Plot Perfect

1. Plot is causality, not just sequence.

This is plot: The king died—and then the queen died of grief.

Beyond simple events. Narrative is merely "and then," listing events in sequence. Plot, however, is "because of," establishing a causal relationship between events. This distinction is fundamental: plot shows why things happen, not just that they happen, adding dimension and depth that resonates with readers.

Cause and effect. Every event in your story should ideally be a consequence of what came before and a cause of what follows. This chain of causality creates momentum and makes the story feel inevitable yet surprising. Focusing on the "why" behind character actions and plot developments is key to building a compelling structure.

Engaging the reader. A plot-driven story keeps readers invested because they understand the stakes and the motivations behind the actions. They aren't just watching things happen; they are witnessing a cause-and-effect chain that reveals character and explores theme, making the story unforgettable.

2. Theme is the heart of your story and drives plot.

Every work has a theme; in other words, what the story is really about, and what the writer is trying to say in writing it.

What it's really about. Theme is the underlying meaning or message of your story, the universal human experience you're exploring (love, power, loyalty, courage, etc.). It's not just a topic, but your unique perspective or statement on that topic. Identifying your core theme is the crucial first step in plotting.

Theme drives action. Your protagonist's motivations should be rooted in your theme. Are they driven by greed, loyalty, or a search for truth? This central drive propels the main plot forward. Proverbs or sayings related to your theme can help clarify its nuances and provide a point of view.

Unique selling proposition. A fresh take on a classic theme can make your story stand out in a crowded market. Your Unique Selling Proposition (USP) is often the marketing angle of your theme – what makes your exploration of love or power different from others. Articulating your theme statement (plot + theme + USP) provides a guiding light for your writing.

3. Subplots and variations on theme add depth and complexity.

As plots are related to theme, so are subplots related to variations on theme.

Layering the narrative. Great stories are symphonies, not single notes. Subplots mirror the main plot and explore variations on the central theme, adding richness, emotional range, and complexity. They provide secondary melodies and harmonies that enhance the main tune.

Variations inspire subplots. Brainstorming different facets or contradictions of your main theme (e.g., for "love": fickle love, jealous love, maternal love, self-love) can generate ideas for subplots. These variations allow you to explore the theme from multiple angles through different characters and situations.

Weaving the tapestry. Subplots should not feel tacked on; they must be interwoven with the main plot, influencing and reflecting each other. Characters driving subplots serve as mirrors to the protagonist, highlighting different aspects of the theme and adding layers to the story's emotional and structural tapestry.

4. Action reveals character; characters drive plot.

Action is character.

Show, don't tell. Characters are defined by what they do, not just what they think or feel. Plot is simply what your characters make happen and what happens to them in return. Their actions, choices, and reactions in the face of conflict reveal their true nature and propel the story forward.

Walking contradictions. The most compelling characters, like Shakespeare's Hamlet or Hammett's Sam Spade, are walking contradictions – embodying opposing traits (idealistic/cynical, tender/tough). These internal conflicts create dramatic tension and provide fertile ground for plotting scenarios that challenge their contradictory impulses.

Protagonist and antagonist. Your protagonist embodies the main theme and drives the central plot, while secondary characters and the antagonist embody variations on theme and drive subplots. Developing complex, multi-dimensional characters, including a worthy antagonist who challenges your hero, is essential for a gripping plot. Use tools like character profiles and "walking contradiction" charts to go deep.

5. Scenes are the essential building blocks, driven by story questions.

If you give me a typewriter and I’m having a good day, I can write a scene that will astonish its readers.

Continuous action units. Scenes are the basic units of plot, defined by continuous action that moves the story forward and packs an emotional punch. Writing in scenes means dramatizing your story, showing events as they happen rather than summarizing them or relying solely on internal monologue.

