In this article we'll consider:
The Three-Act structure
The Hero's Journey
Freytag's Pyramid
The Seven-Point Structure
The Fichtean Curve
The Kishōtenketsu (Four-Act Structure)
How to choose the right structure for your story
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It could be said that writing a novel is itself a three-act structure. Act one is the playing and planning stage, where the mind welcomes ideas from all directions. It's dynamic, fun, a bit thrilling and a bit terrifying; the wheels have been set in motion and there's no stopping it. What is this beautiful monster you're creating?
Act two is where you bridle your fledgling ideas and try as best you can to rein them into order. To become an actual story, you'll need to shape, cajole or coerce your random thoughts and pieces of genius into some kind of cohesive whole, in an order that makes sense to people who aren't you.
By act three your story is closer to belonging to readers than it does to you. Meaning it now not only has to make sense, but also has to be (gulp!) made good. The stakes are high, your reputation as author is on the line, and above all else, you need your readers to love your work so you can rest easy as you go skipping and smiling into the happy ever after.
Who'd have thought - you've been a character in your own story all along!
Each act of this novel-writing process has its perks and perils, but in this article we explore the vital element responsible for pulling together the disparate parts of your ideas, characters, conversations, themes and plots into one perfect package, and that is your story's structure. We'll look at the different frameworks available, their origins and examples, and how you can choose the one that's right for your book.
To note before we begin, there are affiliate links in this article which may earn me a small commission should you proceed to purchase, at no extra expense to yourself.
Okay then, let's get structural.
1. The Three-Act Structure
Widely regarded as a classic framework, the three-act structure has its roots in Aristotle’s theory that dramatic structure should consist of a beginning, middle and end.
American author Syd Field, in his 1979 book Screenplay: The Foundations of Screenwriting, went further by defining these three important stages in a story as representing setup, confrontation and resolution. It is the fundamental framework upon which most story structures are built (as you'll see), but here let's outline its most salient points.
Act One: Setup
Introduces the protagonist, their world, and the central conflict.
This act includes an inciting incident that sets the plot in motion, and further complications (plot point one) that propel the story into the next act.
Act Two: Confrontation
The protagonist faces escalating obstacles, challenges, successes and failures (known as "rising action") as they attempt to solve the central problem, developing their character as they do so and advancing the plot.
The second act is the story's longest section and includes a "midpoint" turning point (sometimes known as plot point two), which shifts the direction of events or reveals crucial information that leads to a greater understanding of the situation and renewed effort from the protagonist.
Act two culminates in a third plot point, in which the protagonist's worst fears are realized and all hope appears lost, forcing them to accept some hard truths about themselves and/or the situation.
Act Three: Resolution
Following a "dark night of the soul", the protagonist must come to terms with what needs to be done to solve the central problem.
They revitalize their efforts, and the climax unfolds with the protagonist consciously and purposefully facing their ultimate challenge.
In a traditional positive-change arc, the protagonist conquers the problem and reaches their goal; loose ends are tied up, and the story concludes. By the way, for more on character arcs, take a look at Crafting Character Arcs: The heart of every great story.
Why it works:
The three-act structure is versatile and provides a clear, familiar pattern, making it a go-to choice for many genres, from romance to fantasy. The end of act one, the midpoint, and end of act two each turn upon an escalation in the plot and stakes from which there's no going back for the protagonist, ensuring the plot is continually evolving and moving forward.
Additionally, this structure allows for progression of both story arc and character arc simultaneously.
Examples:
The Great Gatsby by F. Scott Fitzgerald
A Christmas Carol by Charles Dickens
2. The Hero’s Journey
Popularized by Joseph Campbell in The Hero with a Thousand Faces, and later adapted for screenwriters by Christopher Vogler in The Writer's Journey, the hero’s journey is a deeply archetypal structure. It still fits within three acts, but revolves around a protagonist who embarks on a transformative adventure.
