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5. Scene Development Engine

These prompts help you turn your outline into actual pages—one scene at a time.
From first draft to final polish, these prompts cover expansion, pacing, editing, and
tone.
Step 1: Expand An Outline Into 40 Scenes
Set Context For AI

We are going to create a novel outline beat by beat.

The goal is to come up with 40-50 scenes.

For context:

My Plot Archetype = {PLOT ARCHETYPE}

My Story Core = {STORY CORE AND BEATS }

My Character List Includes = {YOUR CHARACTER LIST}

Once you understand the context, please confirm you are

ready to begin and will I will prompt you with your fir
st task.

Draft Your 40 Scene Outline

This prompt expands and breaks down any outline into a list of scenes.
It’s currently designed to be used the Save The Cat 15 beat structure, but
you can replace the outline with any outline you choose.

Now please complete the 3-act scene outline for me by f

illing in each point using 4-5 words for my story.

Append anything between ()'s with the outline item.

ACT I

1. (Opening image)

5. Scene Development Engine 1

 2. (Theme stated)

3. (Setup)

4.

5.

6. (Catalyst)

7. (Debate)

8.

9.

10.

ACT II A

11. (Break into two)

12. (B-story)

13. (Promise of the premise)

14.

15.

16.

17.

18.

19.

20. (Midpoint)

ACT II B

21. (Bad guys close in)

22.

23.

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 24.

25.

26.

27.

28. (All is lost)

29.

30. (Dark night of the soul)

ACT III

31. (Break into three)

32.

33.

34.

35.

36.

37.

38. (Finale)

39.

40. (Final image)

Expand Each Scene Into A Mini-Story

Please generate {NUMBER} scene variations for the follo

wing plot point and characters:

Point:{Plot Point}

Characters: {Character 1}, {Character 2} etc.

For each scene write 5 sentences: Introduce the charact

er and their current situation, both literally and meta

5. Scene Development Engine 3

 phorically. Describe an event or question that shifts t
he direction of the scene and presents a new goal, situ
ation, or opportunity for the character. Show the chara
cter making a decision or taking an active step to addr
ess the Catalyst and pursue the new goal, situation, or
opportunity. Depict a moment where the character feels
they are succeeding or failing in their pursuit (False
Victory/False Defeat), and introduce a twist that raise
s the stakes or sends the scene in a new direction. Pre
sent a low point in the scene, conveying a sense of def
eat, failure, or another significant turning point or t
wist. Describe another active step taken by the charact
er that will propel them and the reader into the next s
cene.

Avoid purple prose.

4th grade reading level.

Step 2: Expand Each Scene With The Scene-Sequel Writer

Repeat for each scene in your outline.
Part 1: The Scene

I want you to write a scene for my fiction novel.

For context, I will give you a scene description. And a

n outline for my story so you know the overall structur
e.

Beat = {Beat Name}

Scene = {Scened Name}

Scene Description = {Description}

Act as a seasoned storyteller and expert in narrative s

tructure. You are skilled in crafting compelling fictio
n.

A scene must include the following:

- A goal
- Obstacles
- Rising tension
- And a resolution that complicates the narrative and s
egues into the next scene.

5. Scene Development Engine 4

 Steps to write the narrative structure of the scene:

1. Begin with an objective for the protagonist in the s

cene. Understand the role this scene plays in the large
r story.
2. Next, integrate genuine hurdles preventing easy atta
inment of the established goal. Consider what would org
anically emerge in the given circumstance.
3. Gradually increase the scene's intensity and action.
Rationalize how the added pressure and stakes can natur
ally develop.
4. Conclude the scene with an unsatisfactory resolution
that smoothly transitions into the next scene. Make sur
e the ending situation logically catapults into the new
scenario.

This task contribute to your novel's overall narrative

arc, emphasizing how every situation dynamically affect
s your protagonist and sets up their future challenges.

Avoid introducing unnecessarily complicated or inconsis

tent obstacles that may confuse the reader or detract f
rom the plot's overall believability.

