There are a variety of structures that one can use to plan out their stories. From classic 3-act, to the 8-sequence beat points - this chapter presents to you twelve such plot structures that you can use to craft your next best tale!

1. FREYTAG’S PYRAMID

German playwright and novelist Gustav Freytag invented Freytag’s Pyramid in Die Technik des Dramas (Technique of the Drama), an overview of five-act plot structure written in the nineteenth century. In the book, Freytag envisioned the rising and falling action of a drama, or dramatic arc, in a pyramid structure similar to that of Aristotle’s triangle, but with two additional plot elements. Screenwriters, novelists, and dramatists today still use Freytag’s Pyramid as a blueprint for crafting a compelling and emotionally satisfying story.

STRUCTURE:

Exposition: [Introduction of characters, setting, and basic situation] - The exposition is the introductory phase where essential elements of the story are presented. This includes the introduction of characters, the setting, and the initial situation. The primary goal is to provide necessary background information for the audience.

Rising Action: [Series of events that build up to the climax] - The rising action is the phase where the central conflict (often it is the inciting incident) is developed, and tension begins to escalate. Events unfold, complications arise, and characters face challenges that drive the narrative forward.

Climax: [The turning point of the story, where the main conflict is addressed] - The climax is the pinnacle of tension in the story. It’s the moment of greatest intensity where the central conflict reaches a turning point. The protagonist faces a critical decision or confrontation that determines the direction of the narrative.
Falling Action: [Events that happen as a result of the climax] - The falling action follows the climax and involves the unraveling of the plot. Loose ends are tied up, and the consequences of the protagonist’s actions are addressed. The story begins to wind down, preparing for the resolution.

Denouement: [Conclusion, where the story's conflicts are resolved] - The resolution, also known as the denouement, is the final outcome or conclusion of the story. It provides closure and answers lingering questions. Characters may undergo further development, and the audience gains a sense of the long-term consequences.

EXAMPLE

William Shakespeare’s Romeo and Juliet is a textbook example of Freytag’s Pyramid applied to a story structure. The Shakespearean drama breaks down in the following way:

1. Exposition: In the introduction, audiences meet the Montagues and Capulets—the two families from Verona, Italy, at the heart of Romeo and Juliet. They also learn of the long-brewing feud between the two families.
2. Rising action: The star-crossed lovers meet and fall madly in love. Despite the protestations of friends and family, Romeo and Juliet marry, which pushes the action of the story toward its climax.
3. Climax: A pair of murders begins the unraveling of the lovers’ bliss. Juliet’s cousin, Tybalt, kills Mercutio, a friend of Romeo’s. In turn, Romeo kills Tybalt. The crimes force the pair to separate and hatch a desperate plan.
4. Falling action: Juliet plans to fake her own death rather than acquiesce to a marriage that her father has arranged; she drinks a potion that puts her into a death-like state. She also outlines her plan in a letter sent to Romeo.
5. Denouement: The letter fails to reach Romeo before he discovers Juliet’s body. Believing her dead, he drinks poison. Juliet awakens to find Romeo dead, and grief-stricken, takes her own life with a dagger.

2. THREE-ACT STRUCTURE

The three-act structure is a model used in narrative fiction that divides a story into three parts (acts), often called the Setup, the Confrontation, and the Resolution. It was popularized by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting. Based on his recommendation that a play have a beginning, middle, and end.

STRUCTURE

Act I – Setup: [Introduction of the story, characters, and world] - This is sometimes called the “setup” act, and it lays the groundwork for the conflict and revelations to come. It takes up roughly the first 20% of your plot.

Act II – Confrontation: [The main character faces obstacles and conflicts, building up to the climax.] - Sometimes called the “confrontation act,” the second act forms the bulk of your story—from about the 25% mark to 75%, or the second and third quarters. This is where the complexities of your characters, conflicts, and themes will evolve through the events of the plot.

Act III – Resolution: [The climax and resolution of the story] - The third act is the culmination of the main conflict and everything that the heroes have faced on their journey. The protagonist’s goal is finally within reach. During the last act, battles will be waged, triumphs celebrated, losses mourned, and loose ends tied off. This final act comprises the final quarter of the story, or from the 75% point to 100%.

