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Last updated on Nov 07, 2023

What is Plot Structure? Definition and Diagram

Plot structure is the order in which the events of a story unfold. In western storytelling traditions, it’s usually built out of five stages: exposition, rising action, climax, falling action, and resolution. 

From Westworld and Jane Eyre to your grandma’s favorite childhood anecdote, most stories seem to follow this architecture. It dates back to Aristotle’s Three-Act structure , which divides a story into a beginning, middle, and end, and it was further elaborated on by German novelist Gustav Freytag, among others, who proposed a “technique for drama” — a five-stage plot structure that is now better known as Freytag’s pyramid .

In this post, we’ll look at the basic elements of plot structure in more detail. We’ll use Tolkien’s Fellowship of the Ring as an example with each stage. Though it may seem strange to demonstrate a five-step process with the first part of a trilogy, each book in The Lord of the Rings series has a complete plot with a distinct start and finish.   

Plot Structure in Five Steps:

1. Exposition

2. rising action, 4. falling action, 5. resolution.

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To kick off your story , you'll need to introduce your main characters and the world they inhabit , thus laying the groundwork for the story ahead. This segment is known as the exposition , and it serves to present the 'ordinary world' or the status quo for your characters. 

Example: “One ring to rule them all.”

In Tolkien’s The Fellowship of the Ring , the 'ordinary world' is depicted through the lively and peaceful lives of hobbits in the Shire. It's only when an inciting incident jolts your character out of their comfort zone that the real action of the story gets underway. In this case, Frodo Baggins inherits a ring from his cousin Bilbo, but Gandalf reveals to him that it's the Ring of Power sought after by the dark lord Sauron 一 Frodo must embarks on a quest to destroy it.

☝️ We dive deeper into each of these five stages in this article on story structure . Also, if you’re keen to try to incorporate these “beats” into your own writing, get our free template below. 

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Once your protagonist is on a journey to accomplish something, the story truly comes alive and things start to happen. This sets the stage for a series of events in which the character faces ever more challenging internal and external conflicts , and makes both allies and enemies.  

Example: “I will take the Ring to Mordor. Though I do not know the way.”

Frodo and his companions face many challenges, like the dreadful Black Riders, the freezing mountains, and the tension among some people in the group that the ring stirs up. The Fellowship, now made of nine valuable members, learns that Saruman has joined the enemy side. 

This part is known as the rising action , it forms the bulk of the narrative, and it culminates in the narrative's emotional high point — the climax. 

The climax in a story is the point where tension reaches its peak. It’s a pivotal moment or event that marks the point of no return for the character. 

Example: “Fly, you fools.”

As the fellowship passes through the Mines of Moria, they confront a menacing creature, a Balrog. Gandalf fights off the beast, allowing the others to escape, but at the cost of his own life.

While the climax may not be the final obstacle for a protagonist, it is usually what induces them to truly take action to resolve their problem. 

Following the climax, the story's tension begins to wane as unresolved issues and minor conflicts start to find closure. This beat serves as a sort of decompression chamber, allowing both characters and readers to step back from the intensity of the climax, and process “all that happened.”

Example: “You suffer, I see it day by day.”

Following the tragic loss of Gandalf, the Fellowship takes refuge in the mystical woods of Lothlórien, where they grapple with the gravity of their quest and reflect on their individual responsibilities. Boromir is seduced by the ring's power and tries to steal it from Frodo, though the hobbit manages to escape.

The resolution (also called denouement ) is the final phase in the story's plot structure, which wraps things up. While it often blends with the ‘falling action,’ the key difference is that the resolution offers closure to the story's main conflict. Essentially, it fulfills the promise of the premise set in motion by the inciting incident. That said, story endings can vary 一 some give a clear resolution, while others leave room for interpretation.

Example: “I’m going to Mordor alone.”

As for Frodo, he decides to separate from the group, fearing more of its members will be corrupted by the ring, and to continue the journey to Mordor alone (well, secretly followed by his best buddy Sam.) As The Fellowship of the Ring is only the first installment in a trilogy, the story's ultimate closure isn't reached until the final book. In spite of this, Frodo undergoes a significant character arc 一 from an unlikely and hesitant hero, dependent on other’s support, to a true leader determined to complete his mission.

And there you have them, the five key elements of plot structure. Whether you’re beginning to write a novel or working on a short story , dissecting its basic architecture can help you craft a cohesive and engaging narrative that keeps the reader turning the page.

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Plot Definition

What is plot? Here’s a quick and simple definition:

Plot is the sequence of interconnected events within the story of a play, novel, film, epic, or other narrative literary work. More than simply an account of what happened, plot reveals the cause-and-effect relationships between the events that occur.

Some additional key details about plot:

• The plot of a story explains not just what happens, but how and why the major events of the story take place.
• Plot is a key element of novels, plays, most works of nonfiction, and many (though not all) poems.
• Since ancient times, writers have worked to create theories that can help categorize different types of plot structures.

Plot Pronounciation

Here's how to pronounce plot: plaht

The Difference Between Plot and Story

Perhaps the best way to say what a plot is would be to compare it to a story. The two terms are closely related to one another, and as a result, many people often use the terms interchangeably—but they're actually different. A story is a series of events; it tells us what happened . A plot, on the other hand, tells us how the events are connected to one another and why the story unfolded in the way that it did. In Aspects of the Novel, E.M. Forster uses the following examples to distinguish between story and plot:

“The king died, and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time-sequence is preserved, but the sense of causality overshadows it. Or again: “The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.” This is a plot with a mystery in it.

Therefore, when examining a plot, it's helpful to look for events that change the direction of the story and consider how one event leads to another.

The Structure of a Plot

For nearly as long as there have been narratives with plots, there have been people who have tried to analyze and describe the structure of plots. Below we describe two of the most well-known attempts to articulate the general structure of plot.

Freytag's Pyramid

One of the first and most influential people to create a framework for analyzing plots was 19th-century German writer Gustav Freytag, who argued that all plots can be broken down into five stages: exposition, rising action, climax, falling action, and dénouement. Freytag originally developed this theory as a way of describing the plots of plays at a time when most plays were divided into five acts, but his five-layered "pyramid" can also be used to analyze the plots of other kinds of stories, including novels, short stories, films, and television shows.

• Exposition is the first section of the plot. During the exposition, the audience is introduced to key background information, including characters and their relationships to one another, the setting (or time and place) of events, and any other relevant ideas, details, or historical context. In a five-act play, the exposition typically occurs in the first act.
• The rising action begins with the "inciting incident" or "complication"—an event that creates a problem or conflict for the characters, setting in motion a series of increasingly significant events. Some critics describe the rising action as the most important part of the plot because the climax and outcome of the story would not take place if the events of the rising action did not occur. In a five-act play, the rising action usually takes place over the course of act two and perhaps part of act three.
• The climax of a plot is the story's central turning point, which the exposition and the rising action have all been leading up to. The climax is the moment with the greatest tension or conflict. Though the climax is also sometimes called the crisis , it is not necessarily a negative event. In a tragedy , the climax will result in an unhappy ending; but in a comedy , the climax usually makes it clear that the story will have a happy ending. In a five-act play, the climax usually takes place at the end of the third act.
• Whereas the rising action is the series of events leading up to the climax, the falling action is the series of events that follow the climax, ending with the resolution, an event that indicates that the story is reaching its end. In a five-act play, the falling action usually takes place over the course of the fourth act, ending with the resolution.
• Dénouement is a French word meaning "outcome." In literary theory, it refers to the part of the plot which ties up loose ends and reveals the final consequences of the events of the story. During the dénouement, the author resolves any final or outstanding questions about the characters’ fates, and may even reveal a little bit about the characters’ futures after the resolution of the story. In a five-act play, the dénouement takes place in the fifth act.

While Freytag's pyramid is very handy, not every work of literature fits neatly into its structure. In fact, many modernist and post-modern writers intentionally subvert the standard narrative and plot structure that Freytag's pyramid represents.

Booker's "Meta-Plot"

In his 2004 book The Seven Basic Plots: Why We Tell Stories, Christopher Booker outlines an overarching "meta-plot" which he argues can be used to describe the plot structure of almost every story. Like Freytag's pyramid, Booker's meta-plot has five stages:

• The anticipation stage , in which the hero prepares to embark on adventure;
• The dream stage , in which the hero overcomes a series of minor challenges and gains a sense of confidence and invincibility;
• The frustration stage , in which the hero confronts the villain of the story;
• The nightmare stage , in which the hero fears they will be unable to overcome their enemy;
• The resolution , in which the hero finally triumphs.

Of course, like Freytag's Pyramid, Booker's meta-plot isn't actually a fool-proof way of describing the structure of every plot, but rather an attempt to describe structural elements that many (if not most) plots have in common.

Types of Plot

In addition to analyzing the general structure of plots, many scholars and critics have attempted to describe the different types of plot that serve as the basis of most narratives.

Booker's Seven Basic Plots

Within the overarching structure of Booker's "meta-plot" (as described above), Booker argues that plot types can be further subdivided into the following seven categories. Booker himself borrows most of these definitions of plot types from much earlier writers, such as Aristotle. Here's a closer look at each of the seven types:

• Comedy: In a comedy , characters face a series of increasingly absurd challenges, conflicts, and misunderstandings, culminating in a moment of revelation, when the confusion of the early part of the plot is resolved and the story ends happily. In romantic comedies, the early conflicts in the plot act as obstacles to a happy romantic relationship, but the conflicts are resolved and the plot ends with an orderly conclusion (and often a wedding). A Midsummer Night's Dream , When Harry Met Sally, and Pride and Prejudice are all examples of comedies.
• Tragedy: The plot of a tragedy follows a tragic hero —a likable, well-respected, morally upstanding character who has a tragic flaw or who makes some sort of fatal mistake (both flaw and/or mistake are known as hamartia ). When the tragic hero becomes aware of his mistake (this realization is called anagnorisis ), his happy life is destroyed. This reversal of fate (known as peripeteia ) leads to the plot's tragic ending and, frequently, the hero's death. Booker's tragic plot is based on Aristotle's theory of tragedy, which in turn was based on patterns in classical drama and epic poetry. Antigone , Hamlet , and The Great Gatsby are all examples of tragedies.
• Rebirth: In stories with a rebirth plot, one character is literally or metaphorically imprisoned by a dark force, enchantment, and/or character flaw. Through an act of love, another character helps the imprisoned character overcome the dark force, enchantment, or character flaw. Many stories of rebirth allude to Jesus Christ or other religious figures who sacrificed themselves for others and were resurrected. Beauty and the Beast , The Snow Queen , and A Christmas Carol are all examples of stories with rebirth plots.
• Overcoming the Monster: The hero sets out to fight an evil force and thereby protect their loved ones or their society. The "monster" could be literal or metaphorical: in ancient Greek mythology, Perseus battles the monster Medusa, but in the television show Good Girls Revolt , a group of women files a lawsuit in order to fight discriminatory policies in their workplace. Both examples follow the "Overcoming the Monster" plot, as does the epic poem Beowulf .
• Rags-to-Riches : In a rags-to-riches plot, a disadvantaged person comes very close to gaining success and wealth, but then appears to lose everything, before they finally achieve the happy life they have always deserved. Cinderella and Oliver Twist are classic rags-to-riches stories; movies with rags-to-riches plots include Slumdog Millionaire and Joy .
• The Quest: In a quest story, a hero sets out to accomplish a specific task, aided by a group of friends. Often, though not always, the hero is looking for an object endowed with supernatural powers. Along the way, the hero and their friends face challenges together, but the hero must complete the final stage of the quest alone. The Celtic myth of "The Fisher-King and the Holy Grail" is one of the oldest quest stories; Monty Python and the Holy Grail is a satire that follows the same plot structure; while Heart of Darkness plays with the model of a quest but has the quest end not with the discovery of a treasure or enlightenment but rather with emptiness and disillusionment.
• Voyage and Return: The hero goes on a literal journey to an unfamiliar place where they overcome a series of challenges, then return home with wisdom and experience that help them live a happier life. The Odyssey , Alice's Adventures in Wonderland , Chronicles of Narnia, and Eat, Pray, Love all follow the voyage and return plot.

As you can probably see, there's lots of room for these categories to overlap. This is one of the problems with trying to create any sort of categorization scheme for plots such as this—an issue we'll cover in greater detail below.

The Hero's Journey

The Hero's Journey is an attempt to describe a narrative archetype , or a common plot type that has specific details and structure (also known as a monomyth ). The Hero's Journey plot follows a protagonist's journey from the known to the unknown, and back to the known world again. The journey can be a literal one, as in the Lord of the Rings trilogy, or a purely metaphorical one. Regardless, the protagonist is a changed person by the end of the story. The Hero's Journey structure was first popularized by Joseph Campbell's 1949 book The Hero With a Thousand Faces. Later, theorists David Adams Leeming, Phil Cousineau, and Christopher Vogler all developed their own versions of the Hero's Journey structure. Each of these theorists divides The Hero's Journey into slightly different stages (Campbell identifies 17 stages, whereas Vogler finds 12 stages and Leeming and Cousineau use just 8). Below, we'll take a closer look at the 12 stages that Vogler outlines in his analysis of this plot type:

• The Ordinary World: When the story begins, the hero is a seemingly ordinary person living an ordinary life. This section of the story often includes expository details about the story's setting and the hero's background and personality.
• The Call to Adventure: Soon, the hero's ordinary life is interrupted when someone or something gives them an opportunity to go on a quest. Often, the hero is asked to find something or someone, or to defeat a powerful enemy. The call to adventure sometimes, but not always, involves a supernatural event. (In Star Wars: A New Hope , the call to adventure occurs when Luke sees the message from Leia to Obi-Wan Kenobi.)
• The Refusal of the Call: Some heroes are initially reluctant to embark on their journey and instead attempt to continue living their ordinary life. When this refusal takes place, it is followed by another event that prompts the hero to accept the call to adventure (Luke's aunt and uncle getting killed in Star Wars ).
• Meeting the Mentor: The hero meets a mentor: a wiser, more experienced person who gives them advice and guidance. The mentor trains and protects the hero until the hero is ready to embark on the next phase of the journey. (Obi-Wan Kenobi is Luke's mentor in Star Wars .)
• Crossing the Threshold: The hero "crosses the threshold" when they have left the familiar, ordinary world behind. Some heroes are eager to enter a new and unfamiliar world, while others may be uncertain if they are making the right choice, but in either case, once the hero crosses the threshold, there is no way to turn back. (Luke about to enter Mos Eisley, or of Frodo leaving the Shire in Lord of the Rings .)
• Tests, Allies, and Enemies: As the hero continues on their journey, they face a series of increasingly difficult "tests" or challenges. Along the way, they acquire friends who help them overcome these challenges, and enemies who attempt to thwart their quest. The hero may defeat some enemies during this phase or find ways to keep them temporarily at bay. These challenges help the reader develop a better a sense of the hero's strengths and weaknesses, and they help the hero become wiser and more experienced. This phase is part of the rising action .
• Approach to the Innermost Cave: At this stage, the hero prepares to face the greatest challenge of the journey, which lies within the "innermost cave." In some stories, the hero must literally enter an isolated and dangerous place and do battle with an evil force; in others, the hero must confront a fear or face an internal conflict; or, the hero may do both. You can think of the approach to the innermost cave as a second threshold—a moment when the hero faces their doubts and fears and decides to continue on the quest. (Think of Frodo entering Mordor, or Harry Potter entering the Forbidden Forest with the Deathly Hallows, ready to confront Lord Voldemort.)
• The Ordeal: The ordeal is the greatest challenge that the hero faces. It may take the form of a battle or physically dangerous task, or it may represent a moral or personal crisis that threatens to destroy the hero. Earlier (in the "Tests, Allies, and Enemies" phase), the hero might have overcome challenges with the help of friends, but the hero must face the ordeal alone. The outcome of the ordeal often determines the fate of the hero's loved ones, society, or the world itself. In many stories, the ordeal involves a literal or metaphorical resurrection, in which the hero dies or has a near-death experience, and is reborn with new knowledge or abilities. This constitutes the climax of the story.
• Reward: After surviving the ordeal, the hero receives a reward of some kind. Depending on the story, it may come in the form of new wisdom and personal strengths, the love of a romantic interest, a supernatural power, or a physical prize. The hero takes the reward or rewards with them as they return to the ordinary world.
• The Road Back: The hero begins to make their way home, either by retracing their steps or with the aid of supernatural powers. They may face a few minor challenges or setbacks along the way. This phase is part of the falling action .
• The Resurrection: The hero faces one final challenge in which they must use all of the powers and knowledge that they have gained throughout their journey. When the hero triumphs, their rebirth is completed and their new identity is affirmed. This phase is not present in all versions of the hero's journey.
• Return with the Elixir: The hero reenters the ordinary world, where they find that they have changed (and perhaps their home has changed too). Among the things they bring with them when they return is an "elixir," or something that will transform their ordinary life for the better. The elixir could be a literal potion or gift, or it may take the form of the hero's newfound perspective on life: the hero now possesses love, forgiveness, knowledge, or another quality that will help them build a better life.

