Types of Story Structure – How to Plot a Novel Series - InkWell Spills: Writing Resource Center

Share on Social Media

NaNoWriMo is nearly here. I recently ran a poll on Twitter asking what you would like featured for Preptober. Novel Advice won by a landslide. So for the remainder of October, I will be sharing all the best novel writing advice I can muster. This is a three part series that will give you all the information you need to plot your novel. This post covers three different types of story structure.

The Basic Elements of a Novel
Choosing a Plotting Method
Choosing a Story Structure (This Post)

There are infinite types of story structure. Like all art, writing has no definitive set of rules. But there are standards that most writers follow because they make your story more appealing to a wider audience.

Once you have your basic elements figured out, it’s time to determine how you will structure your novel and choose from all the different types of story structure.

To make your life easier, I have presented just three of the most common story structures. To learn more about story structure, check out this article over at Writer’s Digest.

How to Plot a Novel – The Three Act Story Structure

This is the most common of all the types of story structure. They key to this story structure is to bridge each act to the next with crucial plot points. These crucial plot points move the story forward and keep your reader turning the pages.

To learn more about this story structure, check out this awesomely detailed article from the Writers Edit.

Act I – Setting Up Your Story

The first act is where you introduce your characters and your story world to your readers. You will then create the inciting incident that sets your entire story into motion.

Introduction

Introduce your main character(s) as they exist in their normal, everyday life. You should begin “in medius res,” in the middle of things.
- Example: In Harry Potter and the Sorcerer’s Stone, the story begins with Dudley’s birthday. The reader is introduced to Harry Potter and his little world.

Inciting Incident (Initial Conflict)

Perhaps the most critical element of your story, the inciting incident is what sparks your hero’s journey. This is the event that sets your story in motion. The inciting incident is like the lit fuse that leads to the bomb (climax) at the end of the book. The reader follows the burning rope until the explosion occurs.
- Example: In Harry Potter and the Sorcerer’s Stone, the inciting incident is when Harry receives his invitation to Hogwarts, setting him on his journey towards his ultimate goal. Although he doesn’t know it yet, his goal will eventually be to get the Sorcerer’s Stone.

Decision (Bridge Point One)

This is where your character makes a decision based on the inciting incident. The first bridge point is just as critical as the inciting incident. Your hero must choose to act. This element is the launch pad for your second act. It sets the stage for Act II and launches your hero into their adventure, quest, journey, etc…
- Example: In Harry Potter and the Sorcerer’s Stone, the decision plot point is when Harry decides to go to Hogwarts. Had he chosen to remain at home, there would be no story.

Act II – The Confrontation

The second act is perhaps the most difficult. It is usually the longest because the bulk of your story occurs in Act II. So you have to make it interesting to keep the reader turning those pages.

Rising Action

The part of your story where the hero’s journey begins to take form. They start their journey (or begin pursuit of their goals). Along the way, they should encounter their first obstacles. The events of the rising action will serve to bring your hero closer to confrontation with the anti-hero.
- Example: In Harry Potter and the Sorcerer’s Stone, the rising action is when Harry discovers that the package from Gringotts is now stored at Hogwarts. He and his friends hatch a plan to locate it, thus bringing him one step closer to confronting the anti-hero, Voldemort.

MidPoint

The MidPoint is when disaster strikes focing the hero to switch gears from reaction to action. You should create a significant event that seriously hurts your hero’s chances of achieving their goal. This occurs directly in the middle of the story. This event should create tension and force your readers to investigate further to find out how your hero deals with the situation.
- Example: In Harry Potter and the Sorcerer’s Stone, the midpoint is when Harry realizes that Voldemort wants to steal the stone. His journey becomes a race against time as he must try to steal the stone so he can protect it from his nemesis.

The Rally (Second Bridge Point)

Think of this as the pre-war battle speech, the pep talk, the rallying point. Your hero knows their goal, they understand the obstacles in the way. So now they must find a way to overcome everything. This plot point bridges your second act to the third. Something is about to happen and the hero must be ready.
- Example: In Harry Potter and the Sorcerer’s Stone, the second bridge point occurs when Harry, Ron, and Hermione create their plan to steal the sorcerer’s stone. They figure out how to get past Fluffy and race off to defend the stone.

Act III – The Resolution

The Lead Up (Pre-Climax)

Another disaster occurs. The hero has just about reached their goal when something terrible happens. They must carry on despite the odds. They must continue without some critical component of their toolkit. This might be a physical object, a companion, a skill they can no longer use, etc… The antagonist has struck a mortal blow and your audience isn’t sure they will be able to go on.
- Example: In Harry Potter and the Sorcerer’s Stone, the pre-climax happens when Harry loses both Ron and Hermione to the puzzles before he finds Voldemort. He must carry on without his trusted companions.

