A story’s plot, in essence, is the sequence of events that occur throughout. It makes up much of the “what” in a story. To that end, a well-crafted plot can make for a deeply compelling novel. Readers, therefore, might consider plot a crucial aspect of storytelling, but is it as important as many make it out to be? Let’s explore plot structures and how writers can use them to engage readers.
In his commentary on comic books, Bad Signal, Warren Ellis writes, “Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.” In other words, plot isn’t everything. I suggest keeping this in mind as we explore different plot structures and how they can help you organize your stories effectively.
The Importance of Plot Structure
Although plot can be overrated, it can still play a crucial role in providing a framework to shape your story’s progression. A solid plot structure will help with pacing, tension, and character development, but keep in mind that these elements should work together. Try not to let plot dictate everything as the be-all and end-all in your story. The best stories are those that strike a good balance between plot and character.
Among the different types of plot structure are the three-act structure, the hero’s journey, the seven-point structure, and what we simply call nonlinear plot structures. (There are other methods of plotting, but these are the ones we’ll focus on here.) The structure you choose for your story will be influenced in part by the kind of writer you are and, perhaps, the genre of your story.
The Classic Three-Act Plot Structure
Divided into three (not always equal) parts, this can be considered the most basic plot structure. When in doubt, you can’t go wrong with using this one to plan out your novel. The three parts (or “acts”) are setup, confrontation, and resolution.
Each part of the three-act structure functions as follows.
Act 1 (Setup)
Much of the first act consists of introductions. This is where you establish the characters, the setting, and the conflict of your story. Pay particular attention to the conflict aspect. Think about what the story’s situation is and why the main character has an emotional response to it. Without conflict, there is no story. This is your first and only chance to capture the reader’s interest. It is an implied promise that a good story is about to unfold.
Act 2 (Confrontation)
The second act is what gets the reader engaged in your story. This is where the conflict escalates (often called “rising action”), obstacles appear, and characters show their mettle (and in turn demonstrate character development). This is the meat of the story. Readers want to see how characters deal with confrontation and overcome barriers, and this is where it all happens.
Act 3 (Resolution)
The third and final act is all about the payoff. This is where the story hits its climax and reaches its conclusion (also known as “denouement”). The climax occurs when the story’s conflict hits its highest point of tension, excitement, and/or stakes. The outcome usually results in some kind of resolution or change strongly associated with the key characters. This is where you show how the main character might succeed or fail (or simply change). Regardless of the outcome, it’s important to give the reader some sense of reward for having read this far. Whether the story’s ending is happy or sad (or bittersweet or indifferent), the story should fulfill the implied promise of a good story that was given in the first act.
The benefit of using this structure is that it presents a clear progression, and it’s a simple structure that readers are familiar with. But you might find this too simple for your purposes. Fear not. If you have a complex idea for an epic fantasy novel or space opera, read on. Below are a few more ideas for building the plot structure of your story using something more elaborate.
The Hero’s Journey (Monomyth)
Joseph Campbell was a professor of literature who worked in comparative literature and comparative religion. He is best known for developing a theory of an archetypal “hero’s journey” found in multiple world mythologies, termed the monomyth. His ideas became so popular that many writers in both film and literature have used them to structure their own stories. This is especially the case for science fiction and fantasy, for which this structure is well-suited. Although approaches to the monomyth can vary in complexity, below is a simplified diagram of the hero’s journey to give you an idea of what it might look like.
Not all of the elements outlined in the monomyth are required to have the structure work. One way to look at it is it’s like the three-act structure above but with specific elements in each act. The key stages are as follows:
- Departure
- Initiation
- Return
Within each act are several stages, and all told, this adds up to seventeen stages. I won’t get into all the details here, but you can read more about it in Hero with a Thousand Faces. This is Campbell’s book of comparative mythology that famously was a big influence on George Lucas in writing Star Wars. However, if you want a shorter introduction, I suggest reading the Wikipedia entry for the hero’s journey.