Other Genre-Specific Plots

Apart from the plot types described above (the "Hero's Journey" and Booker's seven basic plots), there are a couple common plot types worth mentioning. When a story uses one of the following plots, it usually means that it belongs to a specific genre of literature—so these plot structures can be thought of as being specific to their respective genres.

• Mystery : A story that centers around the solving of a baffling crime—especially a murder. The plot structure of a mystery can often be described using Freytag's pyramid (i.e., it has exposition, rising action, climax, falling action, and denouement), but the plots of mysteries also tend to follow other, more genre-specific conventions, such as the gradual discovery of clues culminating in the revelation of the culprit's identity as well as their motive. In a typical story (i.e., a non-mystery) key characters and their motives are usually revealed before the central conflict arises, not after.
• Bindungsroman : A story that shows a young protagonist's journey from childhood to adulthood (or immaturity to maturity), with a focus on the trials and misfortunes that affect the character's growth. The term "coming-of-age novel" is sometimes used interchangeably with Bildungsroman. This is not necessarily incorrect—in most cases the terms can be used interchangeably—but Bildungsroman carries the connotation of a specific and well-defined literary tradition, which tends to follow certain genre-specific conventions (for example, the main character often gets sent away from home, falls in love, and squanders their fortune). The climax of the Bildungsroman typically coincides with the protagonist reaching maturity.

Other Attempts to Classify Types of Plots

In addition to Freytag, Booker, and Campbell, many other theorists and literary critics have created systems classifying different kinds of plot structures. Among the best known are:

• William Foster-Harris, who outlined three archetypal plot structures in The Basic Patterns of Plot
• Ronald R. Tobias, who wrote a book claiming there are 20 Master Plots
• Georges Polti, who argued there are in fact Thirty-Six Dramatic Situations
• Sir Arthur Thomas Quiller-Couch, who in the early twentieth century outlined seven types of plot

And then there are the more atypical approaches to classifying the different types of plots:

• In 1965, the University of Chicago rejected Kurt Vonnegut's college thesis, which claimed that folktales and fairy tales shared common structures, or "shapes," including "man in a hole," "boy gets girl" and "Cinderella." He went on to write Slaughterhouse-Five , a novel which subverts traditional narrative structures, and later developed a lecture based on his failed thesis .
• Two recent studies, led by University of Nebraska professor Matthew Jockers and researchers at the University of Adelaide and the University of Vermont respectively, have used machine learning to analyze the plot structures and emotional ups-and-downs of stories. Both projects concluded that there are six types of stories.

Criticism of Efforts to Categorize Plot Types

Some critics argue that though archetypal plot structures can be useful tools for both writers and readers, we shouldn't rely on them too heavily when analyzing a work of literature. One such skeptic is New York Times book critic Michiko Kakutani, who in a 2005 review described Christopher Booker's Seven Basic Plots as "sometimes absorbing and often blockheaded." Kakutani writes that while Booker finds interesting ways to categorize stories by plot type, he is too fixated on finding stories that fit these plot types perfectly. As a result, Booker tends to idealize overly simplistic stories (and Hollywood films in particular), instead of analyzing more complex stories that may not fit the conventions of his seven plot types. Kakutani argues that, as a result of this approach, Booker undervalues modern and contemporary writers who structure their plots in different and innovative ways.

Kakutani's argument is a reminder that while some great works of literature may follow archetypal plot structures, they may also have unconventional plot structures that defy categorization. Authors who use nonlinear structures or multiple narrators often intentionally create stories that do not perfectly fit any of the "plot types" discussed above. William Faulker's The Sound and the Fury and Jennifer Egan's A Visit From the Goon Squad are both examples of this kind of work. Even William Shakespeare, who wrote many of his plays following the traditional structures for tragedies and comedies, authored several "problem plays," which many scholars struggle to categorize as strictly tragedy or comedy: All's Well That Ends Well , Measure for Measure , Troilus and Cressida, The Winter's Tale , Timon of Athens, and The Merchant of Venice are all examples of "problem plays."

Plot Examples

The following examples are representative of some of the most common types of plot.

The "Hero's Journey" Plot in The Hobbit by J.R.R. Tolkien

The plot of The Hobbit closely follows the structure of a typical hero's journey.

• The Ordinary World: At the beginning of The Hobbit , the story's hero, Bilbo Baggins, is living a comfortable life alongside his fellow hobbits in the Shire. (Hobbits are short, human-like creatures predisposed to peaceful, domestic routines.)
• The Call to Adventure: The wizard Gandalf arrives in the Shire with a band of 13 dwarves and asks Bilbo to go with them to Lonely Mountain in order to reclaim the dwarves' treasure, which has been stolen by the dragon Smaug.
• The Refusal of the Call: At first, Bilbo refuses to join Gandalf and the dwarves, explaining that it isn't in a hobbit's nature to go on adventures.
• Meeting the Mentor: Gandalf, who serves as Bilbo's mentor throughout The Hobbit, persuades Bilbo to join the dwarves on their journey.
• Cross the Threshold: Gandalf takes Bilbo to meet the dwarves at the Green Dragon Inn in Bywater, and the group leaves the Shire together.
• Tests, Allies, and Enemies: Bilbo faces many challenges and trials on the way to the Lonely Mountain. Early in the trip, they are kidnapped by trolls and are rescued by Gandalf. Bilbo takes an elvish dagger from the trolls' supply of weapons that he uses throughout the rest of the journey. Soon Bilbo and the dwarves are captured by goblins, but they are rescued by Gandalf who also kills the Great Goblin. Later, Bilbo finds a magical ring (which becomes the focus of the Lord of the Rings books), and when the dwarves are captured later in the journey (once by giant spiders and once by elves), Bilbo uses the ring and the dagger to rescue them. Finally, Bilbo and the dwarves arrive at Lake Town, near the Lonely Mountain.
• Approach to the Innermost Cave: Bilbo and the dwarves makes his way from Lake Town to the Lonely Mountain, where the dragon Smaug is guarding the dwarves' treasure. Bilbo alone is brave enough to enter the Smaug's lair. Bilbo steals a cup from Smaug, and also learns that Smaug has a weak spot in his scaly armor. Enraged at Bilbo's theft, Smaug flies to Lake-Town and devastates it, but is killed by a human archer who learns of Smaug's weak spot from a bird that overheard Bilbo speaking of it.
• The Ordeal: After Smaug's death, elves and humans march to the Lonely Mountain to claim what they believe is their portion of the treasure (as Smaug plundered from them, too). The dwarves refuse to share the treasure and a battle seems evident, but Bilbo steals the most beautiful gem from the treasure and gives it to the humans and elves. The greedy dwarves banish Bilbo from their company. Meanwhile, an army of wargs (magical wolves) and goblins descend on the Lonely Mountain to take vengeance on the dwarves for the death of the Great Goblin. The dwarves, humans, and elves form an alliance to fight the wargs and goblins, and eventually triumph, though Bilbo is knocked unconscious for much of the battle. (It might seem odd that Bilbo doesn't participate in the battle, but that fact also seems to suggest that the true ordeal of the novel was not the battle but rather Bilbo's moral choice to steal the gem and give it to the men and elves to counter the dwarves growing greed.)
• Reward: The victorious dwarves, humans, and elves share the treasure among themselves, and Bilbo receives a share of the treasure, which he takes home, along with the dagger and the ring.
• The Road Back: It takes Bilbo and Gandalf nearly a year to travel back to the Shire. During that time they e-visit with some of the people they met on their journey out and have many adventures, though none are as difficult as those they undertook on the way to the Lonely Mountain.
• The Resurrection: Bilbo's return to the Shire as a changed person is underlined by the fact that he has been away so long, the other hobbits in the Shire believe that he has died and are preparing to sell his house and belongings.
• Return with the Elixir: Bilbo returns to the shire with the ring, the dagger, and his treasure—enough to make him rich. He also has his memories of the adventure, which he turns into a book.

Other examples of the Hero's Journey Plot Structure:

• Siddhartha by Herman Hesse
• The Epic of Gilgamesh
• The Martian by Andy Weir
• The Adventures of Huckleberry Finn by Mark Twain
• The Iliad by Homer

The Comedic Plot in Twelfth Night by William Shakespeare

William Shakespeare's play, Twelfth Night , is generally described as a comedy and follows what Booker would call comedic plot structure. At the beginning of the play, the protagonist, Viola is shipwrecked far from home in the kingdom of Illyria. Her twin brother, Sebastian, appears to have died in the storm. Viola disguises herself as a boy, calls herself Cesario, and gets a job as the servant of Count Orsino, who is in love with the Lady Olivia. When Orsino sends Cesario to deliver romantic messages to Olivia on his behalf, Olivia falls in love with Cesario. Meanwhile, Viola falls in love with Orsino, but she cannot confess her love without revealing her disguise.

In another subplot, Olivia's uncle Toby and his friend Sir Andrew Aguecheek persuade the servant Maria to play a prank convincing another servant, Malvolio, that Olivia loves him. The plot thickens when Sebastian (Viola's lost twin) arrives in town and marries Olivia, who believes she is marrying Cesario. At the end of the play, Viola is reunited with her brother, reveals her identity, and confesses her love to Orsino, who marries her. In spite of the chaos, misunderstandings, and challenges the characters face in the early part of the plot—a source of much of the play's humor— Twelfth Night reaches an orderly conclusion and ends with two marriages.

Other examples of comedic plot structure:

• Much Ado About Nothing by William Shakespeare
• A Midsummer Night's Dream by William Shakespeare
• Love's Labor's Lost by William Shakespeare
• Emma by Jane Austen
• Sense and Sensibility by Jane Austen
• Pride and Prejudice by Jane Austen
• Lysistrata by Aristophanes
• The Importance of Being Earnest by Oscar Wilde

The Tragic Plot in Macbeth by William Shakespeare

William Shakespeare's play Macbeth follows the tragic plot structure. The tragic hero , Macbeth, is a Scottish nobleman, who receives a prophecy from three witches saying that he will become the Thane of Cawdor and eventually the King. After King Duncan makes Macbeth Thane of Cawdor, Lady Macbeth persuades her husband to fulfill the prophecy by secretly murdering Duncan. He does, and is named King. Later, to ensure that Macbeth will remain king, they also order the assassination of the nobleman Banquo, his son, and the wife and children of the nobleman Macduff. However, as Macbeth protects his throne in ever more bloody ways, Lady Macbeth begins to go mad with guilt. Macbeth consults the witches again, and they reassure him that "no man from woman born can harm Macbeth" and that he will not be defeated until the "wood begins to move" to Dunsinane castle. Therefore, Macbeth is reassured that he is invincible. Lady Macbeth never recovers from her guilt and commits suicide, and Macbeth feels numb and empty, even as he is certain he can never be killed. Meanwhile an army led by Duncan's son Malcolm, their number camouflaged by the branches they carry, so that they look like a moving forest, approaches Dunsinane. In the fighting Macduff reveals he was born by cesarian section, and kills Macbeth.

Macbeth's mistake ( hamartia ) is his unrelenting ambition to be king, and his trust in the witches' prophecies. He realizes his mistake in a moment of anagnorisis when the forest full of camouflaged soldiers seems to be moving, and he experiences a reversal of fate ( peripeteia ) when he is defeated by Macduff.

Other examples of tragic plot structure:

• Antigone by Sophocles
• Oedipus at Colonus by Sophocles
• Agamemnon by Aeschylus
• The Libation Bearers by Aeschylus
• The Eumenides by Aeschylus
• Romeo and Juliet by William Shakespeare
• Hamlet by William Shakespeare
• Othello by William Shakespeare
• Anna Karenina by Leo Tolstoy
• The Great Gatsby by F. Scott Fitzgerald
• Madame Bovary by Gustave Flaubert
• The Picture of Dorian Gray by Oscar Wilde

The "Rebirth" Plot in A Christmas Carol by Charles Dickens

Charles Dickens' novel A Christmas Carol is an example of the "rebirth" plot. The novel's protagonist is the miserable, selfish businessman Ebenezer Scrooge, who mistreats his clerk, Bob Cratchit, who is a loving father struggling to support his family. Scrooge scoffs at the notion that Christmas is a time for joy, love, and generosity. But on Christmas Eve, he is visited by the ghost of his deceased business partner, who warns Scrooge that if he does not change his ways, his spirit will be condemned to wander the earth as a ghost. Later that night, he is visited by the ghosts of Christmas Past, Christmas Present, and Christmas Yet to Come. With these ghosts, Scrooge revisits lonely and joyful times of his youth, sees Cratchit celebrating Christmas with his loved ones, and finally foresees his own lonely death. Scrooge awakes on Christmas morning and resolves to change his ways. He not only celebrates Christmas with the Cratchits, but embraces the Christmas spirit of love and generosity all year long. By the end of the novel, Scrooge has been "reborn" through acts of generosity and love.

Other examples of "rebirth" plot structure:

• The Winter's Tale by William Shakespeare
• The Grapes of Wrath by John Steinbeck
• The Handmaid's Tale by Margaret Atwood
• Beloved by Toni Morrison
• Snow White by Jacob and Wilhelm Grimm
• The Snow Queen by Hans Christian Anderson
• Beauty and the Beast by Gabrielle-Suzanne Barbot de Villeneuve

The "Overcoming the Monster" Plot in Beowulf

The Old English epic poem, Beowulf , follows the structure of an "overcoming the monster" plot. In fact, the poem's hero, Beowulf, defeats not just one monster, but three. As a young warrior, Beowulf slays Grendel, a swamp-dwelling demon who has been raiding the Danish king's mead hall. Later, when Grendel's mother attempts to avenge her son's death, Beowulf kills her, too. Beowulf eventually becomes king of the Geats, and many years later, he battles a dragon who threatens his people. Beowulf manages to kill the dragon, but dies from his wounds, and is given a hero's funeral. Three times, Beowulf succeeds in protecting his people by defeating a monster.

Other examples of the overcoming the monster plot structure:

• Dracula by Bram Stoker
• Speak by Laurie Halse Anderson
• Harry Potter and the Chamber of Secrets by J.K. Rowling

The "Rags-to-Riches" Plot in Jane Eyre by Charlotte Brontë

Charlotte Brontë's novel Jane Eyre is an example of a "rags-to-riches" plot. The protagonist, Jane, is a mistreated orphan who is eventually sent away to a boarding school where students are severely mistreated. Jane survives the school and goes on to become a governess at Thornfield Manor, where Jane falls in love with Mr. Rochester. The two become engaged, but on their wedding day, Jane discovers that Rochester's first wife, Bertha, has gone insane and is imprisoned in Thornfield's attic. She leaves Rochester and ends up finding long-lost cousins. After a time, her very religious cousin, St. John, proposes to her. Jane almost accepts, but then rejects the proposal. She returns to Thornfield to discover that Bertha started a house fire and leapt off the roof of the burning building to her death, and that Rochester had been blinded by the fire in an attempt to save Bertha. Jane and Rochester marry, and live a quiet and happy life together. Jane begins the story with nothing, seems poised to achieve true happiness before losing everything, but ultimately has a happy ending.