Climax

The climax is the last battle. The protagonist finally takes on the antagonist. This doesn’t have to be an actual battle, but it often is. All the conflict and tension in your story comes to a tipping point. This is the greatest obstacle your hero will face. It’s often where a twist is introduced, but not all stories need one. The key is to make this the greatest moment of tension and conflict in story so far.
- Example: In Harry Potter and the Sorcerer’s Stone, the climax occurs when Harry finally confronts Voldemort. There is an actual battle and Harry must overcome his greatest challenge to get the Sorcerer’s Stone.

The Resolution

One of the most difficult parts of writing a novel is coming up with a good ending. The resolution should only be a chapter or two. It’s important to tie up any loose ends. Do not introduce new information in your resolution, unless your novel is part of a series. Create satisfaction for the reader, answer all questions, resolve all issues. Give your reader a sense of peace as the story comes to a close.
- Example: In Harry Potter and the Sorcerer’s Stone, the resolution involves Dumbledore explaining what happened after Harry was knocked unconscious. He does the leg work in resolving most of the unanswered questions. The story closes with Harry returning to King’s Cross station, ready to go home for the summer.

the three act story structure workbook - free download

How to Plot a Novel – The Seven Point Story Structure

strict female teacher with book pointing at scribbled blackboard

The Seven Point Story Structure is relatively common among the varying types of story structure. It roughly mirrors the Three Act story structure with some key differences. It’s less traditional, but no less effective. Plus, it gives you more flexibility when it comes to creating your plot and outline.

The Hook

The hook is the starting point. Remember to begin “in medius res.” This is where you will establish who your main character is and introduce the reader to the elements of their world. Use this first section to your give readers a detailed picture of the main character’s life. This will offer a point of contrast for the transformation of your hero throughout the story.

Plot Point One

This is exactly the same as the inciting incident from the Three Act Structure. It’s the event that occurs that forces your hero to leave their normal life and set out on a journey, quest, mission, etc… This is also where the hero’s goal is introduced, either explicitly or hinted at subtly.

The hero enjoys their comfortable life, but the inciting incident makes them leave it behind so they can begin working towards their new goal. This first plot point will link the introductory elements to the middle of the story – the second act in the three act structure.

The First Pinch Point

The first pinch point begins the middle segment of the story. As you know from reading about the Three Act Structure, this is the longer and more difficult element of plotting a novel. The hero has set off on a new journey.

Fresh challenges and obstacles should be introduced. This is also where you can present new and exciting settings and characters as pressure and tensions is applied to your hero. A ensemble cast is often created in this step. It is also where antagonists can be introduced.

Midpoint

Much the same as the midpoint from the Three Act Structure, this occurs in the middle of the story. The hero is forced to change from reaction to action when a major challenge or obstacle is encountered.

The hero will double down on their goal and keep moving forward. The road to the final battle begins and tension increases dramatically.

The Second Pinch Point

Something goes terribly wrong just as the hero begins to make headway in their journey. A serious challenge, a major obstacle, or a severe set back should occur that stops the hero in their tracks. This turning point should force the reader into serious tension as they question the hero’s ability to go on.

Doubt dominates as the hero overcomes this obstacle to prepare for the final battle. Success gives the hero confidence and potentially a new perspective. This pinch point closes out what would be the second act and bridges the gap leading to the final stage of the hero’s journey.

Plot Point Two

This is the climax of the story. Your hero finally meets their nemesis. They join into battle over a shared goal. The hero’s goal will always be the same as the anti-hero’s goal. The hero wants to achieve a certain goal, and the antihero wants to prevent them from doing so. The final battle can be an actual battle or a metaphoric one depending on the content of your story.

However the battle occurs, it must create shear tension. The reader should be biting their nails as they read through this section. There should be doubt and fear and excitement and pain that ultimately lead to the hero’s success.

Resolution

The battle won, the hero can now return to their previous life. Or if that life has become out of reach, they can return to a “new normal.” All character arcs reach a conclusion, all questions are answered, all previous conflict has been resolved.

The hero has transformed into a new, better version of themselves as a direct result of the journey they undertook. Remember to create a satisfying ending for your readers. Or if this novel is part of a series, introduce your cliffhanger and make them all hate you. Haha…

How to Plot a Novel – The Hero’s Journey

- InkWell Spills: Writing Resource Center

This is my favorite out of all the types of story structure I’ve encountered. The Hero’s Journey is how epic adventures like the Lord of the Rings, the Hunger Games, and Star Wars are structured. There are many, many steps that go into the journey and not everyone agrees on exactly which ones are essential. I have presented my interpretation below.

