How to Structure Your Novel: 3 Story Structures You Need To Know

Writing a novel may seem hard. 

But what’s even harder is when you put in all the hours of brainstorming, outlining, and finally writing, only to give your novel to beta readers and have them say something like this:

“The story didn’t make sense.”

“It felt all over the place.”

“The pacing felt rushed—or too slow.”

Clearly, something was wrong with your plot. But what can you do to fix it, or to prevent the problem from happening in the first place?

Answer: Learn story structure! 

Understanding and implementing story structure will help your novels be tighter, more effective, and more enjoyable. Story structure is based on universal principles of storytelling that have worked for centuries, and understanding them will take your writing to the next level. 

We’ll go over how to structure your novel using three different types of story structure you need to know, plus some implementation exercises. Let’s get started!

What Is Story Structure? (And Why You Should Care)

Story structure, put simply, is the structure of your story.

Shocker, I know.

But it’s really quite simple. Story structure essentially boils down to the order in which you tell the story—how the events and actions your characters take actually end up on the page.

So, story structure is a pretty fundamental skill when you’re trying to actually write a novel!

It’s also not a new concept. Different types of story structure have been around ever since the ancient days. Homer’s epics The Odyssey and The Iliad follow a structure known as the Hero’s Journey (more on that later). If Homer thought it was worthwhile, so should you!

While writing a book without using story structure is technically possible, it’s not a good idea. There’s a reason these principles have stuck around for so long: they work.

Understanding story structure will make you a better writer. You’ll be able to make informed decisions about where to take your story based on what actually works, not just blindly guessing about what might be a fun element to include. You’ll write emotionally impactful books that leave an impression on your readers long after they put the book down.

Are you ready?

3 Different Story Structures

3 Act Structure

If you’re just entering the world of story structure, 3-Act Structure is a good one to start with. It’s basic, effective, and easy to understand, and it also provides the foundation for many of the other structures we’ll discuss later.

So, what is it?

3-Act Structure divides the narrative into three parts, or acts. Each of those acts is subdivided into beats: individual events that mark a key event in the plot.

Act 1 is the setup: it’s all about setting the stage for the rest of the story to unfold.

The Hook

The point of the hook is simple: grab your reader’s attention and make them want to keep reading.

When does it happen? As early in the narrative as possible. You want your reader to be drawn in by your plot on the very first page—the first line, if you can do it that early.

When you’re thinking of a good hook, ask yourself these questions:

• Is it gripping? The first page is when your reader is still deciding whether they want to read your book or not—so make it count.
• Is it relevant to the plot? You don’t want to make your reader interested in something that never shows up later in the book, or they’ll stop reading.

For more tips on constructing a good hook, check out this article from Masterclass.

Some examples of good hooks include:

• “In a hole in the ground, there lived a hobbit.” Who are hobbits? Why do they live in holes? The description that follows grounds you in the world and gets you invested in Bilbo, the main character. (The Hobbit, J. R. R. Tolkien)
• The Pevensie children have been sent away from London during World War 2 to live with an old professor whose house is full of mystery. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry Potter leads a miserable life with his utterly ordinary aunt and uncle, but strange things start to happen—inexplicably regrown hair, disappearing glass cages, and the like. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

The Inciting Incident

Typically, your hook is followed by an exposition of the status quo: how your character currently lives, what they want, and why they can’t get it. This is the place to put in all your fun character development that you worked on already, by the way.

The inciting incident takes your protagonist’s world and disrupts it. Something explodes. Someone gets kidnapped. A new character is introduced, and he offers the protagonist a choice—a way to get what they deeply desire.

Whatever it is, it needs to disrupt the protagonist’s life enough to set the story in motion.

Some examples of inciting incidents:

• A host of dwarves show up on Bilbo’s doorstep to plan an adventure. (The Hobbit, J. R. R. Tolkien)
• Lucy finds a magic wardrobe. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry Potter gets a mysterious letter. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

First Plot Point

The First Plot Point is your protagonist’s reaction to the Inciting Incident—specifically, the reaction that brings your protagonist into the story and establishes them as a driving force of the plot.