Other examples of the rags-to-riches plot structure:

• Cinderella by Charles Perrault
• David Copperfield by Charles Dickens
• Oliver Twist by Charles Dickens
• The Once and Future King by T.H. White
• Villette by Charlotte Brontë
• Pygmalion by George Bernard Shaw
• Vanity Fair by William Makepeace Thackery

The Quest Plot in Siddhartha by Herman Hesse

Siddhartha , by Herman Hesse, follows the structure of the "quest" plot. The novel's protagonist, Siddartha, leaves his hometown in search of spiritual enlightenment, accompanied by his friend, Govinda. On their journey, they join a band of holy men who seek enlightenment through self-denial, and later, they study with a group of Bhuddists. Disillusioned with religion, Siddartha leaves Govinda and the Bhuddists behind and takes up a hedonistic lifestyle with the beautiful Kamala. Still unsatisfied with his life, he considers suicide in a river, but instead decides to apprentice himself to the man who runs the ferry boat. By studying the river, Siddhartha eventually obtains enlightenment.

Other examples of the quest plot structure:

• Candide by Voltaire
• Don Quixote by Migel de Cervantes
• A Passage to India by E.M. Forster
• The Hobbit by J.R.R. Tolkien
• The Lord of the Rings by J.R.R. Tolkien
• Perceval by Chrétien
• Harry Potter and the Deathly Hallows by J.K. Rowling

The "Voyage and Return" Plot in Their Eyes Were Watching God by Zora Neale Hurston

Zora Neale Hurston's novel Their Eyes Were Watching God follows what Booker would describe as a voyage and return plot structure. The plot follows the hero, Janie, as she seeks love and happiness. The novel begins and ends in Eatonville, Florida, where Janie was brought up by her grandmother. Janie has three romantic relationships, each better than the last. She marries a man named Logan Killicks on her grandmother's advice, but she finds the marriage stifling and she soon leaves him. Janie's second, more stable marriage to the prosperous Joe Starks lasts 20 years, but Janie does not feel truly loved by him. After Joe dies, she marries Tea Cake, a farm worker who loves, respects, and cherishes her. They move to the Everglades and live there happily for just over a year, when Tea Cake dies of rabies after getting bitten by a dog during a hurricane. Janie mourns Tea Cake's death, but returns to Eatonville with a sense of peace: she has known true love, and she will always carry her memories of Tea Cake with her. Her journey and her return home have made her stronger and wiser.

Other examples of the voyage and return plot structure:

• The Odyssey by Homer
• Great Expectations by Charles Dickens
• Gulliver's Travels by Jonathan Swift
• Alice's Adventures in Wonderland by Lewis Carroll
• By the Waters of Babylon by Stephen Vincent Benét

Other Helpful Plot Resources

• What Makes a Hero? Check out this awesome video on the hero's journey from Ted-Ed.
• The Thirty-Six Dramatic Situations : Visit Wikipedia for an overview of George Polti's theory of dramatic plot structure.
• Why Tragedies Are Alluring : Learn more about Aristotle's tragic structure, ancient Greek and Shakespearean tragedy, and contemporary tragic plots.
• The Wikipedia Page on Plot: A basic but helpful overview of plots.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1924 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 40,556 quotes across 1924 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Bildungsroman
• Climax (Figure of Speech)
• Falling Action
• Rising Action
• Tragic Hero
• Personification
• Climax (Plot)
• Rhyme Scheme
• Blank Verse

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Sat / act prep online guides and tips, what is the plot of a story the 5 parts of the narrative.

General Education

When we talk about stories, we tend to use the word "plot." But what is plot exactly? How does it differ from a story, and what are the primary features that make up a well-written plot? We answer these questions here and show you real plot examples from literature . But first, let’s take a look at the basic plot definition.

What Is Plot? Definition and Overview

What is the plot of a story? The answer is pretty simple, actually.

Plot is the way an author creates and organizes a chain of events in a narrative. In short, plot is the foundation of a story. Some describe it as the "what" of a text (whereas the characters are the "who" and the theme is the "why").

This is the basic plot definition. But what does plot do ?

The plot must follow a logical, enticing format that draws the reader in. Plot differs from "story" in that it highlights a specific and purposeful cause-and-effect relationship between a sequence of major events in the narrative.

In Aspects of the Novel , famed British novelist E. M. Forster argues that instead of merely revealing random events that occur within a text (as "story" does), plot emphasizes causality between these events:

"We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. 'The king died and then the queen died,' is a story. 'The king died, and then the queen died of grief' is a plot. The time-sequence is preserved, but the sense of causality overshadows it."

Authors typically develop their plots in ways that are most likely to pique the reader’s interest and keep them invested in the story. This is why many plots follow the same basic structure. So what is this structure exactly?

What Is Plot Structure?

All plots follow a logical organization with a beginning, middle, and end—but there’s a lot more to the basic plot structure than just this. Generally speaking, every plot has these five elements in this order :

• Exposition/introduction
• Rising action
• Climax/turning point
• Falling action
• Resolution/denouement

#1: Exposition/Introduction

The first part of the plot establishes the main characters/protagonists and setting. We get to know who’s who, as well as when and where the story takes place. At this point, the reader is just getting to know the world of the story and what it’s going to be all about.

Here, we’re shown what normal looks like for the characters .

The primary conflict or tension around which the plot revolves is also usually introduced here in order to set up the course of events for the rest of the narrative. This tension could be the first meeting between two main characters (think Pride and Prejudice ) or the start of a murder mystery, for example.

#2: Rising Action

In this part of the plot, the primary conflict is introduced (if it hasn’t been already) and is built upon to create tension both within the story and the reader , who should ideally be feeling more and more drawn to the text. The conflict may affect one character or multiple characters.

The author should have clearly communicated to the reader the stakes of this central conflict. In other words, what are the possible consequences? The benefits?

This is the part of the plot that sets the rest of the plot in motion. Excitement grows as tensions get higher and higher, ultimately leading to the climax of the story (see below).

For example, in Harry Potter and the Sorcerer’s Stone , the rising action would be when we learn who Voldemort is and lots of bad things start happening, which the characters eventually realize are all connected to Voldemort.

#3: Climax/Turning Point

Arguably the most important part of a story, the climax is the biggest plot point , which puts our characters in a situation wherein a choice must be made that will affect the rest of the story.

This is the critical moment that all the rising action has been building up to, and the point at which the overarching conflict is finally addressed. What will the character(s) do, and what will happen as a result? Tensions are highest here, instilling in the reader a sense of excitement, dread, and urgency.

In classic tales of heroes, the climax would be when the hero finally faces the big monster, and the reader is left to wonder who will win and what this outcome could mean for the other characters and the world as a whole within the story.

#4: Falling Action

This is when the tension has been released and the story begins to wind down. We start to see the results of the climax and the main characters’ actions and get a sense of what this means for them and the world they inhabit. How did their choices affect themselves and those around them?

At this point, the author also ties up loose ends in the main plot and any subplots .

In To Kill a Mockingbird , we see the consequences of the trial and Atticus Finch’s involvement in it: Tom goes to jail and is shot and killed, and Scout and Jem are attacked by accuser Bob Ewell who blames their father for making a fool out of him during the trial.

#5: Resolution/Denouement

This final plot point is when everything has been wrapped up and the new world—and the new sense of normalcy for the characters—has been established . The conflict from the climax has been resolved, and all loose ends have been neatly tied up (unless the author is purposely setting up the story for a sequel!).

There is a sense of finality and closure here , making the reader feel that there is nothing more they can learn or gain from the narrative.

The resolution can be pretty short—sometimes just a paragraph or so—and might even take the form of an epilogue , which generally takes place a while after the main action and plot of the story.

Be careful not to conflate "resolution" with "happy ending"—resolutions can be tragic and entirely unexpected, too!

In Romeo and Juliet , the resolution is the point at which the family feud between the Capulets and Montagues is at last put to an end following the deaths of the titular lovers.

What Is a Plot Diagram?

Many people use a plot diagram to help them visualize the plot definition and structure . Here’s what a basic plot diagram looks like:

The triangular part of the diagram indicates changing tensions in the plot. The diagram begins with a flat, horizontal line for the exposition , showing a lack of tension as well as what is normal for the characters in the story.

This elevation changes, however, with the rising action , or immediately after the conflict has been introduced. The rising action is an increasing line (indicating the building of tension), all the way up until it reaches the climax —the peak or turning point of the story, and when everything changes.

The falling action is a decreasing line, indicating a decline in tension and the wrapping up of the plot and any subplots. After, the line flatlines once more into a resolution —a new sense of normal for the characters in the story.

You can use the plot diagram as a reference when writing a story and to ensure you have all major plot points.

4 Plot Examples From Literature

While most plots follow the same basic structure, the details of stories can vary quite a bit! Here are four plot examples from literature to give you an idea of how you can use the fundamental plot structure while still making your story entirely your own.

#1: Hamlet by William Shakespeare

Exposition: The ghost of Hamlet’s father—the former king—appears one night instructing his son to avenge his death by killing Claudius, Hamlet’s uncle and the current king.

Rising Action: Hamlet struggles to commit to avenging his father’s death. He pretends to go crazy (and possibly becomes truly mad) to confuse Claudius. Later, he passes up the opportunity to kill his uncle while he prays.

Climax: Hamlet stabs and kills Polonius, believing it to be his uncle. This is an important turning point at which Hamlet has committed himself to both violence and revenge. (Another climax can be said to be when Hamlet duels Laertes.)

Falling Action: Hamlet is sent to England but manages to avoid execution and instead returns to Denmark. Ophelia goes mad and dies. Hamlet duels Laertes, ultimately resulting in the deaths of the entire royal family.

Resolution: As he lay dying, Hamlet tells Horatio to make Fortinbras the king of Denmark and to share his story. Fortinbras arrives and speaks hopefully about the future of Denmark.

#2: Wuthering Heights by Emily Brontë

Exposition: Lockwood arrives at Wuthering Heights to meet with Heathcliff, a wealthy landlord, about renting Thrushcross Grange, another manor just a few miles away. While staying overnight, he sees the ghost of a woman named Catherine. After settling in at the Grange, Lockwood asks the housekeeper, Nelly Dean, to relay to him the story of Heathcliff and the Heights.

Rising Action: Most of the rising action takes place in the past when Catherine and Heathcliff were young. We learn that the two children were very close. One day, a dog bite forces Catherine to stay for several weeks at the Grange where the Lintons live, leading her to become infatuated with the young Edgar Linton. Feeling hurt and betrayed, Heathcliff runs away for three years, and Catherine and Edgar get married. Heathcliff then inherits the Heights and marries Edgar’s sister, Isabella, in the hopes of inheriting the Grange as well.

Climax: Catherine becomes sick, gives birth to a daughter named Cathy, and dies. Heathcliff begs Catherine to never leave him, to haunt him—even if it drives him mad.

Falling Action: Many years pass in Nelly's story. A chain of events allows Heathcliff to gain control of both the Heights and the Grange. He then forces the young Cathy to live with him at the Heights and act as a servant. Lockwood leaves the Grange to return to London.

Resolution: Six months later, Lockwood goes back to see Nelly and learns that Heathcliff, still heartbroken and now tired of seeking revenge, has died. Cathy and Hareton fall in love and plan to get married; they inherit the Grange and the Heights. Lockwood visits the graves of Catherine and Heathcliff, noting that both are finally at peace.

#3: Carrie by Stephen King

Exposition: Teenager Carrie is an outcast and lives with her controlling, fiercely religious mother. One day, she starts her period in the showers at school after P.E. Not knowing what menstruation is, Carrie becomes frantic; this causes other students to make fun of her and pelt her with sanitary products. Around this time, Carrie discovers that she has telekinetic powers.

Rising Action: Carrie practices her telekinesis, which grows stronger. The students who previously tormented Carrie in the locker room are punished by their teacher. One girl, Sue, feels remorseful and asks her boyfriend, Tommy, to take Carrie to the prom. But another girl, Chris, wants revenge against Carrie and plans to rig the prom queen election so that Carrie wins. Carrie attends the prom with Tommy and things go well—at first.

Climax: After being named prom queen, Carrie gets onstage in front of the entire school only to be immediately drenched with a bucket of pig’s blood, a plot carried out by Chris and her boyfriend, Billy. Everybody laughs at Carrie, who goes mad and begins using her telekinesis to start fires and kill everyone in sight.

Falling Action: Carrie returns home and is attacked by her mother. She kills her mother and then goes outside again, this time killing Chris and Billy. As Carrie lay dying, Sue comes over to her and Carrie realizes that Sue never intended to hurt her. She dies.

Resolution: The survivors in the town must come to terms with the havoc Carrie wrought. Some feel guilty for not having helped Carrie sooner; Sue goes to a psychiatric hospital. It’s announced that there are no others like Carrie, but we are then shown a letter from a mother discussing her young daughter’s telekinetic abilities.

#4: Twilight by Stephenie Meyer

Exposition: Bella Swan is a high school junior who moves to live with her father in a remote town in Washington State. She meets a strange boy named Edward, and after an initially awkward meeting, the two start to become friends. One day, Edward successfully uses his bare hands to stop a car from crushing Bella, making her realize that something is very different about this boy.

Rising Action: Bella discovers that Edward is a vampire after doing some research and asking him questions. The two develop strong romantic feelings and quickly fall in love. Bella meets Edward’s family of vampires, who happily accept her. When playing baseball together, however, they end up attracting a gang of non-vegetarian vampires. One of these vampires, James, notices that Bella is a human and decides to kill her. Edward and his family work hard to protect Bella, but James lures her to him by making her believe he has kidnapped her mother.

Climax: Tricked by James, Bella is attacked and fed on. At this moment, Edward and his family arrive and kill James. Bella nearly dies from the vampire venom in her blood, but Edward sucks it out, saving her life.

Falling Action: Bella wakes up in the hospital, heavily injured but alive. She still wants to be in a relationship with Edward, despite the risks involved, and the two agree to stay together.

Resolution: Months later, Edward takes Bella to the prom. The two have a good time. Bella tells Edward that she wants him to turn her into a vampire right then and there, but he refuses and pretends to bite her neck instead.

Conclusion: So What Is the Plot of a Story?

What is plot? Basically, it’s the chain of events in a story. These events must be purposeful and organized in a logical manner that entices the reader, builds tension, and provides a resolution.

All plots have a beginning, middle, and end, and usually contain the following five points in this order:

#1: Exposition/introduction #2: Rising action #3: Climax/turning point #4: Falling action #5: Resolution/denouement

Sketching out a plot diagram can help you visualize your story and get a clearer sense for where the climax is, what tensions you'll need to have in order to build up to this turning point, and how you can offer a tight conclusion to your story.

What’s Next?

What is plot? A key literary element as it turns out. Learn about other important elements of literature in our guide. We've also got a list of top literary devices you should know.

Working on a novel? Then you will definitely want to know what kinds of tone words you can use , how imagery works , what the big difference between a simile and a metaphor is , and how to write an epilogue .

Interested in writing poetry? Then check out our picks for the 20 most critical poetic devices .

Hannah received her MA in Japanese Studies from the University of Michigan and holds a bachelor's degree from the University of Southern California. From 2013 to 2015, she taught English in Japan via the JET Program. She is passionate about education, writing, and travel.

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Definition of Plot

Plot is a literary device that writers use to structure what happens in a story . However, there is more to this device than combining a sequence of events. Plots must present an event, action, or turning point that creates conflict or raises a dramatic question, leading to subsequent events that are connected to each other as a means of “answering” the dramatic question and conflict. The arc of a story’s plot features a causal relationship between a beginning, middle, and end in which the conflict is built to a climax and resolved in conclusion .

For example, A Christmas Carol by Charles Dickens features one of the most well-known and satisfying plots of English literature.

I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach.

Dickens introduces the protagonist , Ebenezer Scrooge, who is problematic in his lack of generosity and participation in humanity–especially during the Christmas season. This conflict results in three visitations by spirits that help Scrooge’s character and the reader understand the causes for the conflict. The climax occurs as Scrooge’s dismal future is foretold. The above passage reflects the second chance given to Scrooge as a means of changing his future as well as his present life. As the plot of Dickens’s story ends, the reader finds resolution in Scrooge’s changed attitude and behavior. However, if any of the causal events were removed from this plot, the story would be far less valuable and effective.