Propelling with questions. Effective scenes pose story questions that hook the reader and make them want to keep reading for the answers. These questions exist on multiple levels:

• The Leading Question (answered by the climax)
• Big Story Questions (answered by major plot points/big scenes)
• Little Story Questions (answered within individual scenes or pages)

Hierarchy of questions. A well-plotted story is a hierarchy of questions, like Russian nesting dolls, with smaller questions nested within larger ones. By strategically posing and delaying answers to these questions throughout your scenes, you create narrative drive and keep the reader engaged from beginning to end.

6. Structure your story using the Three-Act model (Plot Points or Hero's Journey).

All stories are made up of three parts: beginning, middle, and end.

Universal structure. The three-act structure (Act One: Beginning, Act Two: Middle, Act Three: End) is a fundamental blueprint for storytelling, hard-wired into human cognition. It provides a natural flow from setup to confrontation to resolution.

Two refinement approaches:

• Plot Points: Focuses on major events (Inciting Incident, Plot Point 1, Midpoint, Plot Point 2, Climax, Denouement) that propel the story from one act to the next.
• Hero's Journey: Focuses on the protagonist's transformation through archetypal stages (Status Quo, Catalyst, Denial, Encounter with Guru, Acceptance/Action, Trials/Tribulations, Edge of Abyss, Plunge, Payoff, Way Through, True Test, Return to New Normal).

Scene distribution. A common guideline for novels is roughly 60 scenes: 15 in Act One, 30 in Act Two, and 15 in Act Three. Using index cards or a digital tool to map out your scenes within this structure helps visualize the flow and identify gaps.

7. Alternate positive and negative scenes to create emotional rhythm and pacing.

Real suspense comes with moral dilemma and the courage to make and act upon choices.

Emotional charge. Every scene should have an emotional charge, designated as "plus" (positive) or "minus" (negative) based on how the POV character feels or fares by the end. This charge can also relate to the theme, goal achievement, or outcome of the action.

Creating rhythm. Alternating plus and minus scenes creates an emotional rhythm that keeps the reader engaged, like a roller coaster ride. A string of too many positive or negative scenes can become monotonous.

Reversals amplify impact. Reversals are powerful sequences where a positive outcome is immediately followed by a negative one, or vice versa, often tied to the same action or decision. This "two steps forward, one step back" (or vice versa) pattern heightens drama and suspense. Mapping your scenes as plus or minus helps identify opportunities for creating this dynamic rhythm.

8. Master the unique challenges of Act One, Act Two, and Act Three.

The first page sells the book, the last page sells the next book.

Act One: Hook the reader. The beginning must grab attention immediately. Avoid slow starts, clichés, or too much backstory. Something compelling needs to happen on page one, establishing voice, character, genre, and story questions. Aim for a strong inciting incident and Plot Point 1/Catalyst that launches the protagonist into the story.

Act Two: Avoid the sag. The middle is often the hardest part, where stories can lose momentum. Combat the "saggy middle" by:

• Beefing up or adding subplots.
• Increasing pressure on the protagonist (romantic tension, emotional stakes, danger).
• Adding conflict (new types, meaner villains, loose cannons).
• Introducing or leveraging a MacGuffin.
• Incorporating learning sequences or puzzles.

Act Three: Deliver a satisfying end. The ending must feel earned, conclusive, and impactful. Avoid rushing the climax or denouement. Ensure the protagonist drives the action and faces the ultimate test. Tie up loose ends from all subplots. Aim for a satisfying resolution (happy or tragic) that resonates with the story's themes and leaves a lasting impression, ideally with a memorable last line.

9. Weave all story elements (voice, tone, setting, conflict, dialogue) together thematically.

Storytelling is ultimately a creative act of pattern recognition.

Seamless tapestry. A great story is a tapestry where all elements are interwoven: voice, tone, style, setting, character, conflict, dialogue, action, and theme. These threads must work in concert, not appear as isolated chunks of description, narrative, or dialogue.