Act One: Departure
The ordinary world: The hero's starting point, their environment and their life, often mundane or flawed.
Call to adventure: A challenge or opportunity arises, disrupting the status quo.
Refusal of the call: The hero, usually fearful, initially resists the call to adventure.
Meeting with the mentor: The hero meets the individual who will provide them with the tools or wisdom they need, and who will act as a guide or listening ear on their quest.
Crossing the threshold: The hero finally accepts the call to adventure and steps into the unknown.
Act Two: Initiation
Tests, allies and enemies: The hero faces trials in the unknown world, and forms relationships, good and bad.
Approach to the inmost cave: The hero and their alliances prepare for the major challenge.
The ordeal: Around the midpoint, the hero faces a major crisis or confrontation, facing death or their greatest fear and emerging renewed.
Reward: The hero takes possession of a reward, but danger of losing it remains.
Act Three: Return
The road back/the chase: The hero must return with the reward to the ordinary world, while danger still pursues them, often in the form of a chase.
The resurrection: Before reaching home, the hero is tested one last time and makes a final sacrifice, out of which they are resurrected and the conflict finally resolves.
Return with the elixir: The hero returns home transformed, with the rewards of their ordeal.
Why it works:
The hero's journey resonates deeply with readers because it mirrors the universal experience of growth and self-discovery. It's a structure ubiquitous in epic adventure tales, but can be seen anywhere where the protagonist goes on a journey (literal or metaphorical) into an unfamiliar world to face an ordeal and returns transformed.
Examples:
The Hobbit by J.R.R. Tolkien
Harry Potter and the Philosopher’s Stone by J.K. Rowling
3. Freytag’s Pyramid
Named after 19th-century German playwright Gustav Freytag, this structure expands on ideas of beginning, middle and end by detailing five stages (acts) of storytelling, particularly suited to tragedies and dramatic novels.
Act One: Exposition
Setting the stage by establishing characters, setting, context, and inciting incident leading to main plot.
Act Two: Rising action
New characters and the antagonist are introduced.
Complications intensify as protagonist attempts to reach their goal, building towards a central conflict.
Act Three: Climax
The story’s turning point takes place in this act, with the climax foreshadowing events still to come for the protagonist.
Act Four: Falling action
The consequences of the climax unfold.
The conflict nears its conclusion, but with the sense not all is over yet.
Act Five: Denouement
The conclusion of the story, ending in either tragedy or joy.
Tying up of loose ends, and moment of catharsis to dissipate tension.
Why it works:
Freytag’s Pyramid offers a roadmap for stories with a clear rise and fall of tension, making it ideal for emotionally driven narratives, such as classic or modern-day tragedies.
Examples:
Romeo and Juliet by William Shakespeare
To Kill A Mockingbird by Harper Lee
4. The Seven-Point Structure
This structure is particularly popular among genre writers for its efficiency in plotting. It offers a concise yet comprehensive framework that expands on the three-act structure.
Act One
Hook
Introduce the characters, setting, context. Grab the reader's attention with an intriguing opening and protagonist that sparks readers' curiosity.
Plot Point 1
This may be the inciting incident or the inciting incident may have come in the opening hook; either way, here we have an event that's central to the plot and impactful enough to threaten the protagonist's status quo, taking them out of their comfort zone.
Act Two
Pinch Point 1
Antagonistic forces apply external pressure on the protagonist as they try to solve the central problem, ramping up the challenge and tension.
Midpoint
A major event or revelation shifts the story in a significant way. It's momentous enough that the protagonist must move from reacting to acting. From here the challenges continue to escalate, and there's no longer a way back for the protagonist - they can only move forward.
Pinch Point 2
Greater antagonistic pressure results in another major pinch point, building tension as the stakes escalate. The protagonist may doubt they have what it takes to succeed, but with no other choice they must find the resolve to push onwards.