Common Examples of Plot Types

In general, the plot of a literary work is determined by the kind of story the writer intends to tell. Some elements that influence the plot are genre , setting , characters, dramatic situation, theme , etc. However, there are seven basic, common examples of plot types:

• Tragedy : In a tragic story, the protagonist typically experiences suffering and a downfall, The plot of the tragedy almost always includes a reversal of fortune, from good to bad or happy to sad.
• Comedy : In a comedic story, the ending is generally not tragic. Though characters in comic plots may be flawed, their outcomes are not usually painful or destructive.
• Journey of the Hero : In general, the plot of a hero’s journey features two elements: recognition and a situation reversal. Typically, something happens from the outside to inspire the hero, bringing about recognition and realization. Then, the hero undertakes a quest to solve or reverse the situation.
• Rebirth : This plot type generally features a character’s transformation from bad to good. Typically, the protagonist carries their tragic past with them which results in negative views of life and poor behavior. The transformation occurs when events in the story help them see a better worldview.
• Rags-to-Riches : In this common plot type, the protagonist begins in an impoverished, downtrodden, or struggling state. Then, story events take place (magical or realistic) that lead to the protagonist’s success and usually a happy ending.
• Good versus Evil : This plot type features a generally “good” protagonist that fights a typically “evil” antagonist . However, both the protagonist and antagonist can be groups of characters rather than simply individuals, all with the same goal or mission.
• Voyage/Return : In this plot type, the main character goes from point A to point B and back to point A. In general, the protagonist sets off on a journey and returns to the start of their voyage, having gained wisdom and/or experience.

Aristotle’s Plot Structure Formula

Though this principle may seem obvious to modern readers, in his work  Poetics , Aristotle first developed the formula for plot structure as three parts: beginning, middle, and end. Each of these parts is purposeful, integral, and challenging for writers. It

can be difficult for writers to create an effective plot device in terms of making decisions about how a story begins, what happens in the middle, and how it ends. Here is a further explanation of Aristotle’s plot structure formula:

• Beginning : The beginning of a story holds great value. It has to capture the reader’s attention, introduce the characters, setting, and the central conflict.
• Middle : The middle of a plot requires movement toward the conclusion of the story, as well as plot points, obstacles, or various subplots along the way to maintain the reader’s interest and infuse value and meaning into the story.
• End : The end of a story brings about the conclusion and resolution of the conflict, generally leaving the reader with a sense of satisfaction, value, and deeper understanding.

Freytag’s Pyramid

In 1863, Gustav Freytag (a German novelist) published a book that expanded Aristotle’s concept of plot. Freytag added two components: rising action and falling action . This dramatic arc of plot structure, termed Freytag’s Pyramid, is the most prevalent depiction of plot as a literary device. Here are the elements of Freytag’s Pyramid:

• Exposition : the beginning of the story, in which the writer establishes or introduces pertinent information such as setting, characters, dramatic situation, etc.
• Rising Action : increased tension as a result of the central conflict.
• Climax (middle) : pinnacle and/or turning point of the plot.
• Falling Action : also referred to as denouement , begins with consequences resulting from the climax and moves towards the conclusion.
• Resolution : end of the story.

Differences Between Narrative and Plot

Plot and narrative are both literary devices that are often used interchangeably. However, there is a distinction between them when it comes to storytelling. Plot involves causality and a connected series of events that make up a story. Plot refers to what actions and/or events take place in a story and the causal relationship between them.

Narrative encompasses aspects of a story that include choices by the writer as to how the story is told, such as point of view , verb tense, tone , and voice . Therefore, the plot is a more objective literary device in terms of a story’s definitive events. Narrative is more subjective as a literary device in that there are many choices a writer can make as to how the same plot is told and revealed to the reader.

Three Basic Patterns of Plot – William Foster-Harris

In his book, The Basic Patterns of Plot, Foster-Harris presented three types of plot.

• Happy Ending Plot: These plots end on a happy note when the central character makes a sacrifice or resolves the conflict. Also, there is a positive and light-hearted ending to the story.
• Unhappy Ending: In this type of plot, the central character acts logically that seems right and fails to completely resolve the conflict. The story also might end with conflict resolution but one or more characters lose something or sacrifice something.
• Tragedy : This type of plot poses questions by the end about the sadness and its reason as the central character does not make a choice for a sacrifice, or otherwise.

Master Plots – Ronald R. Tobias

The term master plots occur in the book of Ronald R. Tobias, 20 Master Plots . Some of the important ones are Quest, Adventure , Pursuit, and Rescue. These are followed by Escape, Revenge, The riddle , Rivalry, and Underdog, while Temptation, Metamorphosis, and Transformation follow them. Some others are Maturing, Love, and Forbidden Love. Sacrifice and Discovery are two other master plots with Wretched Excess, Ascension, and Descension following them. The important feature of these plots is that they all follow the style their title suggests.

Seven Types of Plots – Jessamyn West

Besides thematic plots, Jessamyn West, a volunteer librarian has listed seven basic and major plots for a story. His argument seems based on the type of characters.

• A woman against nature
• A woman against another woman, or a man against another man
• A woman against the environment or vice versa
• A woman against technology
• A woman against self
• A woman against supernatural elements
• A woman against religion or gods

Why it is Good to Break Traditional Plot Structures

Although most critics are very strict about a story having a plot, it is quite unusual to break the conventional structures and create a new one. This creativity is the hallmarks of a literary piece as breaking the traditional plot structure makes the literary piece in the process a unique addition to the long list of such other pieces. This also makes the writer flout new ideas about plot structures, making him a pioneer in such plots. It often happens in postmodern fiction to break away from traditions in creating plots such as Slaughterhouse-Five by Kurt Vonnegut presents a non-linear storyline.

Linear and Non-Linear Plots

These two very simple terms, linear and non-linear in the literary world with reference to plots, define how a plot has been structured. A linear plot is constructed on the idea of chronological order having a clear beginning, a defined middle, and a definite ending. However, when an author, such as the referred novel in the above example shows, breaks away from the normal plot structures, it becomes a non-linear plot. It does not have any beginning or for that matter any ending or middle. It just presents fractured and broken thoughts or incidents in a way that the readers have to construct their own story.

Examples of Plot in Literature

When readers remember a work of literature, whether it’s a novel, short story , play , or narrative poem , their lasting impression often is due to the plot. The cause and effect of events in a plot are the foundation of storytelling, as is the natural arc of a story’s beginning, middle, and end. Literary plots resonate with readers as entertainment, education, and elemental to the act of reading itself. Here are some examples of plot in literature:

Example 1:  Romeo and Juliet (Prologue) – William Shakespeare

Two households, both alike in dignity (In fair Verona, where we lay our scene), From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-crossed lovers take their life; Whose misadventured piteous overthrows Doth with their death bury their parents’ strife. The fearful passage of their death-marked love And the continuance of their parents’ rage, Which, but their children’s end, naught could remove, Is now the two hours’ traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.

In the prologue of Shakespeare’s famous tragedy, the arc of the plot is told–including the outcome of the story. However, though the overall plot is revealed before the story begins, this does not detract from the portrayal of the events in the story and the relationship between their cause and effect. Each character’s action drives forward connected events that build to a climax and then a tragic resolution, so that even if the reader/viewer knows what will happen, the play remains an engaging and memorable literary work.

Example 2: Six-word-long story, often attributed to Ernest Hemingway

For sale, baby shoes, never worn.

This famous six-word short story is attributed to Ernest Hemingway , although there has been no indisputable substantiation that it is his creation. Aside from its authorship, this story demonstrates the power of plot as a literary device and in particular the effectiveness of Aristotle’s formula. Through just six words, the plot of this story has a beginning, middle, and end that readers can identify. In addition, the plot allows readers to interpret the causality of the story’s events depending on the manner in which they view and interpret the narrative.

Example 3:  Don Quixote – Miguel de Cervantes

“Destiny guides our fortunes more favorably than we could have expected. Look there, Sancho Panza, my friend , and see those thirty or so wild giants, with whom I intend to do battle and kill each and all of them, so with their stolen booty we can begin to enrich ourselves. This is noble, righteous warfare, for it is wonderfully useful to God to have such an evil race wiped from the face of the earth.” “What giants?” Asked Sancho Panza. “The ones you can see over there,” answered his master, “with the huge arms, some of which are very nearly two leagues long.” “Now look, your grace,” said Sancho, “what you see over there aren’t giants, but windmills, and what seems to be arms are just their sails, that go around in the wind and turn the millstone.” “Obviously,” replied Don Quijote, “you don’t know much about adventures.”

Don Quixote is considered the first modern novel, and the complexity of its plot is one of the reasons for this distinction. Each event that takes place in this overall hero’s journey is connected to and causes other actions in the story, bringing about a resolution at the end. This novel by de Cervantes features subplots as well, yet the story arc of the character reflects all elements of both Aristotle’s plot formula and Freytag’s Pyramid.

Synonyms of Plot

There are several synonyms that come close to the plot in meanings such as narrative, theme, events, tales, mythos, and subject , yet they are all literary devices in their own right. They do not replace the plot.

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What is Plot? A Writer’s Guide to Creating Amazing Plots

What’s plot? Discover the definition of plot, different types of plots, the various elements of a great plot including Vonnegut’s story shapes!

People are always stopping me on the street and asking, “What is plot? You look like a part-time writer, you should know!” I’m kidding. That never happens. But, if you came here for the basic definition for the plot, we’ve got that for you plus a lot more!

The Definition of Plot 

In fiction, a plot is the cause and effect sequence of significant events that make up the story’s narrative. These events can include things like an inciting incident, mid-plot point, climax, and resolution. 

But there is so much more to plot than this boring definition. So, today we are going to talk about what plot is all about. Let’s take a deep drive on plot and figure out how to use it for our own stories! We’ll start with types of plot.

Different types of plot 

If you google “different types of plot” one of the first hits you’ll get is something like, “the 1,500 basic types of plot!” Needles to say, the subject of plot types can be confusing, and the truth is your plot is what you make it. You don’t have to conform to anyone’s pattern. But, if you help getting started there are plenty of plots diagrams you can use. For this post, we’ll cover the most beneficial ones. 

Kurt Vonnegut’s Shape of Stories

A terrific source for outlining different plot types is the Shapes of Stories by famed writer Kurt Vonnegut. In case you’re not familiar, Vonnegut is the author of titles like Slaughterhouse-Five, and Breakfast of Champions. He also wrote a thesis, Shapes of Stories, arguing there were eight basic plot shapes that you could draw on a graph. He describes these story shapes as eight common character arcs.

Below is a short lecture Vonnegut gave on the concept:

The Eight Shapes of Stories

Man in a Hole:

With this plot your main character will get into some serious trouble. This trouble will upend your protagonist’s life and send them spiraling towards rock bottom. Through the plot of your story, the character will make their way out of trouble. By the conclusion the protagonist will be left off better than where they started, having crawled out of the hole. 

The hole is usually metaphorical, but by all means, stick your character in a real hole if you want. 

Boy Meets Girl :

Or girl meets boy. Like the hole from the example above, the person your character meets can be symbolic. Your character doesn’t have to meet a person; they can find something wonderful or life-changing. The character will experience the awesome benefits of this thing or person they found. Then, as it often does, tragedy strikes. 

At some point in the story, your character will lose the wonderful thing they found, and they will become deeply depressed. We’re back in the hole. However, by the story’s conclusion the character will regain the thing they lost. What’s more, they will get it back permanently, and, like with Man in a Hole, they will end better than they started.  

From Bad to Worse :

Are you a sadist? Well, do I have the plot for you! From Bad to Worse character arcs are exactly what they sound like. You start your character off in a terrible situation. Then things get gradually worse for them as the story progresses. By the end, your protagonist has lost all hope of things ever getting better. Because they won’t.

This kind of arc makes great horror stories. They also put your readers through the wringer. 

Which Way is Up?

Life imitates art in the Which Way is Up story arc. Things are confusing; events are ambiguous. It’s difficult to tell whether a turn of fate will benefit or harm your protagonist. These stories hit close to home, as with a reader’s life, we’re not guaranteed a happy ending. 

Great for thrillers and mysteries, this kind of story will keep readers on the edge of their seat. 

Creation Story :

In the beginning, there was light! Creation stories follow the pattern of a deity creating all of existence. God or some other deity will create humankind and then bestow gifts on them gradually, one at a time. 

One day you get a garden, then the next you get some animal friends. Later, you might get a spouse. These are pretty common stories to all cultures as they helped people describe the mystery of life. They’re not quite as popular in modern culture, but maybe you’ll be the one to revive them. 

Old Testament :

If you were to say you were going “old testament” on someone, that person is probably in for a bad time. Because let’s face it, the Old Testament isn’t the most cheery tome. Whether it’s Lot’s wife, or Abel, or the “OGs,” Adam and Eve, there’s a lot of fire and brimstone raining down on people. 

Old Testament stories build on the Creation story arc. A deity gradually rewards humankind. However, at some point humans suffer a sudden and drastic fall from grace. So, how would you update this story for a modern audience? Shrink it a little. 

You don’t have to write about all of humankind. Focus your story on one character- your protagonist. They are blessed by the gods, or society, or just parents with a fat bank account, but they lose it all. Slowly, your hero will have to earn their way back into the garden. 

New Testament :

New Testament stories follow the same track as their Old Testament counterparts, but humankind, or your hero, will overcome their fall from grace. Your hero is bestowed gradual gifts from some higher power, they experience a sudden loss of all those gifts, but regain them and achieve heavenly transcendence. This transformation is usually the result of your character’s internal growth. 

Cinderella 

Now to everyone’s favorite, a true Cinderella story. In this arc, your character begins at rock bottom, as low as they can be. They are probably born to a low station or suffered a devastating tragedy early in life. As bad things are for your hero, the one thing that can’t be taken from her is her resilience. She has hope that things can get better, but she at least knows they can’t possibly be worse. 

And things do get better. Your character experiences pure ecstasy for a short while. They discover what it means to be truly happy, but nothing lasts forever. Eventually, the clock strikes midnight, and that carriage turns back into a pumpkin. 

However, the experience of happiness has a lasting effect on your hero. She will never again be as low as she started at the beginning of the story because she now has the memory of being happy. At your story’s climax, your hero will regain what she lost and experience an everlasting happiness! 

Most stories you read or watch probably fit into one of these eight types of plots, or character arcs. So, if you’re struggling with the direction you’d like to take your story, use one of these basic plot arcs as your guide. 

Plot Structure

What is plot structure .

Plot structure refers to the story beats, or series of events, that make up your story.

Above, with the shape of stories, we discussed character arcs. Now, with plot structure, we’re talking about story arcs. Like the shape of stories or character arcs, there are many different ways to approach how you structure your plot. Let’s start with the most common plot structure you’ll find. 

Different types of plot structure

Freytag’s Story Pyramid 

You probably know this plot structure, also called the story pyramid. It’s the plot structure you learned way back in grade school. Freytag’s Pyramid breaks down to five plot segments. They are as follows:

Exposition:

In a story’s exposition you establish the ordinary world. Introduce all of the main characters, and show them in their everyday life. Introduce the setting of the story as well as the mood, and maybe hint at the conflict. You’ll end this section with an inciting incident that shatters the ordinary world and begins the conflict. 

Read more about inciting incidents here.  

Rising Action:

This is where the plot starts to move. The inciting event has caused some significant problems for your hero. During the rising action, your character is trying, and failing, to solve their problem. The character’s action will get increasingly drastic. Rising action will take up the majority of your story. 

This is the most thrilling part of your story; it’s the primary turning point. The climax is when the story’s main antagonist is finally confronted. The stakes are at their highest point. If your character loses, then they will die either literally or metaphorically. They will often have to overcome a character flaw to win.   

Falling Action:

This is a moment of final suspense when the hero seems to have lost. Freytag suggests as few characters as possible are involved at this point of the story and that there are fewer scenes than there were during the rising action. 

Catastrophe or Denouement:

The logical endpoint of your story. There should be some catharsis for your reader and a tying up of loose ends. Your hero may die in sacrifice at this point, or they may be triumphant. All conflicts should be resolved. A denouement sees your story ending on a high note. However, if you’re writing a tragedy, you’ll end with a catastrophe. 

Three Act Structure 

Popular for its simplicity, this is another plot structure commonly used in Western storytelling. As the name suggests, the design is subdivided into three acts with five plot points interspersed between them. Here they are: 

Act I – Setup:

The setup in this structure is very similar to the story pyramid’s exposition phase. The author will establish characters, setting, and tone. You want to show the characters in their everyday life. The setup will contain, or be concluded by, the inciting incident, which will disrupt your character’s life. 

