Novel Structure: Keep Your Book From Falling Down

Novelist and structure guru Larry Brooks argues that published novelists follow the four-act structure one way or another, whether purposely from the beginning or by developing it gradually while writing draft after draft. A rare but prominent few (like Stephen King) have story structure engrained so deeply in their bones that they can start out without knowing where they're going, and come up with a draft that adheres to it the first time round.

If you're not Stephen King, you'll make your life easier—and hopefully write fewer drafts—if you think about your story milestones (see below) before you start writing ... even if you like to do as little pre-planning as possible before you start your novel. If you like to plan out your stories in advance, story structure can give you a place to start.

It's really worth identifying the pillars—the big scenes, or plot points—that will support the rest of your plot.

There is a lot of overlap among the structures I describe below. Figure out what works for you—which ultimately means whatever does the best job of helping you tell your story.

Photo courtesy cking

Aristotle outlined the three-act structure more than 2000 years ago, and it has been used in drama ever since. More recently, it's also been used in novels and screenplays.

At its most basic, the three-act structure is simple: every story has a beginning, middle and end. In Plot and Structure, James Scott Bell describes the Three Act structure for novelists as follows.

Act 1: The Beginning

This section introduces the story world (the setting, the time, and what's going on), establishes the novel's tone (comic, thoughtful, etc.), introduces the main character and the character's opposition (the villain, or antagonistic force), and compels readers to keep reading into the middle.

Near the beginning, something disturbs the main character's everyday life. It may be relatively small to begin with, but it keeps readers interested until the plot really gets launched.

Act 2: The Middle

The middle is a series of battles, whether literal or figurative. It develops subplots, and deepens the relationships between characters. It keeps us caring about the characters and what happens to them, all the while setting up the final battle.

According to Bell, the middle should make up more than half of the story.

Act 3: The End

The ending contains the final battle (climax), ties up any loose ends, and leaves readers thinking about what the story meant.

Two Doorways

Bell describes two transitions, or "doorways of no return," that propel the hero from one act to another.

The first doorway, between Act 1 and Act 2, pushes the story's hero into the main conflict, in a way that she can't back out. May she's discovered a dangerous secret, or she might be a police officer or a lawyer with a professional duty to keep going. She might need a shove through the doorway, but once she's through, she has to continue to the end.

Bell says this doorway should come at the 20% mark, or even earlier.

The second doorway, between Act 2 and Act 3, sets up the final confrontation (climax). Maybe the hero discovers an important clue or piece of information, or perhaps he finds himself involved in a crisis of some kind. Whatever it is, the second doorway ups the pace and speeds the hero inexorably towards the climax.

This novel structure was developed by Larry Brooks, based on what he learned from screenwriter Syd Field's Screenwriting. It's quite precise, with four sections that are each more or less 25% of the book. I've found it invaluable in erecting the "plot pillars" of my book.

Part 1

The first part introduces the hero in his everyday life, sets a hook to keep readers reading, establishes the hero's stakes (what he cares about that will be endangered later), and foreshadows later events. It also introduces the changes in the hero's life that propel him toward the First Plot Point.

First Plot Point

The first plot point comes at roughly the 20% to 25% mark. It's when the story really begins, the first time readers (and, usually, the hero) see the main conflict full-on. It might be something big, like a literal explosion, or it could be as subtle as the change of expression on a lover's face. Here, the villain or antagonistic force also makes a first full-on appearance in all its power.

After the First Plot Point, the hero is forced to do something, and her life will never be the same.

Part 2

In the second part, everything the hero cares about (and readers came to care about in Part 1) is in danger. The hero is usually just reacting to what happened at the First Plot Point—not being proactive. She might try to save the day, but if she does, it doesn't work yet.

In the middle of the second part is the First Pinch Point, which shows just how powerful the antagonist is.

Midpoint

The midpoint comes more or less in the middle. It's a giant twist that changes the way the hero, the reader, or both, look at what's happening from that point on.

Part 3

In the third part, the hero becomes proactive, and begins to seriously fight back against the antagonist. He also starts to fight against the inner demons that are holding him back.

Halfway through Part 3 is the Second Pinch Point, a dramatic fight against the antagonistic force, which is bigger and stronger than ever.

Second Plot Point

This comes at about the 75% mark, when the last piece of new information enters the story. It makes the hero's situation even more urgent than before, and readers begin to sense that the end is approaching. If there's a chase scene, this is usually where it starts.

Part 4

Everything in the previous three parts comes together in a final climax, in which the hero shows that she's overcome her inner demons. After that, there's a bit of time for tying up loose ends.

More on the Four-Part Structure

For much more detail, you can read a series of posts on Brooks's blog. (Since it's a blog, it helps to go to the second page and read the posts from the last listed to the first, in the order they were written). Brooks's website has a ton of other useful information, including thoughts on character, post series that deconstruct Avatar (the movie) and Shutter Island, and much more.

The Hero's Journey is based on mythologist Joseph Campbell's The Hero With a Thousand Faces, where he describes the hero myth found in all cultures of the world. More recently, Hollywood development executive Christopher Vogler has popularized the use of the Hero's Journey as a basis for screenplays and novels.

In Vogler's formulation, the Hero's Journey often has the following twelve parts (although, he says, some aren't always included, and they aren't always in this precise order).

The Ordinary World

The hero is introduced in his everyday life in the "Ordinary World," but there are signs that something is about to change.

The Call to Adventure

Something from outside or inside the hero calls on her to change.

Refusal of the Call

The hero is afraid and tries to turn away, or maybe another character expresses uneasiness.

Meeting with the Mentor

The hero meets someone more experienced who helps them on their way with a gift—usually of advice, training or equipment.

Crossing the Threshold

This is the end of Act 1. The hero commits to leaving the Ordinary World, and enters a new world (either literally or metaphorically) with different rules and values.

Tests, Allies, Enemies

The hero undergoes a variety of tests, and meets friends and enemies.

Approach

The hero and his new friends get ready for the main challenge.

The Ordeal

Around the middle of the story, the hero faces literal or metaphorical death (her greatest fear), and emerges as a different person.

The Reward

The hero gets the treasure (again, this could be something metaphorical, like love) that he won in the ordeal. This may be a time of celebration, but there's a danger of losing the treasure.

The Road Back

The hero returns to the Ordinary World to bring home the treasure, at about the 75% mark. There may be a chase scene here, showing how urgent the mission is.

The Resurrection

The hero is tested again, just before reaching home. She makes a final, higher sacrifice, resolving the issue raised in the beginning.

Return with the Elixir

The hero either keeps traveling or goes home, bringing along the treasure, which is powerful enough to transform the world the way the hero has just been transformed.

For More Information

Learn more by clicking on "The Hero's Journey" on the Storytech Literary Consulting website.