Output Format:

Provide a detailed narrative of the scene, follow the s

teps, to stimulate the reader's imagination and engage
their emotions.

Use point of view and internal thoughts to put the read

er in the character's shoes. Aim for 4-6 paragraphs.

Part 2: The Transition

Now, please write two 5-7 sentence scene excerpts.

End the first one on a (+) positive note, with the char
acter achieving their goal or making progress despite c
hallenges.

End the second one on a (-) negative note, with an unex

pected obstacle or setback.

Focus on punchy action and dialogue. Avoid excessive de

scription.

5. Scene Development Engine 5

 Part 3: The Sequel

I need help developing a sequel (reaction) to my scene

(action).

Act a best-selling fiction novelist skilled in the art

of screen writing.

I will give you a character, a goal, an obstacle and po

ssible outcomes for my scene.

I want you to help me write the sequel.

You will first list the following:

1. What does the character feel immediately after the o

bstacle? (Show don't tell)
2. What thoughts are triggered by the obstacle?
3. What's the dilemma?
4. What options does the character consider to deal wit
h the obstacle?
5. What does the character decide to do next?
6. What potential conflict does it raise in the next sc
ene?

Are you ready for the character, goal, and obstacle?

Now, write a Sequel to the Scene using with a {postive/

negative) charge.

Consider the transition into the next beat of the story

{The Next Beat}.

Show:

- The character's immediate Reaction and visceral emoti

ons after the Disaster
- The character grappling with a Dilemma - a situation
with no good options
- The character making a difficult Decision that sets a
new Goal for the next Scene

Use internal monologue and contemplation to show the ch

aracter's mental state. Aim for 2-4 paragraphs.

Step 3: Edit A Scene (Three Story Method Rubric)

5. Scene Development Engine 6

 Run for each scene in your outline.

I’m a novelist and I want to make my chapters or scenes as

good as they can possibly be, so I’d like your help.

Pretend you are the world’s best developmental editor - yo

u’ve edited thousands of manuscripts for the world’s best
authors.

Now, you’re going to work with me.

You are going to start by reviewing the [INSERT SCENE NAM

E] scene of my story.

This scene is part of the [INSERT BEAT] beat of my story a

bout [INSERT STORY CORE].

Please complete this task in two steps:

1. Read my scene.

2. Analyze my scene using the “Three Story Method Scene Ru

bric” developed by J. Thorn.

Your instructions for completing the Scene Rubric are belo

w the dashed line.

The Scene:

{INSERT YOUR SCENE}

----------------------------------------------------------
-----------

<The Scene Rubric>

You’re going to use the Scene Rubric to evaluate my scene.

For each lettered category, identify whether that category
is Underdeveloped, Fair, Good, or Excellent based on the c
riteria provided. In a paragraph or two, explain why you e
valuated it as such. You may begin your analysis with a sh
ort summary of the scene.

Here are the categories and explanations for the evaluatio

n for each category:

(A) What does the protagonist want (external pursuits)? Do

they get it? [WANT, AND IS IT ACQUIRED]

5. Scene Development Engine 7

 · Underdeveloped: The want or external pursuit of the prot
agonist is unclear or undefined. Readers perceive the char
acter’s want as flat.
· Fair: The want or external pursuit of the protagonist ex
ists, but it is unclear or inexplicably inconsistent throu
ghout the scene. Readers understand the character’s motive
in the scene, but it often defies logic.
· Good: The want or external pursuit of the protagonist is
easily identified. Although it is defined, the protagonist
does not always act consistently on the want. Readers unde
rstand the character’s motive in the scene, but it is ofte
n too predictable.
· Excellent: The want or external pursuit of the protagoni
st is well-defined. Their external pursuit is obvious to t
he reader and understood by the other characters in the sc
ene.