Elements reflect theme. Each element should reinforce your story's themes:

• Voice: Your unique perspective infused with your core beliefs.
• Tone: The emotional atmosphere (scary, funny, poignant) that aligns with the theme.
• Style: Word choice, sentence structure, and rhythm that reflect the theme's mood.
• Setting: A place that becomes a character, embodying or challenging the theme.
• Conflict: The engine of drama, ideally tied to thematic struggles (man vs. self, man vs. society, etc.).
• Dialogue: Reveals character, moves plot, and allows themes to be expressed (even through lies or subtext).

Balance is key. Strive for a balance of these elements in every scene. Analyze your scenes to ensure they aren't dominated by a single element but are a rich mix that moves the story forward and deepens its meaning.

10. Control pacing using techniques like ticking clocks, reversals, and transitions.

The definition of a page-turner really aught to be that this page is so good, you can’t bear to leave it behind, but then the next page is there and it might be just as amazing as this one.

Maintaining narrative thrust. Pacing is the rhythm and tempo of your story, keeping readers engaged and turning pages. Beyond story questions, several tools influence pace:

• POV: Unique or multiple POVs can build suspense.
• Pressure: Increasing stakes (romantic, emotional, physical danger) on the protagonist.
• Conflict: Adding more or different types of conflict.
• Reversals: Alternating positive and negative outcomes rapidly.
• Ticking Clock: Adding a deadline creates urgency.
• Subplots: Cutting between subplots and the main plot.
• Transitions: Keeping scene entries and exits lean and quick.
• Language: Using shorter sentences and Anglo-Saxon words for faster pace, longer sentences and Latinate words for slower pace.
• Deletion: Cutting unnecessary scenes or backstory.

End on a question. A simple yet effective trick is to end chapters or scenes on a story question, compelling the reader to continue to find the answer. Mastering pacing ensures your story flows smoothly and keeps readers hooked.

11. Use an organizing principle to add structure, depth, and a unique selling proposition.

Sometimes a plot can benefit from an organizing principle, which is another tool you can use to tell your story.

Beyond the plot. An organizing principle is a framework used to tell your story, distinct from the plot itself. It adds layers of meaning, enhances setting, deepens themes, and can serve as a unique selling proposition (USP). It's like giving the reader a little "lagniappe" – something extra.

Types of principles:

• Thematic: Structured around a topic or issue, often using related quotes or metaphors (e.g., beekeeping in The Secret Life of Bees).
• Chronological: Structured around time (e.g., a specific year, a life arc, a single day, nonlinear time jumps, using devices like letters or diary entries).
• Methodological: Structured around a concept, source material, or process (e.g., chaos theory, cooking recipes, reading an encyclopedia, myth structure, unreliable narration).

Enhancing the story. An organizing principle can provide a ready image system, influence the narrative structure (e.g., epistolary novel), and make your story stand out. Choose one that naturally fits your themes and plot, and weave it consistently throughout the narrative.

12. Refine and polish your plot by understanding genre conventions and self-editing.

If you write in category, you write knowing there’s a framework, there are reader expectations.

Meet reader expectations. Every genre has specific conventions and reader expectations (e.g., a body in a mystery, a happy ending in romance). Understanding these is crucial for plotting successfully within your category. Research bestsellers in your genre to see how they handle common elements like titles, USPs, plot points, subplots, themes, characters, setting, and pacing.

Genre-specific checklists. Use genre checklists (Mystery, Love Story, Mainstream/Upmarket, SF/Fantasy, YA/Middle Grade, Memoir) to ensure you've addressed the specific requirements and opportunities of your category. This helps refine your plot and make it appealing to both readers and publishers.

Self-editing is key. Polishing your work is essential for publication. Beyond structural issues (beginning, middle, end, pacing, subplots), focus on line-level craft: clean, clear, concise prose, strong voice, effective dialogue, and weaving all elements seamlessly. Don't shy away from revision; it's where a good story becomes a sellable one.

Last updated: May 19, 2025