• Plot Point 1: this plot point ends your setup. It is a dramatic event that represents the point of no return for your hero. Once this happens, they cannot return to their ordinary life. Think of it like a cave-in that seals your hero within the story. 

Act II- Confrontation:

Your character struggles to overcome their conflict set off by the inciting event. They will try one thing after the other, each time not achieving their goal and becoming more extreme in their measures. 

• Mid Point: happens in the middle of your story. It is the most dramatic turn up to that point. It raises the stakes for the hero exponentially. 
• Plot Point 2: This ends the second act of your story. The second plot point is when the hero prepares to confront their antagonist. This point will set up the final confrontation. 

Act III- Resolution:

The final battle or obstacle. The point where your character is truly tested. This act will change a fundamental part of your character’s life or personality as they overcome internal demons or external threats. 

• Climax: The most intense part of your characters struggle. They may have a sudden realization of how to end the conflict, or they may have to overcome a deep-seated flaw. 

Read more about Three Act structure here.

 Developed in Japan, Jo-ha-kyū is more of a concept than a structure. Still, it is used to structure stories, especially in theatre. In Jo-ha-kyū, things begin slowly, speed up gradually, and end fast. Jo-ha-kyū has three stages: 

Beginning :

Just like the other two structures, this is an exposition phase that moves at a leisurely pace. 

The story begins to intensify here. Things start to speed up at a gradual pace. The plot intensifies. 

The story moves at break-neck speed to its conclusion. All the conflict and loose ends are resolved. 

Kishōtenketsu

Kishōtenketsu is a Korean story structure that prioritizes a significant plot twist over a pattern of conflict and resolution. We’ll go over the four parts of this structure today. 

If you’d like to know more about Kishōtenketsu, you can read an entire post on the form here. 

The four components of Kishōtenketsu are: 

This is an introduction to characters, setting, mood, and any other important information. 

This is a development stage. The author expands on the characters and setting established in the introduction. 

TWIST! The twist is the most crucial part of the story. The dramatic twist takes the place of any conflict a typical story would have. 

The conclusion of your story. Everything is wrapped up, and things return to normal.  

Story vs. Plot 

So, what is the difference between story and plot? The two can be hard to define, but most people have decided that causality differentiates the two.

A story is a retelling of events in chronological order with no definable through-line. A plot is a series of events organized by cause and effect.

With a plot, on the other hand, there is a clear depiction of cause and effect. A story can be reported in a newspaper as- there was a five-alarm fire in an apartment building last night. One person died. Investigators believe faulty wiring was the cause of the fire. 

A plot would show us how these events are connected. A slumlord, building owner fires his hardworking superintendent to cut costs. Therefore, the faulty wiring in Mrs. Jones’ apartment is never fixed. On a cold night, Mrs. Jones plugs in a space heater to stay warm. With no one to repair it, the building’s furnace has been broken for months. A spark from the outlet catches the drapes on fire. The flames spread filling the bedroom with smoke. Mrs. Jones suffocates, and the slumlord cashes in on his insurance policy. 

Here we see the cause and effect pattern, and even a theme developing. 

Elements of a Plot 

The plot elements depend on the type of story you’re telling, and we’ve covered many of them already. Plot points, climaxes, raising, and falling action are all elements of different plots. Let’s cover a few essential factors that are common to most plot structures. 

Setup & exposition :

Most stories will start by introducing characters, settings, and a mood. Authors may also hint at a coming conflict or theme in this section. 

Action & confrontation :

A majority of the time spent in any story will show a character trying to overcome some conflict in their life. Usually, they try small actions at first; then, as they continue to fail, action will gradually become more drastic. These actions lead to an escalation of the stakes of the story. 

Climax & conclusion :

There is a high point of every story. A moment where the stakes are highest and failure means dire consequences for your hero. The character either overcomes their conflict or is consumed by it depending on the story you want to tell. 

Dramatic Contrast :

Stories, like any work of art, need contrast. Contrast is what makes a story interesting. Ordinary characters can contrast with extraordinary events. The setup of your story will contrast with the conflict. You don’t always need conflict to create this contrast. In Kishōtenketsu arcs there is no conflict, but a jarring and dramatic twist is what creates contrast. Your character’s personality can create contrast. They may start the story as a coward and end as a hero. 

Wrapping Up  

Ok, there are about twenty-five hundred words on plot. We’ve discussed what plot is, the different types of plot, what makes a story different from a plot, and plot elements. I’d love to continue, but I, literally, have nothing left to say. So, if you have any questions about plot, please drop them in the comments. I’ll answer them. Promise.

If you want to read more about plot, here is an outstanding book, Story Genius , that taught me plenty! 

Continued reading on plot 

“ In  Story Genius  Cron takes you, step-by-step, through the creation of a novel from the first glimmer of an idea, to a complete multilayered blueprint —including fully realized scenes—that evolves into a first draft with the authority, richness, and command of a riveting sixth or seventh draft.”

Resources :

Author’s Guide to Storytelling- Reedsy Blog

Five Elements of Plot- The Write Practice

1,462 Basic Plot Types- Daily Writing Tips

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Plot and Structure: How to Use Structure and Subplot to Add Suspense

by Joslyn Chase | 22 comments

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You can't write a great story if you don't master plot and structure. But what is the best structure for a novel? How do you plot a novel?

Working on structuring a nonfiction book? Check out our nonfiction book structure guide here .

Figuring out your plot structure is essential for your story's success. Even if you have an exciting idea for a story, great characters, and a memorable setting, you still need to put your protagonist through events that have high and escalating stakes, and structure them for maximum effect.

If you want to write a great story, you need to include  the elements of suspense . You can do this by using writing techniques and devices like:

• engaging your reader on a deep level,
• making your reader care about your characters,
• sequence of events
• cliffhangers
• planting clues
• foreshadowing

But without a sound plot and structure, you risk failing to thrill your readers. Today, we’ll look at dramatic structure and learn how you can build an effective plan for your entire plot. By planning for success, you can create a story packed with suspense, with all the right twists in all the right places.

Definition of Plot and Structure

What is story plot? What is the best structure for a novel?

Plot is the series of events that make up your story, including the order in which they occur and how they relate to each other. Structure (also known as narrative structure), is the overall design or layout of your story.

While plot is specific to your story and the particular events that make up that story, dramatic structure is more universal and deals with the mechanics of the story—how the chapters or scenes are broken up, how conflict is introduced and amplified, where the climax is placed, how the resolution plays out, and so on.

You can think of plot and structure like the DNA of your story. Every story takes on a plot, and every piece of writing has a structure. While plot is unique to your story, an understanding of effective structures and devices can help you develop better stories and hone your craft.

Searching for Structure

From the beginning of my writer’s journey, I knew story structure had to be a vital part of creating successful stories. But I wasn’t sure how to best construct a story, which of the many models would produce the best results for me.

I started writing short stories using a nine-point, three act structure consisting of hook, backstory, and trigger in act one. Crisis, struggle, and epiphany in act two. And plan, climax, and resolution in the final act.

This worked fine. At first. But as I expanded into longer writing forms like novellas and novels, I realized I needed something more. And something better-suited to the types of suspense fiction I like to write.

I explored several models of story structure, including the Algis Budrys seven-point story structure of simply putting a character in a setting with a problem and then employing try/fail cycles until the climax where he succeeds or ultimately fails before ending with a validation.

I found a lot to like in Syd Field's model for storytelling. I tried the Lester Dent Master Plot Formula for dramatic writing and found it works quite well for writing an exciting short story. But again, these models weren’t a perfect fit for me. My search continued.

Hitting Paydirt

Just as I began writing my first novel, I stumbled upon Shawn Coyne’s Story Grid and I knew at once that it would be a game-changer for me. I wrote Nocturne In Ashes and Steadman’s Blind using Shawn’s Five Commandments of story to structure each scene and the overall shape of the books.

Following this pattern, I learned an incredible amount about how to hit all the right points in a three-act structure and make sure each scene is vital and has a turning point. But my writing process is still evolving. Though I would never trade my experience with the Story Grid structure which really helped me get a handle on the micro view of storytelling, I was still looking for something ideally suited for writing mysteries and thrillers.

Let me tell you about what I’ve been using lately!

Six Elements of Plot That Strengthen Story Structure

When Joe Bunting published The Write Structure , I purchased it right away. However, it sat on my virtual reading shelf for a couple of months before I cracked it open and began reading.

Once I finally got started, I was delighted to find that The Write Structure resonated with me in so many ways and I knew I could use this pattern to write anything from a short story to a full-length novel and make it shine.

The book is filled with great tips, techniques, and advice for writers, backed up by examples and Joe’s own experience as a best-selling author. He takes you step-by-step through the six elements of a plot that will guide you in writing a stellar story and shows you how to develop each element effectively.

These are the six plot elements, as set forth in The Write Structure:

The Exposition is where you introduce your hero and establish the story setting, your hero’s world. By focusing on the core value at stake from the very beginning, you confirm genre for your readers and introduce dramatic tension by setting up conflict and forcing your character to act on a choice.

In most types of suspense fiction, the story will turn on a core value of Life vs. Death or perhaps a Fate Worse than Death. Often, the internal value at stake is Good vs. Evil. Crime stories, on some level, usually deal with issues of justice and good guys vanquishing bad guys while lives are in danger.

During this exposition phase, use specific details and descriptive elements to sink your reader deep into the story and make them care about your hero and worry over what will happen next.

Inciting Incident

Once your reader is grounded in the story world and emotionally invested in your character, something needs to happen to interrupt the established pattern and rock your character’s world in some way. An  Inciting Incident begins the story arc that will eventually culminate in the climactic scene and ending resolution of your story.

The inciting incident should be inspired by, and reinforce, the core value at stake in the story. In a crime story, this event—whether coincidental or triggered by a story character—works best when it reflects a conflict between life and death or something worse.

The way you pace your story and deliver information to your reader is paramount to your story’s success, right from the very beginning.

Rising Action

Rising Action  is where you raise the stakes and ratchet up the tension in a buildup toward the dilemma. These are the try/fail cycles, the struggle to understand the antagonistic force and find a way to defeat it through trial and error.

When thriller writer, Lee Child, was asked to divulge his recipe for creating suspense, he said it’s not so much about the ingredients as it is about making your family hungry, making them wait. This is where you spin out uncertainty and worry, making your reader hungry for the payoff.

I've written several articles about how to increase tension in a story's plot by focusing on the  elements of suspense. The writing techniques I've taught in these articles, such as how to create cliffhangers, write an action scene, and plant clues and red herrings, will help you develop rising action in your story. Learn more about how to use these powerful techniques in your stories by reading each article (linked in the previous sentence).

All of these writing skills will help you keep the story pace moving along through the middle, where many writers flounder.

Now we get to the crux of the story, where the rubber meets the road. The Dilemma boils down to a choice your protagonist must make—a difficult and crucial choice.

There are two types of choices that create the most conflict and drama. The first is often called the Best Bad Choice, where there is no happy alternative and your character is forced to choose from a menu of unsavory options.

For instance: Does Katniss cut down a tracker jacker nest and kill some of the tributes, or does she wait for the tributes to kill her?

The other variety of tough choices involves having to decide between conflicting goods, otherwise called an Irreconcilable Goods Decision. In this scenario, someone benefits while someone else is harmed. There is no win/win.

For example: Does Kramer hire someone to take care of his son in order to work a prestigious job, or does he step down from his career to be a reliable parent?

The dilemma is the heart of your story. It’s where your hero demonstrates his true character development. If you’ve created a sympathetic protagonist readers care about, they will be desperate to learn how he chooses and what happens as a result of that choice.

Your hero faces a difficult choice in the dilemma, but the Climax is where she acts on that choice and reaps the consequences of that action. This is the payoff you’ve been building toward since the beginning. This is the summit readers want to reach when they open a book.

This is also where your hero gains or ultimately loses what she seeks. In suspense fiction, that sought-after objective is usually solving a crime and bringing the perpetrator to justice. Or it might be revenge, rescue, or the acquisition of wealth or power.

Whatever it is, it centers on the conflict between the core values at stake—life or death. The events in your story have transformed and prepared your protagonist for this final confrontation.

Now it’s showtime.

Knowing your story's climax also helps to hone your skills of foreshadowing . You’ll be able to properly place your setups and readers won’t feel cheated.

It’s also a good idea to make sure you’ve honored reader expectations and delivered a story suited to what suspense fans crave.

Writers are sometimes tempted to skip writing the Denouement of the plot, or give it short shrift.

Don’t. If you want readers to look back fondly on your story and pick up your next book, give them the closure they desire.

Readers need a moment to savor the climax and feel the release of tension. If you’ve done a good job creating compelling characters, readers won’t want to say goodbye right away. Let them spend a little more time together.

This is where you validate your protagonist’s arc and reflect on how she’s changed. Even if the world around her is back to normal, she’s not the same person who started the story.

This is also where you wrap up any loose ends and it’s the perfect place to bring secondary plotlines to a close. Read below to learn more about subplots.

A Sound Structure for Suspense

The Write Structure addresses the complexities involved in putting together a story that works on multiple levels to engage an audience, and it does so in a user-friendly way. Instead of overwhelming, it simplifies the process so that you can actually create a plan for your own full-length book in just eighteen sentences.

In  The Write Structure, you’ll learn the nitty gritty details about how to craft these six elements in your story to develop your idea into a full-blown, living, breathing creation that readers will love. The process gives you the tools to create the right structure for your book while still leaving plenty of room for flexibility and creativity.

Perhaps my favorite aspect of the process is how it can be geared toward a particular genre—in our case, that means mysteries, thrillers, and adventure stories. In my opinion, that makes The Write Structure an excellent model for writing suspense fiction.

Plot AND Structure: Don't Forget Subplots

If you use the six elements of plot, you'll develop a sound structure for your suspense story—or any story. However, these vital scenes in the structure won't uphold a story that can stretch the length of the novel. In order to develop the plot, you need secondary storylines, or subplots, too.

How do you use subplots?

What Are Subplots?

A plot is a series of linked moments, a chain of events with one leading into the next. In a short story , you’re better off sticking with a single plotline in most cases. Anything longer than a short story, however, is enriched by weaving in one or more secondary plotlines, or subplots.

You can see this clearly in just about any television episode. There’s an A plot and a B plot. The A plot is the main story. The B plot forms a supporting storyline that plays off the A plot and may highlight theme or act as a foil or contrast to the A plot.

Sometimes the plotlines tie together at the end. Other times, they simply run parallel and the secondary plotline has its own conclusion, usually in one of the last scenes in the book.

Here's an example of how a subplot may operate to support the main plot.

Mr. Monk Goes to The Circus

In the television show, Monk, there’s an episode where Monk solves the murder of a circus ringmaster. That’s the A plot.

The B plot is introduced when Monk and his nurse, Sharona, go to the circus to investigate.

Here’s a clip from the episode:

The B plot comes into play when Sharona encounters the elephant and freaks out. We learn she’s terrified of elephants due to a traumatic scene she once witnessed at a zoo.

• Monk is oblivious to her distress—his only concern is that she isn’t responding to his needs. Sharona gets upset because she has to deal constantly with his phobias and idiosyncrasies, yet he has zero compassion for her over her fear of elephants. He enrages her by telling her to “suck it up.”
• Sharona starts a campaign to teach Monk a lesson. This campaign manifests at various points throughout the A plot when she refuses to hand him a wipe, drinks from his water bottle, coughs in his face, and messes up his orderly magazines. When he protests, she tells him to “suck it up.”
• Monk sends her flowers. He calls her to talk about the issue and when she finally opens up and begins sharing her feelings, Monk gets distracted and hangs up on her to follow a lead from the A plot.
• Monk discusses the problem with his therapist, Dr. Kroger. Of course, Kroger understands why Sharona’s angry, but he refuses to explain it to Monk, insisting that Monk will have to figure it out for himself—the answer is inside him.
• Monk and Sharona continue arguing. Just as she’s telling Monk he’ll never get it, Monk tells Sharona’s son to put his bicycle away, saying, “Let’s give your mother a break.” She points out that he was showing empathy at that point. It’s a start.
• Monk arranges for Sharona to confront her fear by meeting with the elephant and his master, unaware that the killer plans to use the elephant as a murder weapon to eliminate a witness. Sharona watches as this event in the A plot plays out and the elephant crushes his master’s skull, killing him.
• This makes things worse and now Monk feels really bad. He pampers Sharona, tucking a blanket around her and trying to make her cocoa, but she ends up doing all the work, as usual.
• In the story’s climax— the A plot —the culprit tries to escape and is stopped by the elephant. Sharona comes face to face with the creature and Monk soothes and empathizes with her. Then over-empathizes and won’t shut up with the empathizing. Sharona remarks that she’s created a monster.
• Sharona feeds carrots to the elephant and tells Monk she’s over it—maybe there’s hope for him. But Monk is still Monk and we know he’ll be back next week, still victim to a thousand debilitating foibles, to solve another baffling crime. (This is the Denouement.)

