Story Writing Structure

Structure of story writing

Structuring a story: So why not tell a good story with a great structure? It' important to structure your work carefully so that a reader can follow your ideas. When I structure a story, I like to call it "three disasters plus an end". The purpose and structure of narrative writing.

Structuring a story: Eight-point arch

Nigel Watts' Writing A Novel and Getting Publishing is one of my favorite workbooks. Even though the front page seems to be on the brink of crashing, I took the risk of reopening the volume to give you Watts' very useful "Eight-Point Story Arc" - a foolproof, fail-safe and time-honored way of structuring a story.

It declares that every classical action goes through these phases and that it does not have a tendency to schedule a story, but uses the dots in writing: When I feel that a story goes awry, I see if I have unknowingly lost a leg of the eight-point curve.

There is no way to ensure that you are writing a bright story, but it will help you prevent some of the traps of a bright notion that went astray. That is the "everyday life" in which the story takes place. Somewhat out of the protagonist's own hands (hero/heroine) is the cause that triggers the story.

This triggers a quest-a nasty triggers (e.g. a character who loses his job) can include a quick quest to get back to the queue; a nasty triggers (e.g. find a treasury map) means a quick and easy way to keep or improve the new nasty state. It is a phase comprising not only one but several parts and occupies the largest part of the central part of the story.

"Surprise " contains pleasurable incidents, but more often means hindrances, conflicts, complications and annoyance for the protagonists. Eventually your hero has to make a decisive decide, a strategic one. The unfortunate end in tragedy often comes from a person who makes the false choices here - Romeo poisons himself because he allegedly sees Juliet killed.

Your protagonist's critique choice(s) must produce the culmination, the highest summit of excitement, in your story. Inversion should be the outcome of careful selection and culmination, and it should alter the character's state, especially that of your character. The inversion of your story should be unavoidable and likely.

History should evolve throughout life: relentless, relentless and plausible. Dissolution is a comeback to a new state - one in which the character should be altered, wise and illuminated, but the story that is narrated is intact. I have only briefly described Watts' 8-point curve here. The book also describes how a longer story (e.g. a novel) should contain bows in bows - sub-plots and sequences in which the same eight-point structure is followed, but on a smaller plane than for the bow of the story-tell.


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