Monomyth Exercise
Consider how the key elements in The Lord of the Rings by J. R. R. Tolkien would fit into each of the seventeen stages of the monomyth. I’m certain you will see how Tolkien’s story can also fit into this structure, regardless of whether he was conscious of such a concept when he wrote it. (Consider also using the simplified illustration above to try the same exercise.) This structure works well for epic novels in particular because the theory was developed by an extensive study of mythology throughout the ages, which means it has a shared history with fantasy literature itself.
The Seven-Point Plot Structure
This plot structure is the result of horror and science fiction author Dan Wells building a plotting system based on the Star Trek Roleplaying Game Narrator’s Guide. He designed it to be well-suited to structuring novels. The seven-point plot structure looks something like this:
- Hook
- Plot Turn 1
- Pinch 1
- Midpoint
- Pinch 2
- Plot Turn 2
- Resolution
By layering plot turns and “pinches,” it creates tension through pivotal moments that are ripe for revealing important moments of character development. Using The Lord of the Rings as an example once more, the structure would look something like the following.
The Lord of the Rings in Seven Points
- Hook: In the peaceful Shire, Frodo learns of the danger of the One Ring. He must take it to Rivendell.
- Plot Turn 1: Frodo and his friends arrive at Rivendell. The Fellowship is formed to carry the ring to Mordor.
- Pinch 1: The Fellowship is fractured by Saruman’s Uruk-hai. Frodo decides to go to Mordor alone (though Sam follows him).
- Midpoint: Frodo takes full responsibility for his quest and journeys to Mordor.
- Pinch 2: Gollum betrays Frodo and Sam in Shelob’s lair. The War of the Ring escalates in Gondor. Frodo falters (but is supported by Sam).
- Plot Turn 2: Aragorn and company create a diversion at the Black Gate. Frodo is overcome by the One Ring, but Gollum inadvertently destroys it (and himself).
- Resolution: Evil falls, but Frodo can never fully return to a normal life in the Shire. He decides to journey to the Undying Lands.
Not all of the events and plot points in the novel are listed here, but some major ones are. The focus here is on Frodo. But what about Aragorn, Gandalf, Faramir, and the others? Well, whenever you initially plot out your own story using one of these structures, bear in mind that it will likely be more of a brief outline to get you started. You will likely find yourself adding more to it than you initially intended, and that’s fine. Use a plot structure as a guideline, not a rulebook. You might want to use it at the beginning, setting it aside as you generate a more complex outline. You can always refer back to your structure as your initial source later and decide whether any changes you’ve made to it serve your story best.
Nonlinear Plot Structures
If you find any of these plot structures too rigid or limiting to your imagination, consider going nonlinear. What does that mean? That anything goes? Not necessarily. “Nonlinear” doesn’t mean “no structure.”
Nonlinear structures typically use various literary devices to do different things to a story’s timeline/chronology. Common examples include flashbacks, parallel timelines, and fragmented narratives. Structuring a novel this way takes extra care because you don’t want to inadvertently disorient or lose your reader in the text.
Popular examples of novels with nonlinear structures include The Night Circus by Erin Morgenstern, which has multiple, interweaving storylines, and Cloud Atlas by David Mitchell, which has several separate narratives spanning thousands of years. The only way these novels work in their particular ways is through clarity of time and space and character perspective. If you also choose to tell your story in a nonlinear fashion, you will need to do the same. I suggest reading these novels and others that use unusual structures to give you a better idea of how they work.
Choosing the Right Plot Structure for Your Novel
When deciding on which plot structure to use, consider factors such as the genre, the pacing you hope to use, and whether your story is character-driven or plot-driven. I’ve already indicated which of the structures above are well-suited to science fiction and fantasy. Also consider experimenting with hybrid structures or other plotting methods not covered here, such as the snowflake method. The best way to learn whether something works for your story idea is to experiment.
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