In fact, it will. 

The hero realizes that those who took over his childhood village were in cahoots with the necromancer, but has no evidence.

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Characters are about to get a briefing.

Going to have to figure out what to tell. In particular, they are correctly going to be told which necromancers are the masterminds and most dangerous, which is going to lead to some negligence about those who are not but still aren't safe.

But briefings aren't scintillating.

The heroine knows something. Her father and her uncle, both, were too foolish in their cups for the story to not leak out.

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Wrapping up the tale in the denouement. The easiest thing to revise usually. . . .

The marrying and the burying, as Twain put it, although in this tale, it's the marrying after the disenchanting -- some characters finally have the spells on them broken.

And I'm revising along and realized that I had characters discussing something that was hidden by an enchantment without actually learning it. . . another character could now tell them because the spell had been broken, but it won't spontaneously be known by any other character.

sigh. The things you miss in the first draft.

Was coming up to the climax in the outline.

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What makes a superpower super?

If the powers only recently appeared, it would be anything a human can do -- fly, shoot energy beams, survive grenades without a cut -- that couldn't be done before the appearance. (Plus that minimizes the alternate history need.)

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Keeping a collection of random notes on a story is wise. Something that may work out brilliantly may yet have no place in an outline because it's not situated in time, and you don't want to lose it.

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Working on two outlines, one "sequel" to the other.

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Once it has become possible for someone to spontaneously just become a magical knight, without spell slinging, or a ceremony, or perhaps most vital of all, an oath of allegiance. . . 

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Too many villains spoil the climax. . . .

Fortunately, the villainess I was thinking of as the chief one reveals that she will be taking a number of the others out of the way.  And that will make her more dangerous for the climax.  How handy!

Meanwhile, some of the others have to vanish by more ordinary means.

Now, I just have to decide whether she does it on stage, or reveals it at the end.  The first builds dramatic irony but the second gives a bigger twist, assuming that I can foreshadow it enough.