Writing with Story Structure

The insights from cognitive psychology can help us understand the effects and usefulness of story structures, and this is what I break down in my latest blog post. In this introductory article for my new series on story structure elements, I dive into the effects of story on readers and how these structures play a part in that. I also offer suggestions for what writers can do to have the best of both worlds — both the joy of just writing and creating a tale readers will want to read.

The hero’s journey, Save the Cat, Freytag’s pyramid, the three-act structure—if there’s no one way to structure a story, then why bother trying to follow one? My own “structure” is just as valid as the rest! I just want to tell a good story. I don’t want to use some cookie-cutter formula that makes my story sound just like all the rest. Learning these theories is a waste of time. Or is it?

I’m pretty sure I’ve said or at least thought all of these things at some point. I’m guessing you can relate to these sentiments too. I think we all sift through such thoughts at some point in our writing journeys. I know for a fact that at least half of the authors I’ve worked with just want to tell their stories without worrying about all of that technical stuff. Or they believe such structures don’t work for the kind of story they want to tell.

In most ways, they’re right to feel that way — especially in the drafting phase. Yet, in my experience, it is the writers who have, nonetheless, learned or at least studied such structures who can sustain plot and character arcs over 60-80,000+ words without getting bogged down or eventually trailing off without a strong enough purpose. So what do I do with that information?

I dissect it. With brain science! (Cue maniacal laughter)

First of all, I look for patterns. Nearly all tried-and-true story structures still hit the same or very similar plot beats. Some structures include a few more points or prescribe things a little more strictly, and some are more bare bones. Ultimately, it’s clear they all have core components that help to move characters further into conflict, facing fears, and coming to a point of transformation that helps them overcome something and/or someone. Why is that?

I think it boils down to how we’re wired to experience stories. We subconsciously desire to learn from challenges others face. Stories give us other perspectives and help us understand the world. They can also give us hope for our own good endings and a safe, controlled way to feel. So the stories we want to consume are those that fulfill these desires. These structures provide clear, high-level views of how stories do that. While variations on these structures can still be successful, the main points are still there.

Moreover, the plot beats and recommended placements of certain crucial story moments fulfill the promise the story makes to readers. Readers need to feel a sense of progress. The natural pacing provided by structural plot beats helps stories achieve an appropriate forward momentum with enough payoff for readers’ investment. That reader expectation is important.

Our brains like to be grounded in the familiar. We want to be reasonably sure of what we can expect. Of course, if things are too familiar for too long, we get bored. That’s where introducing new elements becomes key. But even with twists and surprises, the core plot beats usually need to be fulfilled in some way — even if it’s through deception with red herrings. This fulfillment helps to maintain enough of the familiar so that the surprises are delightful rather than aggravating.

On the other hand, we also get bored if things are too continually new. Too many random events, for instance, might start to feel boring because there’s nothing to ground them or no sense of direction. So we start to tune them out. We don’t care. We quit reading.

But wouldn’t following these same old story structures start to get boring too? Won’t all stories seem formulaic? While there is some potential for falling into this trap, I think it’s highly unlikely. You are an individual writer. By virtue of being you, you’re going to tackle even very similar ideas to someone else in a unique way. Even expecting the usual story structure, readers will be curious about the singular way you follow that structure with your particular characters and circumstances.

Again and again, I’ve seen the idea proven that having some limits to work within actually fosters more creativity. This idea works in the context of story structure as well. Instead of feeling stifled by a basic structure (which leaves a lot of wiggle room, I might add!), let the structure free your creativity. Give it some boundaries to work within to come up with better, more creative solutions for how you handle various points of your story. Perhaps a red herring fulfills a structural point while that true point is a bit hidden in the background. That can still surprise readers in a way they will enjoy instead of being bored or aggravated.

Do writers consciously use these structures as they write? Maybe. Maybe sometimes. What matters, it seems, is that writers at least know them, understand them, and have maybe tried analyzing a few stories according to those structures. As I learned in my own writing and other creative endeavors, even when I wasn’t as consciously utilizing more formal structures or methods, my knowledge of them was still informing my project subconsciously anyway. That prior understanding of structure helped me more effortlessly (don’t get me wrong, writing is still quite hard!) tackle stories with stronger first drafts that felt tighter and more purposeful than those I used to write before analyzing and studying literature or creative writing.

So what should you do now? If you don’t have a great grasp on the basic story structures, it won’t take you long to read up on what they’re all about. I’ll be tackling more story structure elements in depth in my upcoming posts. But before then, find some great resources on these subjects in my free resource guide for fiction authors. Then get writing! It might be best to start drafting from a cause-and-effect angle. But if you’ve studied story structure, it will start manifesting as a stronger story whether you are all that aware of it or not. So structure and theory aren’t the enemies. They’re just part of your toolbox.

Could you use a few brain science hacks to help you get your stories on the page or ready for readers? Let me know what you're working on!

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