Writing a Novel in NovelCrafter

Part 1: Starting With Hamilton's 40 Chapter “Plot Module”

One of my current NovelCrafter projects is a long-ish fantasy novel. Probably the word-count will end up between 80,000 words up to a little over 100,000 words, although making it a good story is more important than making it a long story.

For this one, I decided to start with a plot outline that already includes what will happen (in general terms) in each chapter. This is easy to do in NovelCrafter, but I think it might still be helpful to document the way I go about it. There are lots of ways to use NovelCrafter, and this will be only one.

No Video??
There's no video of this process. It's relatively quick compared to writing with more traditional methods, but I'm dubious about the value of hours of video of me writing, and dubious about my patience to edit it into a less boring form. More importantly, if you want to follow along on your own project, this written format with some necessary images and links should make it much easier than hitting the pause button and having to replay parts. Don't worry; I'll show the steps I take and the prompts I use that you may find useful. As a bonus, you can play your own background music selections.

Importing An Outline Template to Create Acts and Chapters

NovelCrafter comes with a series of plot outline templates you can use in your project. You can invoke one of these with a single click. There are lots of familiar ones, like Save the Cat, The Hero's Journey, and even Derek Murphy's 24 Chapter Outline. These are easy to modify, or you can manually create your own outline from scratch or from a file.

This feature can be found once you open a novel and look in the Plan section. In a new novel, there will be no Acts, Chapters, or Scenes, but you can easily add from one of the templates of prominent plot outlines. Click Create from Outline and you can click one of the buttons at the bottom to add the complete plot outline structure from eight different templates (at the time I'm writing this).

Derek Murphy's 24 Chapters Plot Outline template

The closest on the list to what I want is Derek Murphy's 24 Chapter Outline, which has detailed information about what to expect to create in each chapter, but it was designed for shorter works, like Young Adult Romance or Urban Fantasy. You can see a preview of part of it in the screenshot above, shown in the template preview, but I'm not using this one. Probably the maximum output from it, if used unmodified, is about 60,000 words.

Why Use the 40-Chapter Outline?

There is a sort of descendant of Murphy's outline developed by Jason Hamilton (AKA The Nerdy Novelist), which he calls his "Plot Module" Outline (link goes to timestamped part of his YouTube video explaining the outline). It is based on 40 main chapters, focusing on one main point-of-view character, with an optional prologue and what he calls an "After-Credit Scene." That last element gives a clue that Hamilton developed his outline based on successful blockbuster film plots. It will produce a book significantly longer than the 24 Chapter Outline will. After testing, I found it's pretty easy to adapt to various scenarios, such as adding a second point-of-view character, or just adding additional subplots.

Note: Jason's 40 chapter outline is described in his YouTube video, which you can freely watch above, and he also has some links where you can sign up to get more information from him about that and lots of other AI writing stuff. I expect I'll adapt his outline quite a bit during this process, but it's only fair to acknowledge the work he put into developing it from other outlines and his observations and research.
Now, on with the process:

The Process

For this article, I'll show how I quickly add this structure to NovelCrafter as a plot outline to set up the starting point of my novel's structure in the Plan section, then how I add it to the Codex as a framework. Then I'll discuss my process for using it to write a character-driven fantasy genre novel. I'll show some worldbuilding, some character development, and then develop a story premise, define some themes and tropes, and finally, start plotting. This is not the order I usually see people demonstrate, but I like the results I get from the LLMs this way.

You should be able to follow along and adapt this to any genre with only minor modifications. Worldbuilding is notoriously thorough for some fantasy genre stories, but I'll use the AI to help avoid becoming mired in that. Other genres might need more or less worldbuilding, but I think the more capable AI models can do really well with lots of well-organized information.

Adding the Outline

Below you'll see a clickable heading "Unformatted 40 Chapter Outline" that you can open to view and copy a version of the 40 chapter outline. I just use that version to set up and name the acts and chapters in NovelCrafter. If you want to hide the outline on this page again, click the heading to toggle it closed.

Copy the outline if you want to follow along and paste that into the "Write" box in a new novel in NovelCrafter. Display the Write box by going to Plan, then clicking the Create from outline button at the bottom.

You can adapt that to your needs. For my novel, I have an idea of how I want to use the prologue, so I'm going to leave that in. You might want to rearrange things or renumber some chapters or acts. If you do so, pay close attention to the changes you make so you can replicate those changes in the next step, when we'll add the more thorough and detailed version of the outline to a Codex entry so NovelCrafter has a framework it can understand. The AI might be able to notice you made changes that don't match, but why confuse it this early?

Unformatted 40 Chapter Outline

The list directly below is formatted so I can easily copy and paste it into NovelCrafter's Create from Outline box to generate all the chapters and acts. This deviates only slightly from Hamilton's outline to make it easier to add to my project.