(B) What does the protagonist need (internal desires)? Do

they get it? [NEED, AND IS IT ACQUIRED]
· Underdeveloped: The need or internal desire of the prota
gonist is unclear or undefined. Readers perceive the chara
cter’s need as flat.
· Fair: The need or internal desire of the protagonist exi
sts, but it is unclear or inexplicably inconsistent throug
hout the scene. Readers understand the character’s interna
l desire in the scene, but it often defies logic.
· Good: The need or internal desire of the protagonist is
easily identified. Although it is defined, the protagonist
does not always act consistently on the want. Readers unde
rstand the character’s motive in the scene, but it is ofte
n too predictable.
· Excellent: The need or internal desire of the protagonis
t is well-defined. Their internal desire is obvious to the
reader and understood by the other characters in the scen
e.

(C) What does the antagonist or force of antagonism want

(external pursuits)? Do they get it? [WANT, AND IS IT ACQU
IRED]
· Underdeveloped: The want or external pursuit of the anta
gonist is unclear or undefined. Readers perceive the chara
cter’s want as flat.
· Fair: The want or external pursuit of the antagonist exi
sts, but it is unclear or inexplicably inconsistent throug
hout the scene. Readers understand the character’s motive
in the scene, but it often defies logic.
· Good: The want or external pursuit of the antagonist is
easily identified. Although it is defined, the antagonist

5. Scene Development Engine 8

 does not always act consistently on the want. Readers unde
rstand the character’s motive in the scene, but it is ofte
n too predictable.
· Excellent: The want or external pursuit of the antagonis
t is well-defined. Their external pursuit is obvious to th
e reader and understood by the other characters in the sce
ne.

(D) What does the antagonist or force of antagonism need

(internal desires)? Do they get it? [NEED, AND IS IT ACQUI
RED]
· Underdeveloped: The need or internal desire of the antag
onist is unclear or undefined. Readers perceive the charac
ter’s need as flat.
· Fair: The need or internal desire of the antagonist exis
ts, but it is unclear or inexplicably inconsistent through
out the scene. Readers understand the character’s internal
desire in the scene, but it often defies logic.
· Good: The need or internal desire of the antagonist is e
asily identified. Although it is defined, the antagonist d
oes not always act consistently on the want. Readers under
stand the character’s motive in the scene, but it is often
too predictable.
· Excellent: The need or internal desire of the antagonist
is well-defined. Their internal desire is obvious to the r
eader and understood by the other characters in the scene.

(E) What is the Conflict? (The thing that yanks your prota
gonist out of his ordinary life. Yes, it’s that simple. Th
e term “Inciting Incident” is often used in screenwriting
and movie production as well as novel writing, but we chos
e to call it “conflict” because it’s more specific. This s
ingle event does not necessarily need to be tense, dramati
c, or a life-or-death situation—the nature of the inciting
incident will depend on your genre. However, it does need
to force the main character into changing, which then “inc
ites” the story. Without change precipitated by conflict,
there is no story.)
Conflict: [DESCRIBE]
· Underdeveloped: The protagonist does not face an initial
Conflict. The event pushing the character out of the statu
s quo is missing.
· Fair: The initial Conflict is present but lacks the inte
nsity to make a reader care. The protagonist can avoid or
defuse the obstacle presented by the Conflict.
· Good: The initial Conflict propels the protagonist into
a situation that forces a Choice. The character cannot go
back to the previous state and cannot do nothing.

5. Scene Development Engine 9

 · Excellent: The initial Conflict catches the protagonist
and reader by surprise. The event creates an unavoidable s
ituation and should logically set the stage for a Choice.

(F) What is the Choice? (In every unit of Story, your prot
agonist must face a choice. The Choice is a difficult deci
sion the protagonist must face, born from a challenging qu
estion with equally wonderful or horrific consequences. Th
e best Choice in any scene leaves the reader arguing with
himself over which option is best for the character and un
able to put the book down, insistent on finding out what t
he character decides. Determining the intensity of the Cho
ice is often a case of splitting hairs and not nearly as i
mportant as making sure the question facing the main chara
cter is a supremely difficult one. We are compelled to tur
n the page or keep watching when we empathize with the cha
racter, running the odds on the consequence of the decisio
n as if it were our own. Make it difficult on the characte
r and your reader will follow.)
Choice: [DESCRIBE]
· Underdeveloped: The protagonist does not face a Choice.
The character is completely passive or reactive, acting wi
thout agency.
· Fair: The Choice is too easy for the protagonist. The st
akes for all the consequences are not equally positive or
negative.
· Good: The Choice posed to the protagonist is difficult.
The character struggles to determine the best path forwar
d.
· Excellent: The Choice becomes incredibly difficult for t
he protagonist. The character cannot see a way out of the
predicament, and neither can the reader, which should set
up a surprising but inevitable Consequence.

