In this post, I will present the outline template I use to design compelling and well-structured narratives.
Outlining is a crucial phase of the writing process, which can be broken down into three key stages: outlining, writing, and editing. Without a solid outline, the writing process will slow down to a crawl and doubt will creep in as you progress through the chapters. Your story won’t be cohesive and your characters will meander around. You will regret not having outlined earlier. If you manage to get through the gruelling writing process, editing will surely bleed your motivation dry. It will become painfully clear to you how your story isn’t worth reading in its current form, and all the love and effort you have invested will feel wasted.
Disclaimer#
This outline template is designed specifically for the narrative of your story. In other words, it focuses solely on the sequence of scenes leading up to the climax and the resolution of the central story question. It does not cover three of the four major story elements: characters, setting, and themes. This template only covers the narrative.
This outline template is not a substitute for learning the craft of story telling. Following this outline does not guarantee creativity, reader engagement, or a smooth writing and editing process. What this template offers is a baseline for improving the quality of your outline.
Feel free to modify and redistribute this template, as it is released into the public domain.
How To Use This Template#
Each of these sections is intended to be filled out once to provide a cohesive structure for your narrative:
SPOOC: this section serves as a condensed version of your story’s core elements, summarizing the main plot, protagonist, and antagonist to test your story’s fundamentals.
Opening scene: this section serves to establish the most important elements of your story, to hook your readers as quickly as possible, and to introduce your protagonist. It should be used in tandem with a conflict scene, or occasionally a sequel.
Central story event: this section serves highlight the middle of your story and mark it as a pivotal point for your narrative. It should be used in tandem with a conflict scene.
Climax: this section serves to capture the peak of the story’s narrative tension and the moment of greatest conflict in a final showdown. It should be used in tandem with a conflict scene.
Resolution: this section serves to conclude the narrative by resolving conflicts and tying up loose ends. It should be used in tandem with a sequel.
In between your major scenes, couple as many sequel and conflict scenes as necessary for your story’s development.
SPOOC#
SPOOC is a 2 sentences template to test your story’s fundamentals, to assure yourself that it is sturdy enough to last a book. The first sentence establishes the situation, and the second turns the central story goal into a question.
SPOOC stands for:
Situation
Protagonist
Objective
Opponent
Climax
Example#
Situation: when he is approached by Gandalf
Protagonist: Frodo
Objective: is tasked with destroying the One Ring. But can he throw it in Mount Doom when
Opponent: Sauron
Climax: tempts Frodo with the ring’s power, risking the Middle-earth’s fate?
Opening Scene#
These questions must be answered in the first 30 pages of your novel. Approximately a third of these can be answered in just a few paragraphs.
Hook in the first sentence (the most important sentence in the novel)
Who is your protagonist?
What is the main story goal?
What is the central story’s question?
Who is the viewpoint?
What is the current situation of the story?
Where does the story take place?
What is the time of day?
Who is the antagonist?
Scene’s action and conflict
How are the later developments hinted at?
How is the readers’ curiosity maintained?
What are the first complications?
Hook#
Readers decide to read the rest of the novel based on the opening, it is crucial to capture their attention as quickly as possible to encourage them to turn the page. In the opening, your primary goal as a writer is to prove why your novel is a unique and worthwhile experience compared to other books, movies, games, and media.
Part of achieving this involves hooking your readers. Here are some of the most common and effective hooks, combine them for interesting effects:
Raise a question.
Introduce a vivid character.
Present an unexpected event.
Create a change in existing circumstances.
Introduce immediate danger.
Establish sinister atmosphere.
Leap into action.
Introducing The Protagonist#
What first and lasting Impressions should the protagonist make on the readers?
How should the protagonist be brought into the story simply, quickly, and efficiently?
How can the protagonist demonstrate what kind of person they are without interrupting the story to dump their backstory?
How to make the protagonist sympathetic and likeable?
Conflict Scene#
A story is divided into scenes. There are two kinds of scenes: conflict scenes and sequels (not related to the next instalment of a series). Conflict scenes serve to advance the central story question while sequels elaborate on the physical and emotional consequences of a previous conflict scene, and orient the story towards the next conflict scene. More onto sequels later.
Length#
General: 60k - 100k words.
Urban Fantasy: 70k - 85k words.
Traditional High Fantasy: < 95k words.
Experienced: Possible > 100k words.
Novellas: 25k - 50k words.