EXAMPLE: Pride & Prejudice

Act I
Exposition: Within the first scene, the reader is introduced to the family, the upper-class English setting, the problem of their impending eviction, and the dynamic between each character.
Inciting incident: The arrival of two handsome new bachelors in a nearby estate sets an irreversible chain of events into motion.
First key plot point: Bingley, Darcy, and company depart from the estate to return home, leaving poor Jane Bennett bereft.

Act II
Rising action: Jane goes to London to investigate under the guise of visiting family, and Elizabeth grows closer with Mr. Wickham. She meets Mr. Darcy by chance.
Midpoint: Darcy proposes, and in return, Elizabeth shoots him down. Their relationship and understanding of one another is changed forever.
Second key plot point: Fast-and-loose Lydia Bennett absconds with Mr. Wickham, bringing shame upon the family.

Act III
Pre-climax (or false climax): Lydia and Mr. Wickham return properly married; Lydia reveals that Darcy orchestrated the entire thing and paid off her hapless new husband. Bingley and Jane are reunited, and it looks like everyone is set to live happily ever after.
Climax: Darcy gives himself one last shot at securing Elizabeth’s love and proposes. This time, she accepts.
Resolution: The Bennett family is thrilled for the daughters, Elizabeth and Jane celebrate their weddings, and the reader gets a glimpse into their future lives.

3. HERO’S JOURNEY (MONOMYTH)

The Hero's Journey, also known as the monomyth, is a story structure where a hero goes on a quest or adventure to achieve a goal, and has to overcome obstacles and fears, before ultimately returning home transforme. This narrative arc has been present in various forms across cultures for centuries, if not longer, but gained popularity through Joseph Campbell's mythology book, The Hero with a Thousand Faces.

STRUCTURE

Ordinary World: The hero's normal life before the adventure begins.
Call to Adventure: The hero faces a challenge or quest.
Refusal of the Call: The hero hesitates to take on the challenge.
Meeting with the Mentor: The hero gains advice or tools from a mentor.
Crossing the Threshold: The hero leaves their ordinary world.
Tests, Allies, Enemies: The hero faces trials and makes friends and enemies.
Approach to the Inmost Cave: The hero prepares for the major challenge.
Ordeal: The hero faces the biggest challenge or crisis.
Reward: The hero achieves something valuable.
The Road Back: The hero begins the return journey.
Resurrection: The hero is tested once more and emerges transformed.
Return with the Elixir: The hero returns home with new wisdom or power.

EXAMPLE: The Martian by Andy Weir.

4. THE KISHŌTENKETSU

Kishōtenketsu (起承転結) describes the structure of many classic Chinese, Korean and Japanese narratives. Kishōtenketsu is sometimes described as a narrative structure devoid of conflict, particularly when compared to common Western narrative structures.

STRUCTURE

Ki (Introduction): Setting up the story.
Shō (Development): Building the story and characters.
Ten (Twist): Introducing a sudden twist or development.
Ketsu (Conclusion): Resolving the story and the twist.

5. FICHTEAN CURVE

The Fichtean curve is a story structure made up of three elements: rising action, climax, and falling action. Unlike other narrative frameworks, the Fichtean curve is designed to be simple, and lands the characters directly in the action of the story. This makes it a favorite with action, adventure, and mystery writers. The Fichtean curve was invented by John Gardner in 1983. We can see his first use of this specific curve in his novel The Art of Fiction.

STRUCTURE

Exposition: Brief introduction.
Crisis: Series of crises or conflicts, each escalating.
Climax: The highest point of tension or conflict.
Falling Action: Resolution of the crises.
Denouement: Conclusion.

6. IN MEDIA RES

A narrative work beginning in medias res "into the middle of things" opens in the chronological middle of the plot, rather than at the beginning. Often, exposition is initially bypassed, instead filled in gradually through dialogue, flashbacks, or description of past events. For example, Hamlet begins after the death of Hamlet's father which is later discovered to have been a murder. Characters make reference to King Hamlet's death without the plot's first establishment of this fact. Since the play is about Hamlet and the revenge more so than the motivation, Shakespeare uses in medias res to bypass superfluous exposition.
Works that employ in medias res often later use flashback and nonlinear narrative for exposition to fill in the backstory.

STRUCTURE

Beginning in the Middle: Starting in the midst of the action.
Flashbacks: Filling in backstory as the narrative progresses.
Resolution: Bringing the story to a conclusion.