Do you see how the secondary plotline plays off the main plotline, intersecting it in some spots, adding dimension to the story’s climax, and providing the perfect ending? This is what subplots do.

Including subplots will elevate the tension and create depth to your main plotline.

Do You Really Need Subplots?

You don’t need to include a secondary plotline in your novel. But if you don’t, you’re passing up a great vehicle for adding depth, interest, emotion, tension, and excitement to your story. That said, it’s essential that readers understand who the book is about.

There should be one main character—your hero—whose story carries the most weight and whose arc comprises the main plotline. Readers should not be confused about who this is, so take care not to overwhelm that main arc when developing your secondary plots.

A secondary plotline can center on just about anything, including a character, setting, theme, motif, or problem. It can enter the story at any point and leave at any point—no need for it to run through the entire story unless that’s what serves the story best.

Every subplot, however, should be tied up by story’s end. The only reason you might consider leaving a secondary plotline open at the end of the story is so that it can function as a lead-in to the sequel.

For example, in my thriller novel, Nocturne In Ashes, the main story arc about stopping a serial killer is wrapped up in the end. But one of my subplots involved a police detective’s efforts to gain entry into an elite private security organization. That story line left a dangling thread to be picked up in the sequel.

One more thing—secondary plotlines must relate somehow to the main plotline and not exist just to take up space or add complexity. They must have a valid story reason to be there.

Joe Bunting’s book, The Write Structure, also addresses how to handle subplots in structuring your story.

A Plan for Your Book Sets You Up for Success

Ultimately, the best way to structure your book is to find a process that works for you and the types of fiction you want to write. That may entail exploring and adapting, learning and growing as you move through your own writer’s journey and learn the craft of writing.

You may not want to use the same plan for every story. I still structure my short fiction differently than my full-length books and I decide project by project how I’m going to do it.

I do think it’s important to make some kind of plan before you begin writing. When all is said and done, if you produce a story with all the right elements to attract and hold readers all the way to the end, you have a well-structured story.

You can get there by making a plan to guide you—like signposts along your journey. Or you can stumble around through rewrite after rewrite until you finally arrive. Either way, structure is what you need to make it work.

Why not embrace plot and structure and make it your traveling companion on the road to success?

Want to learn more about plot? Check out The Write Structure which helps writers make their plot better and write books readers love. It's only $5.99 for a limited time.  Check out The Write Structure here.

How about you? Do you use the six elements of plot and subplots in your stories? Tell us about it in the comments .

Using your current writing project, formulate a possible secondary plotline for your story. Write a paragraph to describe how the plotline begins in relation to the main plotline, and another paragraph to explain how it ends. Write one more paragraph to outline some points along the way.

If you don’t have a work in progress, practice by watching an episode of your favorite television series and outlining the B plot, like I did with Monk.

Write for fifteen minutes . When you’re finished, if you’d like to share your work, post it in the comments. And please provide feedback for your fellow writers as well!

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Joslyn Chase

Any day where she can send readers to the edge of their seats, prickling with suspense and chewing their fingernails to the nub, is a good day for Joslyn. Pick up her latest thriller, Steadman's Blind , an explosive read that will keep you turning pages to the end. No Rest: 14 Tales of Chilling Suspense , Joslyn's latest collection of short suspense, is available for free at joslynchase.com .

22 Comments

I plot using Scapple, a Scrivner product – 10 bucks. It allows me to make mind maps of my developing stories. After I decide to go forward I make a paragraph for each mind map spot. Usually I don’t end up actually keeping to the plan as the story takes off at some point and has a mind of its own, but the plotting before prevents mind boggling sequence of events problems in the editing phase.

While I do agree Scapple is ok – there is freeware and open source software for the casual or pro writer. I’ve always done brainstorming and mind maps physically. I’d rather spend money on an actual blackboard or even smartscreen, than purchase software that limits the visible map field to the size of your screen. Most advice giving writers are in it for the money, and when a fellow as me that is financially secure looks for advice, all I see are price tags on creativity. I’d rather smith them myself through trial and failure, as anyone who is passionate about the craft, should.

My WIP uses the narrative arc plot structure. The exposition is where the narrator (Alex) meets her new neighbor (Alicia) and the two discover a dead body. Rising action is the process of solving the mystery. Climax is when they identify the killer and confront her. The very brief falling action is the loose ends being tied up. And the resolution is when their friendship is cemented at the end of the adventure.

The two doors also works. The disturbance is when they discover the corpse and the first point of no return is when Alex decides to help Alicia investigate the murder. The second is a moment when they’re in the woods at midnight, making their way to an abandoned theater to look for clues, and they have to leave the path. Alex is apprehensive but decides to follow Alicia. The literal act of stepping off the path metaphorically represents the moment when Alex decides to leave her old self behind.

Taking a moment to actually think about the physical plot structure can help when you’re trying to sequence events. It’s something I’ll try to be more aware of when I’m planning.

I have a character, a girl who was kidnapped after birth from a king. She was kidnapped by a servant of the king 13 years ago from when my story is set. My story is set in a sort of modern dystopia in a fiction location but the main character is a detective who finds her only in convenience of her misbehaving on the streets. She doesn’t know she is the daughter of a king and the servant who is kept in hiding doesn’t tell her.

However there are multiple POV”s and I don’t know how to develop a simple plot where she finally finds out where she is from. Does anyone have any suggestions???

Hey, I don’t know if you realize this, but you posted this as a reply to my comment instead of making your own comment on the post. You might want to do that so more people see it.

And to give some advice, I would say reexamine which POV’s you’re using in your story. If you’re trying to tell a narrative about this girl’s birth, the narrators should be people who are somehow related to her life or the kidnapping. You may have to sacrifice some of your narrators if they’re getting in the way of telling the story. Kill your darlings, as they say!

Personally, I like to let the story offer hints on how to tell it. I’ve done multiple pov tales where the story’s scenes come alive with great dialog and interaction. I’ve been told by a smart person, he said get out of the way and let the story flow. It’s sometimes hard to get out of the way, wanting to control the story that wants to be written. If the story is inspiring, exciting and you can’t wait to share it… get out of the way and let it out. I’ve been told by so many all these restrictions… don’t do this, you can’t do that, you should do this or that isn’t how it’s done.

Have you read the great literature from the masters? Even Tolkien was long winded with descriptions and details. It would have been impossible to make such grand movies without all of it. But it isn’t the sort of writing you’ll find today by the modern masters. King,Rowling, Brown, and many more are of a different type, their writing is more urgent and filled with emotions and actions.

So find the voice inside, the one that’s uniquely your own and tell the story within raging to be born… set your mind free and let your story take wing.

Well I won’t be sharing my practice today, which was option one, because I plan on doing this idea for NaNoWriMo and don’t want to spoil it. 😉 but I will share how I began developing my plot for another WIP First I started with a first draft. I wrote the whole thing without a care about character development, grammar or other things you worry about in the editing process. That draft SUCKED. I can tell you as much. For a while I let it simmer not looking at it and content with the fact that I had completed a book even if it was only a first draft. After about a month or so i picked it up again. I laughed and laughed like there was no tomorrow. there were errors all over the place and It was simply hilarious to me at the time. I set it down again for about a year but that dint’ stop me from thinking about it. Unknowingly i went through the processes mentioned in the blog post. That first draft has nothing to do with the novel I have now, besides the fact the some of the characters are the same. Well there’s my experience with this post. Thanks for sharing it with us Matt Herron!

Number 3, I choose you!

My character, Jade, has to make a decision between life and death. Not for herself. The main villain is a fallen angel called Dark, and has a kind of traumatizing back story. Jade feels pity toward him, but he’s the main villain, and doing destruction and causing mayhem.

At one point, Dark goes out of control, and starts planning to kill everyone Jade loves. Jade get made, like anyone else would, and get confused on what to do. So she decides to talk to him, and see if he’s willing to stop. (Jade prefers the kind approach, or is at least trying it.) The conversation goes terribly wrong, including it getting interrupted several times, due to another group of bad guys destroying thing.

Jade then actually has to make a choice between killing Dark or letting him live. For an entire chapter (In its rough draft state), she just thinks about her options, and then talks to her friends about it. Of course they say kill him, but what’s right isn’t always popular, and what’s popular isn’t always right.

Jade thinks that killing Dark would be wrong, but Dark isn’t the most stable or good thing in the universe. At all. And there’s really no way to fix him, or help him heal. Jade would end up looking for information of Dark, to get a better feeling toward what he’s feeling, but finds that his record aren’t clean. He’s as bad as it gets.

But Jade actually wants him to live, even to understand him. Understand the pain, and the sorrow. She looks up his back story, finding it’s full of terrible stuff. She feels pity toward him, and wants to help him. One problem; she doesn’t know how.

Yeah, I know. I probably wrote this terribly. But, we all did at one point.

If you ever wrote this story I’d like to read it. It sounds interesting. What’s the title?

You know, they tell you a script is linear. You go with that cause you’re green. And these people appear to be experts. There’s all kinds of them. Turns out a script is not linear at all. It resembles the graph representing Google stock. Not only that, but you can put your own graph line in there and loop it back to the second scene. And you can explode a line on the rebound. So, to all you experts, you are hindering creativity. There’s no absolute way to write.

Yep. Because reality usually doesn’t follow a simple line. I think this is helpful to some degree though.

It’s more like a big ball of wibbly wobbly scripts wiptsy, really….

And a bit of wibbly wobbly, timey wimey stuff

I agree, but there still needs to be structure. I learned that the hard way.

I think the three act structure can be fatal especially if you don’t understand it (like how I didn’t!) There can be multiple turning points in a story, and it might look like a cubic graph–or sin or cos–or maybe the stock exchange. The three act structure is just a very rough template for the main climax, but there can–and should be–many.

This is the simplest explanation I ever read about plot structure. It gave me a better understanding of the subject matter. Well done!

Hears some advice for you kids: the bad writers borrow, the great writers steal!

Here’s my advice, kids: the bad writers borrow, the great writers steal!

What is the series of related events that gives the story its structure? Plot, exposition, or setting?

Characters, Theme, Plot, and Genre are the elements of structure.

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How to Write a Plot Essay

The plot of a play, novel or other work of literature is the basic structure of the story. It encompasses the chain of events and character actions that lead to the conclusion or plot resolution. When writing an essay on the plot of a story, there are several different angles you can take, so long as the overall focus is on the structure.

Write a basic plot outline of the story for your essay. Include every action the characters take that affects the plot and every point of conflict. Conflict can be between characters, within characters (self-conflict), or with nature or the world in general.

Decide what you want your essay to focus on within this plot. A plot essay can be a study of one character's actions and how he caused the outcome of the story, or a study of how the characters overcame all of the obstacles that stood in their way. You could study the plot from the angle of the protagonist, who has a goal and strives throughout the story to achieve it, or from the angle of the antagonist, who's goal is to stop the protagonist and how he does so.

Write an outline for your plot essay. Include an introduction and conclusion, as well as three to five points of study. For each point, include not only a description of what happened in the plot, but tailor it to the focus you chose in Step 2. Was this a character vs. character or character vs. self conflict? How did it affect the outcome, or the antagonist? Study each point from all angles to tie your points together cohesively.

Write an introduction to your essay. Open with an attention-grabbing sentence, such as a powerful quote from the story, then follow with an explanation of the focus of your essay. Inform the reader in exactly which way you are criticizing or analyzing the plot.

Write a paragraph for each point in your outline, expanding on the ideas you wrote in Step 3. Allow yourself to make new connections and ramble a little bit, as you will go back later to revise and edit your essay.

Write the conclusion for your plot essay, summarizing the connections you made and explaining the conclusions you came to based on your study.

Read your essay all the way through, making notes in places you think need improvement. Ask yourself if the essay stayed clearly focused on the angle you chose throughout, and if each sentence is in some way related to the plot of the story you are studying. Revise and edit as necessary.

Things You'll Need

• OWL: Purdue Online Writing Lab - Essay Writing

Kara Page has been a freelance writer and editor since 2007. She maintains several blogs on travel, music, food and more. She is also a contributing writer for Suite101 and has articles published on eHow and Answerbag. Page holds a Bachelor of Music Education degree from the University of North Texas.

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3 Chapter 3: Analyzing Plot Structure

Chapter 3: Analyzing Plot Structure

Plot is the basic skeleton of a work of fiction. It is the events recounted in a narrative and their artful manner of arrangement – their manner of sequencing. Plots can be linear , that is they proceed chronologically from the earliest events narrated to the latest; they can be circular , starting with an event, circling back in time to see how things have gotten to this juncture, and then ending with that same initial narrative event; they can begin in media res , that is, in the thick of the action, with the narrative then moving back in time to show how things got to this juncture and forward in time to take the narrative to its conclusion . . . What’s most important is not being able to slap one of these labels on a plot structure, but to be able to take critical account of how in shaping the narrative in this manner, the plot emphasizes or brings to the surface certain key ideas that the narrative as a whole is dealing with. Because this is what we are doing when we analyze plot: we break down what ideas are “put in play” by the deployment of narrative events. This is very different from simply summarizing (i.e. recapping the main events) of the plot. Summarizing is what one does in middle school when the teacher is trying to make sure the students have a basic level of reading comprehension; analysis entails a higher-order critical consideration of how ideas are implicitly being developed through the unfolding of narrative events. A brief example by way of a very well-known work of fiction will help to further cement this distinction between summary and analysis of plot. A summary of Aesop’s fable “The Tortoise and the Hare” would be: a turtle and a rabbit get in a race and the turtle wins because he tries hard consistently, whereas the rabbit takes a bunch of breaks and doesn’t steadily apply himself to the race. An analysis of how the plot of this story develops theme would be: the fable uses the narrative device of a race to compare the qualities of inherent talent vs. hard work, showing hard work to be the superior virtue because at the climax of the narrative the turtle, our narrative embodiment of hard work, wins the race. The theme (the subject of chapter 7) we derive from this analysis would be hard work and perseverance are better than inherent talent—or you might have learned the proverbial version of this in elementary school: “slow and steady wins the race.”

Another way of thinking about the difference between a summary and an analysis of plot is that a summary recounts what literally happened while an analysis moves from the literal, concrete, and particular to the abstract – it “translates” from narrative events to the ideas they express, from a race to reading the race as a vehicle for comparing two different forms of talent or virtue in the above example.

In order for there to be a plot, for there to be a story at all, there has to be some form of conflict driving the narrative. Narrative conflict is some sort of problem, clash, or issue in the world of the narrative impelling the overall narrative arc that comprises the story. It can be a character struggling with another character, a character struggling with their natural or social environment (such as to survive in a blizzard or to adapt to life in the cold-hearted big city), or a character struggling internally (such as making a decision whether to live for themself vs. sacrifice their needs and ambitions for the good of their hometown community). A conflict can be epic and grandiose, like the dynastic struggle at the heart of George R.R. Martin’s A Song of Ice and Fire ( Game of Thrones ) books or the Trojan War recounted in Homer’s The Iliad , or it can be relatively intimate and small-scale, like the story of a bus driver deciding whether to call in sick to work or not on a snowy day. Narrative conflict does not have to involve actual arguing or fighting between characters and in a longer work there may appear certain sub-conflicts that exist underneath the “umbrella” of the main narrative conflict—for instance, in Game of Thrones there are lots of smaller-scale struggles within and between individuals, armies, and families that comprise parts of the overarching conflict between different houses to rule over the kingdom. And again, conflict is that thing that drives the events of the story; with no conflict (“everything was fine and dandy and nothing transpired”), there is no story. When at a loss for how to begin analyzing a story, ask yourself what the central narrative conflict is and what ideas or issues the story puts out there in presenting this narrative conflict.