Novelettes: 15k - 30k words.
short stories: 2k - 10k words.
Short shorts: < 1.5k words.
Characters#
- Which characters will be part of the scene?
Link your character sheets.
Viewpoint#
Which type of viewpoint is used?
First person
Easy for the writer to write and for the readers to understand. Most intimate viewpoint. Difficult to plot for.
Second person
Provides no advantages and destroys the suspension of disbelief.
Third person
Most common, easiest to write, flexible.
Omniscient
Provides a quick insight into several characters, but it is the hardest to write and nobody does it well. Thus, it is seldom used.
Introduction#
Who is the protagonist?
What is their goal and motivation?
How is it established? (through dialogue, actions, or both?)
What are the stakes?
What is going on?
Who are the players?
What is the locale?
What is the mood?
Hook#
- How do the readers get hooked in the scene?
Multiple answers are encouraged.
Raise a question to pique the readers curiosity.
Introduce a vivid character.
Unexpected event.
Immediate danger.
Sinister atmosphere. (Best used at beginning of chapters).
Leaping into action.
Other.
Development#
Is adversity present? (bad luck for the protagonist).
Who is the antagonist?
What is their story goal and motivation?
How do they conflict with the protagonist’s?
Conflict Types#
Multiple answers are encouraged.
Combat.
Verbal disagreement.
Interrogation.
Evasion.
Bickering.
Other.
Suspense Types#
Multiple answers are encouraged.
Sympathetic protagonist.
Moody atmosphere.
Planning early threats.
Series of obstacles.
Warning of or eating the forbidden fruit.
Dangerous isolation.
Protagonist chased by several threats.
Protagonist chasing an evenly matched threat.
Ticking clock.
Other.
Smaller Story Questions#
A novel cannot solely rely on one major story question; it should incorporate numerous smaller, interconnected questions to keep the readers engaged. Their investment will increase as more story questions are introduced, adding layers of intrigue to the story. This process should begin from the very first page with a steady flow of new questions and their matching answers. Nearing the end of the story, questions should be answered more frequently than asked, and all questions should be answered by the end. This keeps the narrative dynamic and compelling.
In a well-constructed chapter, there can be anywhere from 10 to 30 story questions, some linger through the entire novel, others are resolved within a single paragraph. Each question should be mentioned within a regular rhythm, every three to ten pages to maintain narrative momentum. 10 to 30 questions may seem like a high amount but they are naturally introduced by writers. Diligently outlining each one is not crucial, but it is recommended to have a general plan for them.
Which smaller story questions are asked? How?
Which smaller story questions are re-mentioned? How?
Which smaller story questions are answered? How?
Examples#
I encourage you to read the first page of your favorite novel and isolate all the smaller story questions. Here are the ones I found from the first page of Storm Front by Jim Butcher:
Why does the mailman laugh at Dresden’s front door?
Why do people vandalize Dresden’s front door sign?
Dresden is revealed to be a wizard. Is this claim legitimate, and what does it entail?
What kind of bad news does Dresden get as mail?
What is Dresden’s newly arrived mail about?
It is revealed to be a notice from their landlord. What kind of conflict does Dresden have with their landlord?
Why does Dresden not provide love potions? (They are mentioned again in chapter 8 and the question is answered in chapter 14).
What is the paranormal in Dresden’s world?
How do normal people interact with the paranormal?
All these questions are considering the main, central story question: will Dresden resolve the case of Monica Sells?
Twist#
Twists heighten the stakes, render the outcome of the scene uncertain, and can help in advancing the story. This increases reader engagement.
It is debatable whether every conflict scene should have a twist, but the outcome of every conflict scene should be uncertain as to avoid monotony and predictability.
- What twists or unexpected developments are in the scene?
The Hidden Story#
This is the story of other non-viewpoint characters, it isn’t explicitly told to readers and it runs in parallel with the main story. The hidden story indirectly impacts the main story and other subplots, it is about secrets and motivations. The middle of the novel is a good place to further explore the hidden story and its impact.
- What is happening in the hidden story during this scene?
Resolution#
What is the story outcome, does the protagonist achieves their goal?
Yes, the protagonist achieves their goal (reserved for antagonist’s viewpoint or plot endings).
Yes, but things are now way worse for the protagonist (prioritize using most often).
Yes, but the progress is slight and the protagonist is more doubtful.
No, the protagonist is back where they started. (use sparingly).