To see how others interpret this story structure, read these articles:

Stage One – The Hero’s Known World

The Introduction

Much the same as with other story structure, the Hero’s Journey begins with an introduction to the hero, their everyday life, and the story world. The story still begins “in medius res,” often following the hero as they go about a normal day before encountering their “call.”

The Call to Adventure

In the midst of the hero’s ordinary life, they receive a call to go on some adventure. This may be a letter, a visit from someone, an actual call if the story world has electricity, etc… The hero is given a message that they, and only they, are needed for an epic quest.
Most often, the hero will immediately refuse – such is the case with Bilbo Baggins from The Hobbit. They don’t want to leave their peaceful existence and have no intention of seeking adventure, no matter how much they might be needed.
This is often a good place to introduce, or hint at, the antagonist. Some evil is lurking out there and the hero needs to stop it, or reach some goal before the antagonist does.

Ultimate Acceptance of the Call

After much contemplation, perhaps even lecturing from others, the hero will eventually accept their call to action. They will decide to engage with this mysterious offer of adventure and prepare for an epic journey. This is a good place to introduce other main characters for an ensemble cast, as the hero gathers their band and finalizes preparations.

Receipt of Supernatural Aid: The Mentor

Every hero’s journey needs a good mentor, usually one with extraordinary powers. Take Gandalf from both The Hobbit and Lord of the Rings for example, or Dumbledore from Harry Potter, Haymitch from the Hunger Games, and Yoda from Star Wars.
The Mentor will stay with the hero for most of their journey, offering guidance, advice, and assistance. It’s with the Mentor’s supernatural aid that the hero will be able to cross the threshold.
This concludes the first segment of the Hero’s Journey and bridges the gap from the hero’s current world to a brand new, unknown world.

Stage Two – The Journey into a New World

The Threshold: Approach & Crossing

Now joined with their mentor, the hero must cross a threshold. Often times in fantasy novels this is an actual threshold, a variation of a door between worlds. But your threshold doesn’t have to be literal. However it’s demonstrated, this is the beginning of the hero’s journey. They have accepted the challenge and set off into the great unknown.
By this stage in your story, your theme should be established. Character development should be well underway. And at least a hint of the main conflict (and the antagonist) should have been introduced. This is a major plot point in the novel, so it’s a good idea to ensure all of these elements have been established.

Adventures in the New World

The journey is underway and the hero is experiencing the new world. There is a paradigm shift in the way the hero interacts with the world. They are no longer sure of themselves. They must adjust to a constant barrage of change.
This section should be used to paint a picture of the new world. This is often accomplished by sending the hero through a series of events that bring challenges and demonstrate all of the new world’s magic and wonder.
The hero might encounter enemies to face, allies to unite with, and test and obstacles to overcome. They are adjusting to the new world with their mentor as their guide. A good example of this is when Gandalf and Bilbo are on the road and encounter trolls, orcs, and more.

The Beast (Point of No Return)

The Beast does not have to be a literal beast, but it often is. It just needs to be something the prevents the hero from returning home, and forces them to move forward along the path they have chosen. Their destiny is revealed and they have no choice but to follow it.
The experience from “The Beast” (be it an event or an actual beast) should solidify the hero’s commitment to their call to action. Once this occurs they must carry on, despite any obstacles or dangers they might face. Succeeding in achieving their goal is more important to them than ever before.
For example, in the Lord of the Rings when Frodo encounters the Wraiths for the first time. He must move on to Rivendell to be cured. Frodo cannot go home, and the adventure takes on a new light once he arrives there. Once he is healed, Frodo decides it is his destiny to take The Ring to Mordor.

Challenges and Trials – A Hero’s Path

Committed to their newly realized destiny, the hero must now face a series of trials. These are designed to begin the hero’s metamorphosis. The challenges should make the hero stronger, more determined, and usually teach them something about themselves.
As they walk along “The Hero’s Path”, it is common to have the hero fail at least one of their trials – because who wants to read a book about Mr. Perfect, right?
This stage is akin to the midpoint in the Three Act structure. So it should involve lots of conflict, bring abundant tension, and keep the reader turning those pages to find out what happens next.

Stage Three – Death & Rebirth

The Abyss / The Innermost Cave / The Heart of the New World

After facing the trials of The Hero’s Path, the hero will have to enter “The Abyss.” Again, this does not have to be a literal abyss. However, it is the heart of the unknown world, where the greatest dangers lurk, and where the ultimate goal of the adventure lies in wait.
Upon arriving to the cave, the hero will make final preparations. They might have to overcome the same fears and doubts that plagued them at the beginning of the story, before they accepted the call. It is also common for the mentor to leave the hero at this point, voluntarily for some other obligation, by force because of capture or otherwise, or through death.
As the hero approaches the “abyss” they will realize the need to cross a final threshold. This is where the hero finally accepts the reality that their quest is a matter of life or death. Failure is not an option. They must succeed in their goal or risk everything (often even the end of their known world).
The approach to the abyss is a brief pause in the story that allows the hero to gather their strength and courage. It also demonstrates to the audience the magnitude of the ordeal that awaits the hero.