Conflict of course leads eventually to resolution – the problem or issue is worked out in some way shape or form. This does not have to be an unambiguous or “happy ending,” as in Hollywood movies. In a narrative of a poor village standing up to an abusive evil king, the conflict could be resolved by the king burning down the village and killing all of the villagers or by a plague sweeping through and killing everyone (everyone is dead, no more conflict). The moment in the narrative where something decisive happens that determines how the conflict will be resolved is the climax of the narrative. The climax does not have to be the most suspenseful or dramatic moments in the narrative—if there is a huge battle in our preceding hypothetical example between the villagers and the forces of the evil king, but the king manages to escape and then quietly poison the villagers in their sleep, the poisoning, not the battle, is the climax of the narrative, because it is the act that determines whether the king will stay in power or be deposed.

The aftermath of the climax, the sorting out or repercussions that occur in its wake as the resolution of the conflict plays out fully, is what we call the d énouement of the narrative. Dénouement means “unknotting” in French—the metaphor here is that a plot is like a complex system of knots and tangles, but something (the climax) occurs that allows for them to be untangled and sorted out in the denouement. Climax and denouement are very important to consider when analyzing plot because they always contain ideas about how individuals and societies (or the natural world or whatever realm or order of being the narrative is dealing with) work. In our example of the evil poisoning king above, the theme conveyed by the climax and denouement would be that what is most important in maintaining or struggling for power is not to be morally virtuous or the best in combat, but to be willing to do whatever it takes to maintain power (the king loses the battle but stays in power by underhandedly murdering his enemies – this is quite a Machiavellian theme and you probably aren’t particularly liking it right now). To give another example, in Kate Chopin’s story “The Storm,” two former flames randomly encounter each other during a thunderstorm and end up having an extramarital sexual encounter. The denouement of the narrative stresses that all of the aftereffects of this encounter are wholly positive –each character is happy and distressed and, as a result, the impact on their families is wholly positive. Thus Chopin’s story is saying that sex, even outside of the institution of marriage, can be a vehicle of liberation and release—it isn’t the bugbear of sin and guilt the conventional morality of Chopin’s late 19th-century world took it to be, especially in regards to women.

Another way to think of the structure of conflict and resolution that drives plots is thinking of narratives in terms of a movement from equilibrium to disequilibrium to equilibrium. There is some status quo, some order of the world, when the narrative begins, and it is thrown out of whack in some way, shape, or form (again, large or small). This state of disequilibrium then gets worked out in some fashion and we return to a state of equilibrium—possibly where we began, but more likely with some change to it, as in the case of the evil king who now has one less village worth of people to rule over. Again, the final equilibrium should not necessarily be equated with a happy ending (those are quite rare in literary fiction for various reasons)—a plague sweeping through, killing all of the characters, creates a new equilibrium, since everyone is dead and all the problems that previously existed in the narrative have been wiped off the table.

Plot is of course intimately bound up with the other formal elements or structures of fiction, particularly setting and character—a story has to take place somewhere and you need characters for most sorts of plot events to happen. The character who is the main center of narrative focus is referred to as the protagonist . Usually this is a single character, though in some instances we might have a collective protagonist, as in the story of a sports team that gives equal emphasis to the experiences of the different teammates. We might also, rarely, encounter a dual protagonist—two characters who lie equally at the heart of the narrative, as in the case of the two brothers whose story and relationship comprises the focus of James Baldwin’s story “Sonny’s Blues.” A protagonist is not necessarily a hero—saying a character is heroic is making a moral distinction, whereas saying they are the protagonist just means the narrative focuses primarily on them. In a novelization of Adolf Hitler’s life or the story of a serial killer, Hitler or the killer is the protagonist, regardless of what moral light the narrative casts on their actions. Most stories also have an antagonist —the narrative figure who causes problems for the protagonist. The antagonist can be another character, though it could also be some aspect of society like a particular social institution (the DMV or the financial industry) or element of the natural world (the ocean is the antagonist of Stephen Crane’s story “the Open Boat”). Again, note that an antagonist is not the same thing as a villain—if our story of the poor village vs. the evil king focuses primarily on the king, making him the narrative’s protagonist, then the village is the antagonist, regardless of how righteous we might take its cause to be.

Analyzing for plot requires us to not passively receive the narrative as recounted, to not get “lost in the story,” but to take a detached, critical approach to how it has been structured, to constantly ask what ideas are being explored through the events that make up the narrative and the ways that they have been arranged. This is obviously a different mode of engagement with narrative from our first experiences with stories in our early days of education and from the largely escapist way that mainstream society engages with narratives. But developing this capacity will make you a more reflective, critically aware consumer of narratives and a deeper thinker in general. To that end, as you read the story assigned in conjunction with this chapter, ask yourself constantly what ideas are being presented through the picture this story paints of its subject matter through its manner of constructing plot.

Suggested Short Story Readings to Accompany this Chapter

                Since all stories feature plot centrally, almost any work could be chosen to put an analysis of plot into practice. My personal preference is for fairly short works with singular, straightforward plot lines. I use Sandra Cisneros’s “Barbie-Q,” but there are many other works that fit the proverbial bill. I could even imagine a work where plot is conspicuous due to its minimalism, like in the work of Samuel Beckett, being pedagogically useful here.

An Introduction to the Analysis of Fiction Copyright © 2023 by Michael K. Walonen is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Plot Diagram and Narrative Arc

What is a Plot Diagram?

A useful plot diagram definition is a concise and visual representation of a story's structure, breaking it down into its essential components, which helps readers and writers analyze and understand narratives more effectively. Simply stated, it is a way of tracking the important events in a story. A plot diagram exposition typically introduces the main characters, establishes the setting, and provides the initial context of the story, laying the foundation for the narrative's development.

Formally, it is a linear graphic representation of the narrative arc of a story that demonstrates the important elements occurring from beginning to end. A detailed plot chart diagram can be a valuable tool for both readers and writers, as it visually maps out the key elements of a narrative, aiding in analysis and storytelling. To put it simply, this visual triangle (as shown in the above image) is an easy way for students to remember the way a story's events unfold. The plot line diagram is broken down into three segments: three segments: beginning, middle, and end that include six main parts or "The Six Parts of a Story": Exposition, Conflict, Rising Action, Climax, Falling Action and Resolution.

Narrative arc diagrams, story arcs, or Plot Diagrams are essential tools for students to improve reading comprehension, build literary connections, and increase their appreciation of literature! Plot line diagrams are called by many names. They may also be referred to as story charts, story arcs, story plot line, plot graphs or charts, story mountains, or plot mountain diagrams . Whatever you call it, it's useful to arrange the plot elements in order because it allows students to pick out major themes in the text, to trace character development with character arcs over the course of the narrative, and for students to hone their analytical skills. They challenge students to create the story arc in order of events, and to pick out and include only the most important key elements to create a concise, organized summary, which is a skill they will use throughout their life!

Lessons emphasizing these skills meet many Common Core Standards for English Language Arts ( CCSS.ELA-Literacy ) and are referenced in all grade levels. Students are sure to use the skills they learn throughout elementary, middle and high school. However, these concepts can also be used outside of the classroom! They not only give students a fuller understanding of classroom texts, but their favorite books and movies as well.

Plot Structure Example

The plot diagram picture example below is a completed story map from the award-winning novel The Lightning Thief by Rick Riordan. This storyboard exemplifies the plot diagram format, and follows the basic structure of a story arc.

What are the Six Elements of a Plot Diagram?

The 6 elements of a plot diagram or traditional story arc are: exposition, rising action, climax, falling action, and resolution. Creating a story plot map can be an invaluable tool for writers, as it helps them visualize the trajectory of their narrative and ensure a well-structured and engaging story.

Elements of Plot Structure Diagrams Explained:

The exposition of the literary plot diagram is the introduction to a story. In many stories, this is where the author exposes the reader to the important elements of the "set up" or background of the story such as the major characters' names, setting , and mood . In a good story, the exposition generally includes introducing the reader to the main and supporting characters as well as where and when the story takes place. The exposition shows how this introduction "sets the stage" and gives the reader the story idea.

The plot diagram conflict is the primary problem that drives the story. The conflict may also be called the inciting incident and it is the principal goal for the protagonist or main character to achieve. In a common story structure, the conflict is usually revealed as a problem the main character must solve or an obstacle they need to overcome in order to reach their goal. Both the Exposition and the Conflict are considered part of the Beginning of the story.

Rising Action

The rising action of the story consists of all of the events that lead to the eventual climax of the story. The rising action includes the events in which the character attempts to solve the primary conflict of the story. Most complications unfold during a plot's rising action, adding depth and intrigue to the narrative as the story's central conflict develops. The events broaden the character's development and are notable in the way they create suspense, increased emotion and tension in the story. The rising action is the bulk of the middle of the story.

The rising action culminates in the climax or turning point in the story. The climax is often the most exciting point of the story or a series of exciting events. The climax in the chart is at the peak of the mountain. This is the moment or moments where there is a marked turning point for the story or the goals of the main character. This may include a major revelation, the overcoming of an obstacle or the character's main problem is resolved. The climax concludes the middle of the story. A climax chart can be used to graphically illustrate the pinnacle of tension and conflict in the story, serving as a visual aid for readers to pinpoint the narrative's most crucial turning point.

Falling Action

The falling action is the beginning of the end. It includes all of the events and everything that happens as a result of the climax, including wrapping-up of main points, questions being answered, and character development. The falling action are all of the events after the turning point that lead the reader to the end or resolution of the story. These events are usually more relaxed and notably decreasing in tension as the story makes its way towards its conclusion.

A common resolution to fairytales is "happily ever after," and this classic ending is often depicted on plot diagrams as the point where all conflicts are resolved, and the main characters' lives are filled with joy and contentment. The resolution is not always happy, but it does complete the story. It can leave a reader with questions, answers, frustration, or satisfaction. The resolution or ending of the story may answer important questions and tie up loose ends. However, the resolution can also end in a 'cliff-hanger' wherein some problems remain unsolved perhaps for the reader to ponder or to queue up a sequel.

Why Teach Plot Diagrams?

Teaching students about story structure encourages critical thinking and greater comprehension in reading. Understanding the narrative helps students engage in deep reading and utilize skillful analysis as they read. It encourages students to predict what will happen next and make connections between the story they are reading and other books they have read.

In addition, narrative arcs provide a useful framework for students to apply to their own creative writing . When students engage in creative writing a common challenge is in organizing their ideas and honing in on the important elements that they need to convey.

Making storyboards that illustrate a plot diagram chart can bring students' understanding to life as they identify the key ideas. Storyboarding is an engaging and fun way for students to interact with the texts they read in class. The details featured in a student's storyboard allow their teacher to immediately assess whether the student is comprehending the main events of the story, and the scope of the objectives. " Four Innovative Ways to Teach Parts of a Story " is another helpful article on teaching narrative arcs in elementary school using the popular teaching tools: "Somebody Wanted But So Then" and the "STORY" acronym. By utilizing storyboards, teachers can easily assess students’ understanding of important story components. Combined illustrations and text can enliven difficult concepts like “rising action” and “climax”. These story arc templates help students to flesh out the most important parts of a story in a clear, visually appealing way.

Make a Plot Diagram with Storyboard That!

Students having difficulty making a story arc? Storyboard That Creator to the rescue! Teachers can quickly and easily use the Storyboard Creator in a variety of ways to introduce story plotting to their students.

Students can create short story arc diagram examples using a simple "BME" or "Beginning, Middle End" in a three-cell storyboard. They can also track longer novels or more complicated stories in a "Six Parts of a Story" six-cell storyboard. In addition to traditional storyboards, students can use our worksheet layout to create digital worksheets !

BME: Beginning, Middle and End Summaries

Students can use our classic comic strip layout to retell the elements of plot using a three-cell storyboard. This is best for younger grades, short stories, or for those looking for a quicker assessment. Check out the example stories below! These illustrate how a Beginning, Middle, End, sometimes known as a three act structure, is included in the novel studies for the popular books Sadako and the Thousand Paper Cranes , Pattan's Pumpkin and Charlotte's Web . Note that for Charlotte's Web students can create a BME summary in a chart layout that has two cells for each part giving them more choice in what scenes and important events to include.

Below is a blank BME template and a completed example of a BME summary for the exciting tale Tristan Strong Punches a Hole in the Sky by Kwame Mbalia.

Teachers can also take Storyboard That offline with these pre-made Beginning, Middle, End worksheets . Like all of our pre-designed worksheet templates, these can be easily customized by the teacher or the student to include images and ample space for writing.

"Six Parts of a Story" Plot Diagrams

For longer books and more complicated plots, a six-cell storyboard is necessary for the story diagram. The storyboard template can include titles above each cell for: exposition, conflict, rising action, climax, falling action and resolution. Below is an example from the classic high school novel, To Kill a Mockingbird by Harper Lee. As you can see, there is ample room for descriptions as well as compelling images that illustrate these primary story elements.

Plot Diagrams for any Book

How to get started? Copy the storyboard below to easily give students a blank template to map the narrative arc of a story for any book!

Blank Template

Or, copy our pre-made lesson plan in our General Novel Study Guide and adapt it to meet the needs of your students! The finished example using the tale Goldilocks is below. Since most students know the story of Goldilocks (or can easily re-read it), it is an effective plot chart example to use for many students!

More Examples of Related Activities

A plot diagram in literature can be completed with any novel and across grade levels from elementary through high school. Below are some of our most loved pre-made activities that you can quickly and easily copy into your teacher account: Because of Mr. Terupt by Rob Buyea, The Stars Beneath our Feet by David Barclay Moore, and The Book Thief by Markus Zusak. For more inspiration, see all of our novel studies in our vast Literature Library !

Working on plays with your students? We also have lots of information about Five Act Structure and three act structure to help you and your students understand more about the plot format of the dramatic arc!

How to Differentiate Lessons with Modified Templates

Within all classrooms there are varying degrees of abilities , challenges and needs. Some students may be able to complete a narrative arc template with little assistance while others need a more personalized approach. Students who struggle with reading comprehension may have difficulty picking out the different parts of a story. In our Storyboard That assignments, teachers have the ability to add as many templates as they wish!

Teachers can add templates that include leading information such as prompts, sentence starters and even finished cells to help students that need more scaffolding with the assignment. The best part about providing templates is that teachers can control just what information is provided and decide how much to guide students.

Providing visuals prior to asking the students to complete the assignment gives them “clues” to what they are looking for when completing the diagram. The visuals act as context clues for students to focus their energy on the appropriate information, as seen in the Holes examples below.

In the first template on the left, the teacher used our finished example but removed the text in the description boxes. In this way, the student may use the illustrations as a guide but the challenge is to complete the writing in the descriptions for each plot element.

In the second story template on the right, the teacher included the text in the description boxes but left the cells blank for the student to create the illustrations.

In the third example on the left, the teacher included one finished cell to help get students started. They can see what an illustration and description can look like and apply that knowledge to completing the rest of the diagram.

Finally in the last example, both text and images are included for those students that need maximum support. Teachers can have students use this as a starting point and add speech bubbles, quotes or other text evidence to enhance each plot element.

Digital or Printable Worksheets

Teachers and students can use our worksheet layout along with the pre-made graphic organizer found in the worksheets category in the Creator to create a template from scratch. Even better, teachers may choose from our pre-made narrative arc worksheets ! These worksheets can be customized and printed out for students to fill out by hand, or they can be completed in the Storyboard Creator like a digital worksheet. You can even create multiple versions for those students who might need a little extra help with their plot map, and keep them in your teacher dashboard for future use!

Check out our Digital Worksheet Plot Diagram Assignment for the popular book Wonder by R.J. Palacio, or our book creator where students can make their own books. A GIF of the finished example is below! Do your students love Wonder ? Check out our more in-depth lessons on this modern classic . These lessons are all standards-aligned and ready to assign to students in just a few clicks!

Relating to the Common Core

Analyzing a literary work with a plot structure diagram fulfills Common Core ELA standards for many age groups. Below are only two examples of ELA standards for different levels. Please see your Common Core State Standards for grade-appropriate strands.