No, it is a disaster (use sparingly, best reserved for the twist in the middle of the story).
In case of failure, how does the protagonist fail their goal?
How does the protagonist struggle and grow?
How will the story outcome impact the protagonist’s situation?
Which main story goal options have been removed?
Checklist#
Every question must be answered with “yes.”
Is there a hook at the very beginning of the scene?
Is the scene’s length different from the majority of the others'?
Are there smaller hooks peppered throughout the scene?
Is the viewpoint clear?
Does the viewpoint remain the same?
Is there a scene goal all throughout the scene?
Is the protagonist’s scene goal clear?
Is there only one major scene goal?
Is the protagonist active and proactive?
Is the antagonist present early?
Are the 5W1H clear? (when, where, what, who, why, how)
Are the stakes high and higher than all previous scenes? (N/A for resolution).
Is the outcome not determined by luck or fate?
Is there suspense in the uncertainty of the outcome?
Is the protagonist capable of resolving the conflict? (Is it not hopeless from the start?)
Does the scene end in at least partial failure for the protagonist? (N/A for climax).
Is the protagonist taking riskier decisions than in previous scenes by necessity? (N/A for resolution).
Does the protagonist suffer the consequences of those risky decisions from previous chapters?
Is there external conflict?
Is there internal conflict?
Is there social conflict?
Are the shocking moments spaced out?
Sequel#
For every conflict scene, there must be another scene to assess its results and consequences, and to process a character’s feelings, emotions, and thoughts. This scene is called a sequel (not to confuse with another opus of a series). The sequel should also let the protagonist review the events that just occurred and formulate a new story plan. The sequel can be deferred for better pacing and emotional impact, but it must happen at some point. Its length can be from just a few lines long to an entire chapter.
What is the length of the sequel?
How is the sequel linked to the surrounding scenes?
Components (in Written Order)#
What is the emotional aftermath?
How does the protagonist analyze the current situation?
How does the protagonist review the previous scenes’ key points?
Which options remain for the protagonist to achieve their story goal?
What is the protagonist’s decision?
Checklist#
Every question must be answered with “yes.”
Is the sequel proceeding a conflict scene?
Is the sequel’s length different from the majority of the others'?
Is the sequel’s emotional intensity on par with the intensity of conflict and its step-back?
Do the protagonist’s emotions inspire empathy from readers?
Are the protagonist’s emotions vividly described? (sensory details, body language, internal monologue, dialogue, metaphors/similes)
Are important story elements mentioned?
Is the protagonist’s story goal mentioned?
Does the protagonist’s decision make sense considering their resources and environment?
Will the protagonist’s decision result in further conflict?
Central Story Event#
To prevent a story’s middle from sagging, therein should be a major event. This central story event should be one of your 3 major story events, alongside the opening hook and climax.
There are two ways of designing a central story event:
Big Scene#
The setback should be “no and furthermore” and contain a startling surprise that exceeds all expectations.
What is the big scene’s setback?
What is surprising about the scene’s outcome?
How does the characters’ despair manifest?
How does the big scene affect one or more of the major characters in the long-term?
Steps to Designing a Big Scene#
Anticipation: mention and hype up the event way before it takes place. The anticipation can sometimes be more engaging than the main event. Draw it out and let it develop until the readers are anxious for the best effects.
Where in the novel is the main scene hyped up?
How is the main scene hyped up?
Emotional Turmoil: for example, the characters could be in denial about the event, then feel anxious when it is about to come. They could then feel relieved after hearing the false news of the event being cancelled, and then shocked when it actually happens. Be cruel and creative.
- Describe a timeline of the emotional turmoil of the characters in regards to the big scene.
Over Deliver: despite the anticipation and the characters’ emotional turmoil, the readers must be surprised by the scope, intensity, and ramifications of the big scene.
- How does the big scene over deliver on its premise?
Scene Cluster#
In case a big scene is too challenging or intimidating to write, multiple high intensity action scenes can be compressed together in quick succession. This method can be just as effective as a big scene.
There should be enough danger, conflict, trouble, and urgency to not let the characters time to react as they move from one scene to the next, and the cluster will generally read as one huge event.
Checklist#
Every question must be answered with “yes.”
Is the central story event smaller than the climax?
Is the setback “no and furthermore?”
Does the “furthermore” contain a startling surprise exceeding all expectations?
Is the conflict intense and powerful?
Is there desperation in the characters’ actions or emotions?