Act Three
Plot Point 2
Leads to the climax by revealing the final piece of the puzzle; the "truth" of the situation and what needs to be done. This is the moment the opposing forces of protagonist and antagonist meet in a head-on confrontation, with only one victor.
Resolution
Brings the story to a conclusion, the central conflict resolves, and "normal" life or a new life resumes. Loose ends are tied up, and readers witness how the protagonist has changed as a result of the plot's events.
Why it works:
It’s adaptable, and perfect for just about any genre you can think of, but particularly those that are highly plot-driven.
Examples:
The Martian by Andy Weir
Red Queen by Victoria Aveyard
5. The Fichtean Curve
This structure, formulated by John Gardner in The Art of Fiction (1983), emphasizes continuous conflict right from the get-go.
Rising Action: A series of escalating crises and conflicts without a clear-cut exposition phase; often opening in medias res, i.e. in the thick of the conflict.
Climax: The protagonist faces their greatest obstacle in a decisive confrontation with an antagonistic force.
Falling Action/Resolution: The outcome and aftermath of the conflict.
Why it works:
It's a simple framework with the focus on maintaining tension until the climax, making it particularly ideal for thrillers, mysteries or dramas.
Examples:
Any Agatha Christie novel
The Wizard of Oz by L. Frank Baum
6. The Kishōtenketsu (four-act structure)
A staple of East Asian storytelling, Kishōtenketsu focuses less on conflict and more on contrast and discovery.
Ki (Introduction): Introduces characters, setting and context.
Shō (Development): Expands the premise, observes the characters' lives, without adding significant tension.
Ten (Twist): Introduces an unexpected turn and/or a new perspective on events thus far.
Ketsu (Conclusion): The twist is reconciled with events at the beginning of the story, thus completing harmoniously.
Why it works:
This structure is less dependent on conflict, making it ideal for reflective or philosophical novels.
Examples:
Kishōtenketsu is prevalent in haiku, Japanese manga, and films like My Neighbor Totoro, emphasizing harmony and exploration over traditional Western conflict.
Choosing the right structure for your story
Selecting a structure depends on many variables, including your story’s genre, tone, themes, characters and goals; but here are some questions that may help guide you.
What’s your story's central theme?
For transformation or self-discovery, try the Hero’s Journey. If you have one clear theme in an uncomplicated plotline, or you just want to keep things simple, consider following the fundamentals of the Three-Act Structure.
What pacing do you envision?
Fast-paced, plot-driven genres like thrillers or detective novels may benefit from the Fichtean Curve or Seven-Point Structure. Freytag's Pyramid may be a better choice for character-driven novels or tragedies, where the aftermath of the story's climax is important to the plot as a whole.
Do you want a traditional arc or something unconventional?
If you're writing literary or experimental fiction, or you simply want a minimalist, more reflective narrative, you may wish to consider the Kishōtenketsu structure.
Finally...
Story structures are the skeletons upon which novels hang together, and understanding the various frameworks gives you the opportunity to experiment and unlock new possibilities in your storytelling. Each structure type has the potential to influence your story in a different way, and with careful consideration, you may land upon a framework that has a greater impact than your original intention.
As a bonus, following a framework can make the planning, outlining, writing and even editing stages that much smoother. Rather than writing into the dark, a formulated structure can be your guide to firming up the foundations of your novel right from the start. Additionally, it gives you the agency to shape how you want readers to experience and interpret your stories.
Lastly, as with all aspects of fiction writing, understanding novel structures is like learning the rules in order to flex them or break them entirely. While there are innumerable books and articles on novel structure, the majority of which contain excellent advice and techniques, they each may differ slightly in their delivery. Which is to say - use novel structures as your guide, but ultimately, allow your own unique story to lead the way.
Further reading on story structure:
Save The Cat! Writes A Novel, Jessica Brody
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Tina Williams of Fiction Yogi is a copyeditor and proofreader who works with writers at all stages, giving them the tools to improve their manuscript and level up their writing so they can meet their publishing goals.
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