The Ordeal

The Ordeal is the hero’s ultimate test. The hero must draw on everything they know, including what they have learned on the journey that has lead them to this point, in order to succeed.
The Ordeal is often a great battle, the most challenging so far. But it can also be an inner, metaphorical battle in the form a psychological crisis. It might be a seemingly impossible test. However the ordeal manifests, the hero will undergo some form of “death,” either literal or figurative. Thus allowing for a sort of resurrection that provides the hero with the power they previously lacked. The missing link they need to overcome their greatest obstacle and fulfill their destiny.
This is the zenith of the hero’s journey, where everything is at stake. Failure is not an option because it will result in the hero’s actual and permanent death, or the loss of life as they knew it.

The Reward

The Ordeal has ended. The battle is won. The hero has defeated death itself and emerges stronger than ever. They have transformed from an ordinary, average person into something far greater than they ever imagined.
Sometimes, the transformation itself is the reward. But more often, surviving the ordeal allows the hero to obtain their prize, the goal of their journey. This goal or reward may be a physical object, lost or secret information, insight or knowledge needed to complete a task or even exonerate the hero from some accusation, a person they had lost, etc…
The Ordeal serves as a test for the hero’s worthiness of obtaining such a prize. The reward is often something the hero needs to help them on the remainder of their journey.
After a brief celebration, which demonstrates to the audience the significance of the hero’s reward, the hero must quickly regroup. There is still the long, arduous trek home and they need to get started right away.

Stage Four – The Return Home

Atonement – The Return Home Begins

This is a mirror image of “The Call to Adventure.” At this point in the story, the hero will realize the mistake they made in delaying the journey, in their initial, selfish refusal to engage.
The hero must once again cross a threshold. This time, they are anticipating the benefits of returning home, instead of fearing the dangers that lie ahead.
Reward in hand, the hero faces one final choice – their own personal goals or the goals of something greater than themselves. They know the journey is not quite over, but they aren’t quite sure it’s worth it to go on. They have the reward and must decide between selfish desire and safety, or selfless risk for the greater good.
The hero will often struggle with inner turmoil for a while before finally committing to the end stage of their journey.

Final Transformation – Resurrection

The hero underwent a form of resurrection during The Ordeal. However, at this stage in the story, the hero has one more battle to win. This battle is the climax of the story.
As you can see, lot more goes into preparing for the climax with this type of story structure. It’s more of a heartbeat pattern, than a straight rise and fall. That’s part of what makes it so fun to read.
The hero must face death one more time, but this time much more is at stake. Not only is the hero’s life on the line, but failure in this battle has far reaching consequences. If they fail, the ones they left behind will die or suffer greatly.
Fear and hope fight for victory as the hero faces their mortal enemy. The weight of the world is on the hero’s shoulders. But they must put that aside and focus all their energy on defeating this enemy.
Often, the reward from The Ordeal allows the hero to succeed in this battle. However it plays out, the hero will ultimately succeed and be reborn as a true hero, a victorious savior of the people.

Returning Home – A New Normal

The hero has succeed. They have overcome death once again and were reborn anew. The hero has undergone a major transformation, has faced many challenges, has learned a great deal about the world and themselves, and now looks toward a new, happier life back home.
The hero’s return (with or without the reward) is often a sign of hope for the ones he left behind. The hero might bring them a solution to a dangerous problem, have finally defeated a viscous monster that was threatening them all, or even a changed worldview for the people to experience.
This is the resolution of the story. All enemies have been vanquished (or changed sides), all questions have been answered, and the ending brings the reader a sense of peaceful closure.
Unlike with the other types of story structure, The Hero’s Journey always ends with a New Normal. There is no way for the hero to return to the life they lived before. Even if there is, they have changed so much, that it’s not possible for them to experience it the same way as they once did. Spend a few paragraphs explaining this to the audience, either leading to a sequel, or providing a satisfying end to a long and arduous journey.

These are three of the most common types of story structure. While no set structure is correct, most audiences expect some type of standard story structure, even if they don’t explicitly realize it.

Writing is an art, so there really are no rules. But following a standard operating procedure will allow you to create something beautiful that you can also market.

Types of Story Structure – How to Plot a Novel Series