Act 1 - Ordinary World:
Chapter 1 - Prologue (optional):
Chapter 2 - Really Bad Day:
Chapter 3 - Mystery and Theme:
Chapter 4 - Link to the Antagonist:
Chapter 5 - Grasping at Straws:
Chapter 6 - Stasis = Death:
Chapter 7 - Inciting Incident:
Chapter 8 - The Call to Adventure:
Chapter 9 - Meeting the Mentor:
Chapter 10 - Refusal of the Call:
Chapter 11 - Pull Out Rug:
ACT 2 - Rising Action:
Chapter 12 - First Plot Point:
Chapter 13 - Enemies & Allies:
Chapter 14 - The B Story:
Chapter 15 - Games & Trials:
Chapter 16 - No More Games:
Chapter 17 - Earning Respect:
Chapter 18 - First Pinch Point:
Chapter 19 - Problem Revealed:
Chapter 20 - Truth & Ultimatum:
Chapter 21 - Midpoint:
ACT 3 - Reversal:
Chapter 22 - External Demons Close In:
Chapter 23 - Things Get Worse
Chapter 24 - Internal Demons Close In:
Chapter 25 - Plan of Attack:
Chapter 26 - Crucial Role:
Chapter 27 - Second Pinch Point:
Chapter 28 - All Is Lost:
Chapter 29 - Shocking Revelation:
Chapter 30 - Giving Up:
Chapter 31 - Pep Talk:
Act 4 - Climax:
Chapter 32 - Seizing the Sword:
Chapter 33 - Gathering the Team:
Chapter 34 - Final Battle First Stage:
Chapter 35 - Final Battle Second Stage:
Chapter 36 - Final Battle Third Stage:
Chapter 37 - Ultimate Defeat:
Chapter 38 - Use the Force, Luke:
Chapter 39 - Unexpected Victory:
Chapter 40 - Bittersweet Reflection:
Chapter 41 - Death of Self:
Chapter 42 - After-Credit Scene (optional):

Adding the Story Structure as a Codex Framework

Credit and my thanks for this part of the process goes to Byte-Sized Booksmith (the link goes to her helpful YouTube channel).

In this step I'll add the fully-detailed 40 Chapter Outline to a NovelCrafter Codex entry. This Codex entry will be what the AI later refers to when I direct it to do things that count on it knowing what is supposed to happen in each chapter. It bears repeating that it is important for this framework Codex entry to match the outline I used in the last step to set up the structure of acts and chapters.

1. In the Codex area of NovelCrafter near the top there is a gear wheel icon next to the +New Entry button. Click the gear wheel. In the menu that pops open, under Configuration, choose Custom Categories.

2. Click +New to add a Custom Category and name it Framework. Choose a color so that all the Codex entries that belong to Framework will be easy to identify at a glance. In the Associated Tags box, enter framework.

Now the novel is set up so that any codex entry made that has the tag framework will be placed under the Framework custom category. It doesn't change the function of those codex entries directly, but this helps to organize the codex because later it will seem quite full of entries.

3. Return to the Codex and click the +New Entry button. I choose Other at this point because that preset already has some good basic settings.

4. Rename the Codex entry so it is called Story Structure. Add a new tag, framework. (Note that tags/labels are separated by commas)

5. Now paste the entire contents of "Full 40 Chapter Story Structure" below (minus that heading) into the description box of the new Story Structure Codex entry.

Now the Codex is set up with a custom Framework category, which I will be adding plenty of other entries to, and most importantly, you have a way to direct the AI to the detailed plan of what will go in the novel.

Note that the word count that shows at the bottom of the new Story Structure Codex entry tells you its contribution to the cost of running AI prompts that call: almost 4,000 words. I use this to help guide decisions later on about which AI models I choose, and what settings they need to have when I need the AI to fully understand the plot outline. It is possible to overwhelm some LLMs with too much input, and some of the larger, more capable models have a substantial token cost (in dollars and cents), too.

If you want to follow along, click a "Full 40 Chapter Story Structure" heading you can click to expand the rather long and detailed outline. To hide the plot structure again on this page, just click the heading again.

Full 40 Chapter Story Structure

The plot structure below goes in the Codex Entry called Story Structure:

Act 1 – Ordinary World:

1. 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

2. Really Bad 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 likable, 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

3. 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 protagonist’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

4. Link to the Antagonist

This scene should take place in the protagonist’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

5. 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

6. Stasis = 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

7. 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

8. 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 (see Really Bad Day)
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?

9. 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

10. 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

11. 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 2 – Rising Action:

12. 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. 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

19. 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

20. 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

21. 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 3 – Reversal:

22. 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

23. 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

24. 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

25. 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

26. 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

27. 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.

28. 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

29. 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.

30. 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

31. 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 4 – Climax:

32. 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

33. 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

34. 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

35. 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

36. 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

37. 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

38. Use the Force, Luke:

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

39. 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 himself.

40. 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

41. 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.

42. 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

You might be interested in this article about the Customizable Genre Developmental Editor prompt for NovelCrafter. I'll be using it and other similar prompts later in this project.

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