(G) What is the Consequence (The Consequence is the answer

to the Choice as well as the new circumstance resulting fr
om it. The resulting circumstance for this decision often
creates, “the new normal,” the action that resets the life
of the protagonist. She’s had her life upended, gone throu
gh a series of ordeals, been forced to make a difficult de
cision, and then suffered the consequence of that decisio
n. So, what now? The Consequence answers that question, an
d it can also set the stage for the the Conflict in the ne
xt scene.)
Consequence: [DESCRIBE]
· Underdeveloped: Because the protagonist is passive or re
active, the Consequence is dull and one that the reader an
ticipated, creating an unsatisfying ending to the scene.

5. Scene Development Engine 10

 · Fair: Because the Choice is too easy for the protagonis
t, the Consequence is obvious and easily predicted by the
reader, but there is minor satisfaction when the reader co
rrectly guesses the outcome.
· Good: When the protagonist struggles to determine the be
st path forward, the Consequence is often unexpected, whic
h delights the reader.
· Excellent: With an incredibly difficult Choice for the p
rotagonist, the Consequence strikes the perfect balance of
surprising but inevitable. The reader never sees the end o
f the scene coming, but once it does, they realize they sh
ould have seen it all along.
</The Scene Rubric>

How can the author improve this scene (provide at least 3

specific examples):

Finish the analysis by asking the user, “Would you like me

to evaluate any other aspects of the scene or provide addi
tional feedback?”

Bonus: Generate Scene Ideas

These two simple prompts will help you generate 100+ situations you can
throw at your character mid-scene and get your writing back on track when
the muse disappears.
General

I'm looking for 100 scene prompts for my fiction novel.

I'm looking for a variety of ideas.

Oddly specific, like "Leaving a voicemail" To broad like a

"A scene at a sporting event."

Prioritize scene prompts that will create emotion, suspens

e, or curiosity.

Use 12 words or less.

Each prompt must follow one of the following templates:

- "A scene where.."

- "A {type} of scene with.."
- "A {type} of scene."

For example:

5. Scene Development Engine 11

 "A wedding proposal scene"

"An action scene with no dialogue"

"A scene where something gets stolen"

"A scene where two characters sit on the edge of a bridg

e"ˇ

Avoid cliches and overused tropes.

Specific For Your Genre/Story

I'm looking for 100 scene ideas for my fiction novel with:

Sub-Genre = {YOUR SUB-GENRE}

Plot archetype = {YOUR PLOT ARCHETYPE}

Logline = {OPTIONAL LOGLINE}

Use 12 words or less.

For example:

"A scene featuring two characters sitting on the edge of a

bridge"

I'm looking for 100 scene prompts for my fiction novel.

I'm looking for a variety of ideas.

Oddly specific, like "Leaving a voicemail" To broad like a

"A scene at a sporting event."

Prioritize scene prompts that will create emotion, suspens

e, or curiosity.

Use 12 words or less.

Each prompt must follow one of the following templates:

- "A scene where.."

- "A {type} of scene with.."
- "A {type} of scene."

For example:

5. Scene Development Engine 12

 "A wedding proposal scene"

"An action scene with no dialogue"

"A scene where something gets stolen"

"A scene where two characters sit on the edge of a bridg

e"ˇ

Avoid cliches and overused tropes.

Bonus: Scene Breakdown

Please breakdown the scene into a chart so I can see the d

etails of the scene.

Scene Description = {Notes about the scene characters, loc

ation, goal, conflict}

Story Outline = {Outline}

The chart should include the following:

- Action (Goal, Obstacle, Outcome)

- Reaction (Reaction, Dilemma, Decision)

Make sure it's easy to read and follow.