7. THE SNOWFLAKE METHOD

The Snowflake method is when a writer starts writing from a simple theme and then progresses over time. It is developed slowly and complexity is added along the way until it is completed. It is a step-by-step technique that guides you from a simple concept to a fully developed and intricate narrative.

STRUCTURE

There is no fixed structure to this method. Consider a basic storyline and an opening when your character is leading a simple life, the first few chapters may showcase their ordinary life, before a twist stumbles in. Slowly over the plotline, the character may face complex situations until ultimately leading to a satisfactory conclusion.

8. 7-POINT STORY STRUCTURE

The seven-point story structure is a list of sequential events within a story. Writers use these seven plot points as a guide to help map out their story. From beginning to middle to end, there are certain milestones every story should reach to propel the plot forward, like the opening hook, turning points, and the climax. The seven-point structure outlines each important element to guide a writer while they’re crafting a story.

STRUCTURE

Hook: Grabs the reader’s attention and sets up the protagonist's situation.
Plot Turn 1: Introduction to the main conflict or inciting incident.
Pinch Point 1: Apply pressure to the protagonist, increasing stakes.
Midpoint: The protagonist takes action, driving the plot forward.
Pinch Point 2: More pressure, raising the stakes even higher.
Plot Turn 2: The protagonist’s final push towards the resolution.
Resolution: Conclusion, where the story’s conflicts are resolved.

9. DAN HARMON'S STORY CIRCLE

The Dan Harmon Story Circle describes the structure of a story in three acts and with eight plot points, which are called steps. When you have a protagonist who will progress through these, you have a basic character arc and the bare minimum of a story—the story embryo or plot embryo, if you will.

The Story Circle as a narrative structure is descriptive, not prescriptive, meaning it doesn’t tell you what to write, but how to tell the story. The steps outline when the plot points occur and the order in which your hero completes their character development.

STRUCTURE

You: The character is in a zone of comfort.
Need: They want something.
Go: Enter an unfamiliar situation.
Search: Adapt to it.
Find: Find what they wanted.
Take: Pay a price for it.
Return: Return to their familiar situation.
Change: Have changed in some way.

Usually used to write a strongly character-driven story.

10. The Five-Act Structure

STRUCTURE

Introduction: Setting up the story, characters, and initial conflict.
Rising Action: Developing the conflict, building tension.
Climax: The peak of tension and turning point.
Falling Action: Events following the climax leading to resolution.
Conclusion: Resolving the conflict and wrapping up the story.

11. SAVE THE CAT BEAT SHEET

Structure

Opening Image: Sets the tone of the story.
Theme Stated: Hints at the theme of the story.
Set-Up: Introduces the protagonist and their world.
Catalyst: The inciting incident that pushes the protagonist into action.
Debate: The protagonist debates what action to take.
Break into Two: The protagonist commits to action.
B Story: A subplot that supports the main story.
Fun and Games: The protagonist navigates the new world.
Midpoint: A significant event that shifts the story.
Bad Guys Close In: Obstacles intensify.
All Is Lost: The protagonist hits rock bottom.
Break into Three: The protagonist decides to fight back.
Finale: The climax and resolution.
Final Image: Reflects the protagonist’s transformation.

12. The 8-Sequence Structure

Structure

Sequence 1: Setup and exposition.
Sequence 2: Complications begin.
Sequence 3: Rising action, building towards the midpoint.
Sequence 4: First major plot point.
Sequence 5: Further complications and challenges.
Sequence 6: The protagonist faces increasing difficulties.
Sequence 7: Climax.
Sequence 8: Denouement and resolution.

Now that the writers have gone through these plot structures, it's time to get some work done.

For the first day of this journey, the participants are encouraged to learn about these structures and pick any one which they resonate with the most. A structure which they feel their story would fit the best in. After finalizing the format, create a blank document or a word file, and write down the scene summary / ideas on each of the beat points. Do not think about the number of chapters, or what all actions your story will have. Simply write the beat points in detail.

For instance, if a writer has decided to pick the fichtean curve to work with, the document must contain detailed idea about what each of the fives plot points are going to be about. A basic idea for the first timers, you can edit it as the workshop progresses.

There is no deadline, no rush. This week is all about ideation and structuring. More to come tomorrow - Day 2!