, rule reversal threatens both (All Is Lost). Katniss must choose: kill Peeta or die together (dark night—confronts her resistance to connection).
Act 3: Resolution (Final Quarter)
In an 80,000-word novel, Act 3 is roughly 20,000 words (about 6-8 chapters).
Purpose: Final confrontation, resolution of all storylines, demonstrate character growth, deliver on promises.
Key Elements:
• Plot Point 2 (80% mark): New information or realization. Protagonist finds inner strength, understands what they've been missing.
• Finale: Confrontation with antagonist. Protagonist must use internal growth (not just skills) to succeed.
• Climax: Peak tension. Central question answered. Character arc completes.
• Resolution: Aftermath. Tie loose ends. Show new normal. Demonstrate transformation.
Example: In The Hunger Games, Katniss finds inner strength (will choose death with Peeta over betraying him—Plot Point 2). Berries confrontation is climax (defies Games, both survive). Resolution: Return to District 12transformed, but haunted. Seeds for series continuation.
Ready to outline your complete novel?
River's AI guides you through three-act or hero's journey structure, generating complete outlines with major beats, chapter breakdowns, subplot integration, pacing notes, and multiple POV tracking optimized for your genre and story.
Create Novel OutlineIncorporating Character Arcs
Plot structure (what happens) and character arc (internal transformation) must work together. The external plot forces internal change.
The Six-Stage Character Arc
1. Status Quo / False Belief (Act 1 opening):
Character's starting state. Show their flaw or false belief about themselves/world.
Example: Elizabeth Bennet believes she's an excellent judge of character and that pride is worse than prejudice.
2. Inciting Incident Challenges Belief (Act 1):
External event that will eventually force character to confront their flaw.
Example: Elizabeth meets Darcy (proud and seemingly rude) and Wickham (charming and seemingly honest). Her snap judgments feel confirmed.
3. Commitment Based on Flawed Understanding (Plot Point 1):
Character commits to goal while still holding false belief. This guarantees problems.
Example: Elizabeth rejects Darcy's first proposal, citing his pride and treatment of Wickham. She's committed to her judgment.
4. Midpoint Revelation:
New information hints that their belief might be wrong. Creates doubt but not yet transformation.
Example: Darcy's letter reveals truth about Wickham. Elizabeth begins questioning her judgment but isn't ready to fully admit error.
5. Crisis / Rock Bottom (Act 2B low point):
Consequences of flaw reach breaking point. Character forced to confront truth about themselves.
Example: Lydia runs off with Wickham. Elizabeth's misjudgment has real consequences. She realizes her prejudice blinded her.
6. Transformation & New Action (Act 3):
Character acts according to new belief. This leads to resolution.
Example: Elizabeth sees Darcy with clear eyes, recognizes his true character. When he proposes again, she accepts—based on understanding, not pride or prejudice.
Aligning Arc with Structure
Your outline should explicitly show how plot beats force character growth:
• Inciting Incident: What about this event will challenge the protagonist's false belief?
• Midpoint: What revelation makes them question their belief?
• All Is Lost: How does their flaw cause this low point?
• Climax: How does demonstrating their new belief lead to external success?
If plot and arc aren't connected, you have two separate stories competing. When they're aligned, every plot beat serves character development and every character moment advances plot.
Common Mid-Book Sag Issues
The middle of Act 2 (roughly chapters 10-18 in a 25-chapter novel) is where most novels lose momentum. Readers get bored. Writers get stuck.
Why the Middle Sags
Problem 1: Repetitive Scenes
Same type of scene repeating without progression. Detective interviews witness after witness with no new information. Characters have the same argument three times.
Fix: Every scene must change something. If scene 10 and scene 14 could be swapped with no impact, one is unnecessary. Cut or combine.
Problem 2: No Midpoint Twist
Story continues straight from Act 1 to Act 3 with no major revelation or twist at the halfway point.
Fix: At the midpoint (50%), introduce new information that reframes everything. What seemed like a heist is actually a rescue. What seemed like a love story is actually a betrayal. Shift from reactive protagonist to proactive one.
Problem 3: Subplots Neglected
Focus only on main plot in the middle. No variety. No character development through relationships.
Fix: Weave subplots through Act 2. Alternate between main plot advancement and subplot development. Use subplots to create breather moments between action, but ensure each subplot scene still serves theme or character arc.
Problem 4: Stakes Don't Escalate
Danger level stays constant. By chapter 15, readers are numb to the same level of threat.
Fix: Escalate stakes every few chapters. Start with career at risk, then reputation, then safety of loved one, then protagonist's life. Each setback should be worse than the last.
Problem 5: Too Much Setup for Act 3
Chapters 16-18 feel like they're just moving pieces into position for the climax without being interesting themselves.
Fix: Setup can be dramatic. Instead of characters discussing a plan for three chapters, show them attempting the plan and it going wrong, forcing improvisation. The journey to the climax should be as compelling as the climax itself.
Middle Structure That Works
In your outline, ensure Act 2 has:
• Midpoint twist that changes everything (chapter 12-13)
• At least 3 major setbacks that escalate in severity
• Subplot complications that intersect with main plot
• Character relationship development (alliances form/break)
• Reveals about backstory that recontextualize earlier events
• Shift from protagonist reacting to problems → protagonist taking initiative
Multiple POVs and Subplots
Multiple POVs and subplots add richness but also complexity. Your outline must track all threads.