Does the scene build momentum through escalating conflict?
Is the scene long and without padding?
Does the central story event direct the story towards the climax?
Checks specific to scene clusters:
During the scene cluster, does the protagonist engage with only one antagonist at a time in quick succession?
Are sequels deferred until the end of the scene cluster?
After the scene cluster, are the deferred sequels compounded into one long and thorough sequel?
Climax#
Length#
In short stories, the climax will take place over one intense scene and its aftermath. While in longer novels, the climax will span multiple scenes and contain soul-searching sequels. Although, some novels may make the entire third act a climax.
- How many scenes will the climax span?
Testing the Inner Flaw#
The climax of the story should be the ultimate test for the protagonist. The test should reveal their true nature by challenging their internal conflicts (either internal or environmental). The protagonist should be forced to change and evolve.
What is the protagonist’s true nature?
How is their true nature tested?
How will the protagonist evolve after this test?
Managing Subplots#
Every major subplot should be resolved in their own scene mirroring a mini-climax, this scene shouldn’t answer the central story question and isn’t the main climax of the novel. Although, it should further complicate story events and further drive the story to its conclusion.
Which subplots should be tied-off?
Which scenes resolve these subplots?
How do each of those conclusions impact the main story?
Constructing the Climax#
The choice: during their big showdown, the protagonist is presented with a moral choice by the antagonist. There should be no attractive or easy solution.
What is the decision the protagonist must make?
Why is each option unattractive and difficult?
The decision of sacrifice: the protagonist should be forced into a sacrifice. This terrible decision should reveal their true nature, and their weaknesses should be targeted. The protagonist should be under a strict and stressful time limit, so the decision cannot be deferred.
What decision does the protagonist take?
What is the protagonist’s true nature and how is it revealed?
Which of the protagonist’s weaknesses are targeted?
How is the protagonist pressured to take a decision as soon as possible?
Taking action: after fully committing to a sacrifice, the decision is permanent. Bridges should be burned and consequences should be suffered.
- What are the consequences of the protagonist’s actions?
The dark moment: the following sequel should be the lowest emotional point of the story, and the negative consequences of the protagonist’s actions should be highlighted in a bleak mood. Let the protagonist be vulnerable and show their true nature.
What does the protagonist’s situation say about the human experience?
Why does the dark moment deeply touch readers?
Reversal, reward and punishment: the protagonist’s fate should reflect the morality of their choices. If they make a moral decision, they should triumph and defeat the antagonist by their own efforts. This is the reversal, and it can feel bittersweet. Ultimately, the judgment depends on your personal moral code, beliefs, and the themes of your story.
Is the protagonist’s decision moral considering your story’s themes?
Why does the protagonist deserve the victory against the antagonist?
How does the protagonist reverse the situation?
Checklist#
Every question must be answered with “yes.”
Is there a big showdown with the protagonist against the antagonist?
Are the stakes at their highest level in the story?
Does the protagonist experience the greatest doubts?
Is the outcome of the story uncertain?
Are the events of the climax a direct cause of the central story event?
Is the central story question being answered?
Are the subplots being tied off?
Are the smaller story questions being answered?
Is the protagonist forced by the antagonist to take a difficult decision?
Is the protagonist under a strict time constraint to make the decision?
Is the protagonist’s true nature revealed?
Does the protagonist fully commit to their decision?
Does the decision consists of taking difficult sacrifices?
Do the readers get to feel the emotional toll of the protagonist’s decision in a long-thorough sequel?
Is this sequel the lowest emotional point of the story?
Does the protagonist’s outcome make sense considering the morality of their decision to the test?
If the protagonist is morally wrong, do they definitively lose the final confrontation?
If the protagonist is morally right, does the protagonist reverse the situation by their own efforts?
If the protagonist is morally right, does the reversal take place after the protagonist has taken action on his sacrifice?
Is the finale psychologically fulfilling, dramatically thrilling, and emotionally satisfying?
Resolution#
The resolution is the shortest part of novels and can be the hardest to write. There are no strong rules or guidelines for writing a resolution, but it is advisable to leave the readers happy, satisfied, and fulfilled.
What themes do you want to capture?
What emotional states of the protagonist do you want to evoke?
Checklist#
Every question must be answered with “yes.”
Is the central story question answered?
Are all issues addressed?
Are there no long epilogues? (At best, do a single subplot after the climax that rewards the protagonist).
Is the resolution one page or shorter?