Probably okay for a linear narrative, but it would be crippling is you're writing a mystery or whodunnit. For these, you need to write out first a detailed story of what actually happened; and then work out how the protagonist finds it out. Then the final chapter becomes a rewrite of the "what actually happened' notes.
And if you have plot-counterplot, and coverging lines of action, nor nested flashbacks, it might also be a problem.
Many writers hate outlines. It's like trying to breakdance in a phone booth. Others find them indispensible. Some build the whole story in their head before they begin writing. Wodehouse's method with novels was to write a longish draft which included key dialogue and incidents, say about 20-30,000 words; and then rewrite it to its full length.
While I'm thinking of it, Wodehouse also had a novel approach to the characters in his books. He was a producer and writer of musical comedy shows on Broadway, and he would "cast" a book as though it were a stage production. Okay, I have this character... is there enough "business" to justify his "pay", so to speak. If not, merge the character with another, or give the character a good bit of business to justify his presence.
To see how he worked, get hold of a copy of "Performing Flea". This book consists of the letters he wrote to his old schoolmate and fellow author William Townend, in which he often described what he was doing with his latest novel or play, and equally did a lot of critiquing of Townend's novels, laying down some very basic principles. (Also, it is funny. A Wodehouse letter could only have been written by Wodehouse...)
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