POV Management
If using multiple POVs, outline which chapters belong to which character:
POV Distribution:
• Primary protagonist: 50-60% of chapters
• Secondary protagonist (if dual POV): 30-40%
• Antagonist POV (if included): 10-20%
• Minor POVs (if any): Sparingly, for specific reveals
POV Rules:
• Each POV character needs their own arc
• Switch POVs at chapter breaks (not mid-scene unless intentional stylistic choice)
• Each POV chapter must advance overall plot or reveal information protagonist doesn't know
• Maintain distinct voices (different vocabulary, sentence structure, perspectives)
In Your Outline:
Mark each chapter/scene with POV character. Ensure no single POV disappears for too long (maximum 3-4 chapters between appearances or readers forget them).
Subplot Integration
Subplots shouldn't feel like separate stories happening alongside the main plot. They should intersect and complicate.
Types of Subplots:
• Romantic subplot: Love interest who helps or hinders main goal
• Relationship subplot: Friendship or family conflict that mirrors theme
• Secondary mystery: Smaller puzzle that connects to main plot
• Character flaw subplot: Internal struggle manifesting in personal relationships
• Thematic subplot: Parallel story that explores theme from different angle
Integration Strategy:
In your outline, track each subplot through four stages:
1. Introduction (Act 1): When does this subplot start?
2. Development (Act 2A): How does it progress? When does it complicate main plot?
3. Crisis (Act 2B): When does subplot conflict peak? Should intersect with or compound main plot crisis.
4. Resolution (Act 3): Resolve before or during climax, not after. Subplots end before main plot climax or simultaneously, never after.
Example: In a thriller with romantic subplot:
• Act 1: Protagonist meets love interest during investigation
• Act 2A: Romance develops, but protagonist's obsession with case strains relationship
• Act 2B: Love interest gives ultimatum (me or the case); protagonist chooses case
• Act 3: Reconciliation when love interest helps with final confrontation, demonstrating growth
• Resolution: Both main plot (case solved) and subplot (relationship healed) resolve in climax
Outlines Behind Award-Winning Books
Let's examine how successful novels use structure.
The Hunger Games by Suzanne Collins
Structure: Classic three-act
Act 1: Life in District 12 → Reaping (inciting incident) → Prep for Games (commitment at Plot Point 1)
Act 2A: Training, parade, interviews, beginning of Games → Midpoint: Rule change (two victors possible)
Act 2B: Alliance with Peeta, tracker jacker nest, Rue's death → All Is Lost: Rule reversed (only one victor)
Act 3: Berries strategy (defies Capitol) → Both survive (climax) → Return home forever changed
What makes it work: Midpoint revelation completely changes Katniss's strategy. External plot (survive Games) forces internal growth (opening her heart to connection despite loss).
Gone Girl by Gillian Flynn
Structure: Dual timeline / Unreliable narrator twist
Part 1: Nick in present (Amy missing), Amy's diary in past (leading to disappearance)
Midpoint Twist: Reveal Amy is alive, diary was fake, she framed Nick
Part 2: Both in present, Amy evading capture, Nick discovering truth
Climax: Amy returns, forces Nick into her narrative
Resolution: Toxic equilibrium, both trapped
What makes it work: Structure is the story. The twist only works because of dual timeline setup. Reader experiences Nick's confusion alongside him.
The Night Circus by Erin Morgenstern
Structure: Non-linear, multiple timelines converging
Primary timeline: Competition between Celia and Marco
Secondary timeline: Circus performances (present day)
Convergence: All timelines reveal how competition ends and circus survives
What makes it work: Non-linear structure mirrors the timeless, magical quality of the circus. Each timeline slowly reveals pieces of the puzzle. Requires meticulous outlining to ensure all threads converge satisfyingly.
Key Takeaways
Choose your outlining method based on your creative process. Pantsers need minimal outlines (major beats only). Plotters need detailed chapter breakdowns. Hybrids outline acts and discover specifics while writing. Every method needs: ending, character arc, central conflict, inciting incident, and major turning points.
Three-act structure divides novels into Setup (25%), Confrontation (50%), and Resolution (25%). Key points: inciting incident (10-15%), Plot Point 1 commitment (25%), midpoint twist (50%), All Is Lost (75%), Plot Point 2 realization (80%), climax (90-95%). These percentages aren't rules but reliable guidelines.
Character arcs must align with plot structure. External plot events force internal transformation. Inciting incident challenges false belief. Midpoint creates doubt. Low point results from flaw. Climax requires demonstrating new belief. When arc and plot aren't connected, you have two competing stories.
The middle sags when scenes repeat without progression, there's no midpoint twist, subplots are neglected, stakes don't escalate, or setup for Act 3 becomes boring. Fix by ensuring every scene changes something, adding midpoint revelation, weaving subplots, escalating stakes, and making the journey to climax compelling itself.
Multiple POVs need distribution rules (primary POV 50-60%, secondary 30-40%) and distinct voices. Subplots need four-stage tracking: introduction (Act 1), development (Act 2A), crisis intersecting with main plot (Act 2B), resolution before or during climax (Act 3). Never resolve subplots after main plot climax.
Award-winning novels demonstrate strong structure—The Hunger Games uses classic three-act with perfect midpoint twist, Gone Girl's structure is the story with dual timeline and revelation, The Night Circus requires meticulous outlining to converge multiple timelines. Structure serves story, never constrains it.