• ELA-Literacy.RL.9-10.2 : Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text
• ELA-Literacy.RL.6.3 : Describe how a particular story’s or drama’s plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution

Example Rubrics for Story Diagram Lesson Plans

Rubrics are an essential tool to use with assessments for both teachers and students. For students, rubrics help outline what is expected in a positive, clear and concise way. Students do not have to guess how to meet the expectations of an assignment because it is clearly iterated and can be referenced as they work. For teachers, rubrics allow them to point to specific criteria when grading and providing feedback.

The challenge for most teachers is that rubrics are extremely time consuming to make. Fear not! The educators at Storyboard That have created them for you! Below are some example rubrics that you can use with any plot point lesson plan in elementary, middle and high school. They are all created with Rubric , our easy online rubric maker! These rubrics can be attached to any assignment by simply copying the url! You can also customize and edit these rubrics to meet your specific needs by going to Quick Rubric .

How to Teach Plot Diagrams in the Elementary Classroom

Define the parts of a plot diagram.

Begin by introducing the five key components of a plot diagram: exposition, rising action, climax, falling action, and resolution. Provide examples of each of these parts to help students understand their meanings.

Use Graphic Organizers

Use graphic organizers such as a story map or plot diagram to visually represent the different parts of a story. These organizers can help students see how the different parts of the story fit together.

Read Stories with Clear Plot Structures

Choose books or stories that have clear plot structures. This will help students see how the different parts of the plot diagram work together to create a cohesive story.

Provide Opportunities for Practice

Provide students with opportunities to practice creating their own plot diagrams. This could be done through independent work, small group work, or whole-class activities.

Connect to Real-Life Experiences

Help students see how the plot diagram can be applied to their own lives. For example, they could create a plot diagram for a personal experience or a current event.

Frequently Asked Questions about Plot Diagrams

What are the six parts of a plot diagram.

The plot, or narrative arc of a story, is composed of 6 main parts that make up the beginning, middle and end of the story. The six parts are: exposition, conflict, rising action, climax, falling action, and resolution. These can be mapped out in a storyboard or shown as a plot triangle or story mountain.

Why is it helpful to make plot diagrams?

Plot diagrams can increase students' reading comprehension as well as aid students in their creative writing. They help students learn to identify the most important parts in the plot as well as delve into higher level literary thinking about themes and devices that authors use to tell a story.

How can I make a plot diagram?

Storyboard That makes it so easy to create your own plot diagram! Students can use a storyboard template that has titles and descriptions for each of the 6 parts of the story. We also have many plot diagram worksheet templates to choose from that can be used online as a digital worksheet or printed out and used offline as well!

What is the narrative arc of a story?

The narrative arc of a story includes key stages: exposition (introduction), inciting incident (triggering event), rising action (developing conflict), climax (peak conflict), falling action (unraveling), and resolution (conclusion). These stages structure the story's progression, engage the audience, and provide a satisfying narrative experience.

What is a good narrative arc?

A good narrative arc is a storytelling structure that engages the audience and delivers a satisfying story. It typically consists of key elements: exposition (introduction), inciting incident (triggering event), rising action (developing conflict), climax (peak conflict), falling action (unraveling), and resolution (conclusion). It should engage the audience, develop characters, introduce conflict, explore meaningful themes, and ultimately provide a satisfying and meaningful conclusion, tying up loose ends and answering key questions. The quality of a narrative arc can vary depending on the genre, style, and intended audience, but these elements and qualities are often essential for a compelling narrative.

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• Literary Terms
• Definition & Examples
• When & How to Write a Plot

I. What is Plot?

In a narrative or creative writing, a plot is the sequence of events that make up a story, whether it’s told, written, filmed, or sung. The plot is the story, and more specifically, how the story develops, unfolds, and moves in time. Plots are typically made up of five main elements:

1. Exposition: At the beginning of the story, characters , setting, and the main conflict are typically introduced.

2. Rising Action: The main character is in crisis and events leading up to facing the conflict begin to unfold. The story becomes complicated.

3. Climax: At the peak of the story, a major event occurs in which the main character faces a major enemy, fear, challenge, or other source of conflict. The most action, drama, change, and excitement occurs here.

4. Falling Action: The story begins to slow down and work towards its end, tying up loose ends.

5. Resolution/ Denoument: Also known as the denouement, the resolution is like a concluding paragraph that resolves any remaining issues and ends the story.

Plots, also known as storylines, include the most significant events of the story and how the characters and their problems change over time.

II. Examples of Plot

Here are a few very short stories with sample plots:

Kaitlin wants to buy a puppy. She goes to the pound and begins looking through the cages for her future pet. At the end of the hallway, she sees a small, sweet brown dog with a white spot on its nose. At that instant, she knows she wants to adopt him. After he receives shots and a medical check, she and the dog, Berkley, go home together.

In this example, the exposition introduces us to Kaitlin and her conflict. She wants a puppy but does not have one. The rising action occurs as she enters the pound and begins looking. The climax is when she sees the dog of her dreams and decides to adopt him. The falling action consists of a quick medical check before the resolution, or ending, when Kaitlin and Berkley happily head home.

Scott wants to be on the football team, but he’s worried he won’t make the team. He spends weeks working out as hard as possible, preparing for try outs. At try outs, he amazes coaches with his skill as a quarterback. They ask him to be their starting quarterback that year and give him a jersey. Scott leaves the field, ecstatic!

The exposition introduces Scott and his conflict: he wants to be on the team but he doubts his ability to make it. The rising action consists of his training and tryout; the climax occurs when the coaches tell him he’s been chosen to be quarterback. The falling action is when Scott takes a jersey and the resolution is him leaving the try-outs as a new, happy quarterback.

Each of these stories has

• an exposition as characters and conflicts are introduced
• a rising action which brings the character to the climax as conflicts are developed and faced, and
• a falling action and resolution as the story concludes.

III. Types of Plot

There are many types of plots in the world! But, realistically, most of them fit some pattern that we can see in more than one story. Here are some classic plots that can be seen in numerous stories all over the world and throughout history.

a. Overcoming the Monster

The protagonist must defeat a monster or force in order to save some people—usually everybody! Most often, the protagonist is forced into this conflict, and comes out of it as a hero, or even a king. This is one version of the world’s most universal and compelling plot—the ‘monomyth’ described by the great thinker Joseph Campbell.

  Examples:

Beowulf, Harry Potter, and Star Wars.

b. Rags to Riches:

This story can begin with the protagonist being poor or rich, but at some point, the protagonist will have everything, lose everything, and then gain it all back by the end of the story, after experiencing great personal growth.

The Count of Monte Cristo, Cinderella, and Jane Eyre.

c. The Quest:

The protagonist embarks on a quest involving travel and dangerous adventures in order to find treasure or solve a huge problem. Usually, the protagonist is forced to begin the quest but makes friends that help face the many tests and obstacles along the way. This is also a version of Campbell’s monomyth.

The Iliad, The Lord of the Rings, and Eragon

d. Voyage and Return:

The protagonist goes on a journey to a strange or unknown place, facing danger and adventures along the way, returning home with experience and understanding. This is also a version of the monomyth.

Alice in Wonderland, The Chronicles of Narnia, and The Wizard of Oz

A happy and fun character finds a happy ending after triumphing over difficulties and adversities.

A Midsummer Night’s Dream, Fantastic Mr. Fox, Home Alone

f. Tragedy:

The protagonist experiences a conflict which leads to very bad ending, typically death.

Romeo and Juliet, The Picture of Dorian Gray, and Macbeth

g. Rebirth:

The protagonist is a villain who becomes a good person through the experience of the story’s conflict.

The Secret Garden, A Christmas Carol, The Grinch

As these seven examples show, many stories follow a common pattern. In fact, according to many thinkers, such as the great novelist Kurt Vonnegut, and Joseph Campbell, there are only a few basic patterns, which are mixed and combined to form all stories.

IV. The Importance of Using Plot

The plot is what makes a story a  story. It gives the story character development, suspense, energy, and emotional release (also known as ‘catharsis’). It allows an author to develop themes and most importantly, conflict that makes a story emotionally engaging; everybody knows how hard it is to stop watching a movie before the conflict is resolved.

V. Examples of Plot in Literature

Plots can be found in all kinds of fiction. Here are a few examples.

The Razor’s Edge by Somerset Maugham

In The Razor’s Edge, Larry Darrell returns from World War I disillusioned. His fiancée, friends, and family urge him to find work, but he does not want to. He embarks on a voyage through Europe and Asia seeking higher truth. Finally, in Asia, he finds a more meaningful way of life.

In this novel, the plot follows the protagonist Larry as he seeks meaningful experiences. The story begins with the exposition of a disillusioned young man who does not want to work. The rising action occurs as he travels seeking an education. The story climaxes when he becomes a man perfectly at peace in meditation.

The Road not Taken’ by Robert Frost

Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could … Then took the other, as just as fair, And having perhaps the better claim … And both that morning equally lay In leaves no step had trodden black. … I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I, I took the one less traveled by, And that has made all the difference.

Robert Frost’s famous poem “The Road Not Taken,” has a very clear plot: The exposition occurs when a man stands at the fork of two roads, his conflict being which road to take. The climax occurs when he chooses the unique path. The resolution announces that “that has made all the difference,” meaning the man has made a significant and meaningful decision.

VI. Examples of Plot in Pop Culture

Plots can also be found in television shows, movies, thoughtful storytelling advertisements, and song lyrics. Below are a few examples of plot in pop culture.

“Love Story” (excerpts) by Taylor Swift:

I’m standing there on a balcony in summer air. See the lights, see the party, the ball gowns. See you make your way through the crowd And say, “Hello, ” Little did I know… That you were Romeo, you were throwing pebbles, And my daddy said, “Stay away from Juliet” And I was crying on the staircase Begging you, “Please don’t go”   So I sneak out to the garden to see you. We keep quiet ’cause we’re dead if they knew So close your eyes… escape this town for a little while. . . . He knelts to the ground and pulled out a ring and said…   “Marry me, Juliet, you’ll never have to be alone. I love you, and that’s all I really know. I talked to your dad – go pick out a white dress It’s a love story, baby, just say, ‘Yes.'”

These excerpts reveal the plot of this song: the exposition occurs when we see two characters: a young woman and young man falling in love. The rising action occurs as the father forbids her from seeing the man and they continue see one another in secret. Finally, the climax occurs when the young man asks her to marry him and the two agree to make their love story come true.

Minions have a goal to serve the most despicable master. Their rising action is their search for the best leader, the conflict being that they cannot keep one. Movie trailers encourage viewers to see the movie by showing the conflict but not the climax or resolution.

VII. Related Terms

Many people use outlines which to create complex plots, or arguments in formal essays . In a story, an outline is a list of the scenes in the plot with brief descriptions. Like the skeleton is to the body, an outline is the framework upon which the rest of the story is built when it is written. In essays, outlines are used to help organize ideas into strong arguments and paragraphs that connect to each other in sensible ways.

The climax is considered the most important element of the plot. It contains the highest point of tension, drama, and change. The climax is when the conflict is finally faced and overcome. Without a climax, a plot does not exist.

For example, consider this simple plot:

The good army is about to face the evil army in a terrible battle. During this battle, the good army prevails and wins the war at last. After the war has ended, the two sides make piece and begin rebuilding the countryside which was ruined by the years-long war.

The climax occurred when the good army defeated the bad army. Without this climax, the story would simply be a never-ending war between a good army and bad army, with no happy or sad ending in sight. Here, the climax is absolutely necessary for a meaningful story with a clear ending.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

Narrative Essay Guide

Narrative Essay Outline

Last updated on: Feb 9, 2023

How to Write a Narrative Essay Outline - Tips & Examples

By: Nathan D.

Reviewed By: Melisa C.

Published on: Jun 2, 2020

A narrative essay is a type of academic essay in which the writer narrates a story. It is the most commonly assigned form of academic writing. Students have to face the narrative essay writing task quite often, so it is essential to know how to handle it. 

A narrative essay is a story, so it's important to know how to write one. The best way to start your outline is by brainstorming ideas.

Who are the characters? What do they want? How does this conflict with their goals and who wins in the end?

There are many different types of essays you can write about, but all will have some sort of conflict. Once you've figured out the basics, be creative! You could explore an event that happened in your life or tell a fictional story.

In this blog, you’ll learn to write an outline for a narrative essay with examples. Start reading!

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A  narrative essay  is a type of academic essay in which the writer narrates a story. It is the most commonly assigned form of academic writing. Students have to face the narrative essay writing task quite often, so it is essential to know how to handle it.

Narrative Essay Outline Format

The narrative essay outline follows the standard structure. Like other types of essays, this essay normally follows a typical 5 paragraph essay format. The 5 paragraph outline includes one introduction paragraph, three body paragraphs, and one conclusion paragraph.

However, unlike other essays, the paragraphs of the narrative essay have specifically designated purposes:

1. Introduction Paragraph:  Gives an insight into the story

2. First Body Paragraph:  Discuss the rising action

3. Second Body Paragraph:  Present the climax of the story

4. Third Body Paragraph:  Provide the falling action

5. Conclusion Paragraph:  Discussion of the lesson learned from the story

Paragraph Narrative Essay Outline Template

Let's look at the detailed 5 paragraph narrative essay outline for college students.

How to Write a Narrative Essay Outline?

A narrative essay is all about sharing the stories. Therefore, you need to organize your story into an essay format. As a writer, you are supposed to tell a story from your personal experience and why you are sharing that specific experience. Later, you need to discuss why this story or experience is important to share.

Let's look at how to craft an outline for a narrative essay. Follow the steps in the same sequence, and at the end, you’ll get a perfect outline. The writing process will become less stressful and daunting if you follow the steps given below.

1. Write the Introduction

The introduction paragraph is meant to engage the reader with the story. The first paragraph plays the most crucial role in making an impression on the reader’s mind. It allows you to share your perspective and how it relates to you. The following elements are involved in writing a strong narrative essay introduction.

• Create a Hook Statement  Draw the reader in with an intriguing and attention-grabbing hook statement. Create a strong hook that makes your reader want to read further. You can use a quote, rhetorical question, or fact to create a persuasive hook statement.
• Set the Scene:  Give your reader an idea of what is going to happen. Do not tell the whole story; just give a glimpse into it and keep your reader intrigued. Tell the reader how the points of the story relate to you.
• Define the Thesis Statement:  Finally, tell your reader what your story is all about with the help of a thesis statement. Give a sneak peek of what is about to come but avoid telling the lesson you have learned from the situation yet; just give a hint.

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2. Draft the Body Paragraphs

The main body of a narrative essay is the most important part because it tells the whole story. This is where you state the facts, provide examples, give details, and guide the reader through the plot. According to the five paragraphs essay structure, it has three body paragraphs, but it can depend on the length and word count.

Below elements must be kept in mind while writing the narrative essay body paragraphs:

• Write Chronologically:  The timelines of a story should be presented in chronological order. Otherwise, the reader will get confused, and it becomes hard for them to understand the story. To keep your paper organized, you should present things in sequential order.
• Share the Relevant and Vivid Details:  As a narrative essay is all about creating a mood and scene to follow, do that creatively. Set up the story with descriptive and concise language. Provide the reader with the most important details of your story. These details may include the characters, setting, plot, and the onset of the story.
• Avoid Narration Deviation:  The narrative essay is usually written in the first person unless you share someone else’s story. The third-person narrative only works best when you are telling a story you heard from someone else.

3. Write a Compelling Conclusion

The conclusion paragraph is the final section of the essay where you give some final comments about the story. Summarize your essay and connect your reader back to the story. Follow these steps to write an impressive conclusion.

• Restate Some Key Details:  Restate the thesis statement and some key details you have shared in the body. It will help you connect your reader with your story.
• Share the Lesson:  Stress the lesson you have learned from the story and leave the reader with something to think about.
• Call to Action:  In the end, provide a call to action that convinces the reader to think more about the topic.

Narrative Essay Outline Worksheet

Use the given worksheet below to write a narrative essay with ease.

Narrative Essay Outline Example

Here are some  narrative essay examples  and samples for your convenience. Use these templates and learn to write a good narrative essay easily.

Narrative Essay Outline for Middle School

College Narrative Essay Outline

Personal Narrative Essay Outline Template

Descriptive Narrative Essay Outline

Literacy Narrative Essay Outline

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Literature, College Essay

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• Narrative Essay - An Ultimate Guide With Examples & Topics

• Narrative Essay Topics - Best Topic Ideas for Your Essay

• Narrative Essay Examples: Samples & Tips

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