Bonus: Bar Scene

Write a 1,000-word scene set in a bar that takes place in:

[Insert your genre: noir/romance/fantasy/etc.].

Your protagonist [brief character description] enters the

bar [optional: time of day, emotional state].

Use the [CHOSEN TROPE] trope to [CHOSEN PURPOSE].

Maintain [GENRE]'s conventions throughout the scene.

Write from [POV preference] perspective, maintaining [your

genre's] tone throughout.

Bonus: Write Humor Dialog

When your dialogue has the right kind of humor, readers bond with your
characters. They’ll keep turning pages just to hear them talk. AI can help you

5. Scene Development Engine 13

 generate natural, in-character banter with just a few lines of setup.
You don’t even need to “be funny.”
Here’s the prompt:

I need your help to writing funny dialogue scene in a fict

ion book.

Scene = {SCENE}

Characters = {CHARACTERS}

The goal is to compose an engaging, humor-infused dialogue

for a fiction narrative. The dialogue must contain comedi
c timing, wordplay, and exaggerated character reactions.

You're a comedic genius who excels at crafting engaging an

d humorous dialogue. You have a knack for language play a
nd timing, often using exaggerated expressions and respons
es to amplify the humor. You possess an innate understand
ing of comedic rhythm, and you know how to pace a joke or
a funny misunderstanding for maximum effect. You have a t
alent for creating irresistible running gags that keep on
giving. Your unique spin on dialogue tags isn't just func
tional - it's a source of laughs in its own right. You kn
ow how to weave all these elements together to create a ri
ch tapestry of hilarity within a fiction narrative.

- Conceptualize the situation that leads to the funny dial

ogue.
- Craft humorous, unique character dialogues, leveraging c
lever wordplay to enhance the humor.
- Exaggerate character emotions and reactions for comedic
effect.
- Punctuate the dialogue with comedic rhythm, ensuring the
timing of delivery maximizes humor.
- Develop a recurring joke or gag that surfaces throughout
the conversation.
- Integrate humorous dialogue tags to enhance the comedy a
nd give the character unique voices.

Avoid using clichéd or predictable humor. Strive for origi

nality in the setup, punchlines, and running gags.

Bonus: Add Suspense (Bombs Under The Table)

The “Bomb Under The Table” is a storytelling technique made famous by
Alfred Hitchcock.

5. Scene Development Engine 14

 It means the audience knows something dangerous is going to happen—but
the characters don’t. The tension comes from watching the scene unfold,
waiting for the inevitable. When readers know the danger before the
characters do, they’re more engaged because they’re anticipating the moment
it all blows up.
Use this prompt when you want to generate ideas on “things that could go
wrong” in your story.
Here’s the prompt:

I am going to train you to place "Bombs Under The Table" i

n a story or scene.

"Bombs Under The Table" is a metaphor for creating suspens

e.

Here's how it works:

You make the reader aware of danger, and you keep the char
acters in the dark. But the bomb must never go off. Becaus
e if it does, you’ve worked your audience into a state and
then they’ll get angry because you haven’t provided them w
ith any relief.

It's a latent threat or secret that the reader is aware o

f, creating a sense of foreboding or expectation in the re
ader.

There 3 fundamental rules for "Bombs Under The Table":

1. Anticipation
2. Believable
3. Relief

# Instructions

1. I will give you a story scene.

2. You will brainstorm 5 different "Bombs Under The Table"

(things that could go wrong for the characters in the stor
y scene.
- Name the "Bomb Under The Table."
- In 2-3 sentences, explain the situation and the reason
why it makes a good "Bomb Under The Table"

#Personality

You are a master of suspense—like Alfred Hitchcock. You kn

5. Scene Development Engine 15

 ow how to put your audience on the edge of their seat usin
g suspense. Then when it seems like time has run out, you
ease the tension. You are creative, but you always follow
the 3 fundamental rules for "Bombs Under The Table.

5. Scene Development Engine 16