This isn’t just a reaction, though: it’s a choice.

Since the first plot point should take place around 25% through the story, there have been other “plot points” that have happened already. This one is different. So far, things have been happening to your protagonist. Now, your protagonist is the one taking action.

Examples:

• Bilbo decides to join the dwarves as their ‘burglar.’ (The Hobbit, J. R. R. Tolkien)
• Lucy and Edmund enter the wardrobe. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry Potter accepts his invitation to Hogwarts and leaves the Dursleys. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

The First Plot Point is the transition out of Act 1 and into Act 2: Confrontation.

Rising Action

Act 2 is usually the longest act of the book. It begins with the rising action: the protagonist is progressing through the plot, getting closer to (or farther away from) their goal.

With the rising action, you have some leeway—there aren’t as many structural beats you have to hit, so have fun with it! Put obstacles in your protagonist’s path. Make them work to achieve their goal.

Examples of rising action:

• Bilbo faces obstacles including being captured by goblins and threatened by Golumn in a game of riddles. (The Hobbit, J. R. R. Tolkien)
• The Pevensie children meet the Beavers and learn about Narnia. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry joins the Quidditch team, has conflicts with Draco Malfoy, and finds a three-headed dog behind a mysterious doorway. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

Midpoint

The midpoint is a critical part of the story. While there are different views on what the midpoint should accomplish, everyone agrees it’s extremely important. K. M. Weiland describes it as the “centerpiece” of the story (for more information on midpoints, check out her article).

The midpoint can be a plot twist, a revelation, or a key event that raises the stakes of the story. Your protagonist is forced to respond, and their response will set the stage for the rest of the plot.

Examples of the midpoint:

• Bilbo finds a magic ring that turns him invisible. (The Hobbit, J. R. R. Tolkien)
• Edmund betrays his siblings and joins the White Witch. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• During Harry’s Quidditch game, his broom begins to malfunction and nearly kills him. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

Second Pinch Point

At this point, your protagonist should be active, not reactive. They’re the ones calling the shots. The antagonist better watch out!

The second pinch point gives them—plus your reader—another taste of danger. It’s designed to remind your protagonist just how high the stakes are. How much will your protagonist lose if they fail to achieve their goal?

Examples of the Second Pinch Point:

• Bilbo and the dwarves reach Smaug’s lair, and Bilbo steals a cup from the dragon’s hoard. (The Hobbit, J. R. R. Tolkien)
• The White Witch, accompanied by Edmund, turns a group of forest animals to stone. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry witnesses Professor Snape threatening Professor Quirrell. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

Finally, we’ve made it to Act 3: Resolution.

Third Plot Point

The Third Plot Point is also known as the pre-climax. Its purpose is to set up the climax, which will eventually lead into a satisfying resolution.

At this stage, your protagonist is typically at a low point. Things have not gone as planned. In order to defeat the antagonist and achieve their story goal, the protagonist must overcome their greatest fears and take a last, resolving action.

Examples of the pre-climax:

• Smaug, enraged by Bilbo’s theft, attacks the nearby Lake Town. (The Hobbit, J. R. R. Tolkien)
• Aslan is killed by the White Witch. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry learns that Dumbledore has left Hogwarts and that the Sorcerer’s Stone is in danger. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

Climax

During the climax, the protagonist faces their greatest challenge or conflict. This is the moment where everything comes to a head and the outcome is decided. The climax is often intense and action-packed—but it doesn’t have to be. All that matters is that it resolves the central conflict of the story.

Examples of the climax:

• Bard kills Smaug. In the fallout, the dwarves, elves, and men end up in the Battle of Five Armies against the goblins and Wargs. (The Hobbit, J. R. R. Tolkien)
• Aslan is resurrected and leads the battle against the White Witch. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry, Ron, and Hermione enter the magical obstacle course to protect the Sorcerer’s Stone. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

Denouement/Resolution

Congratulations: you’re nearly at the end of your story. All that’s left is the ending.

The main conflict of the story has been resolved. There might still be some loose ends to tie up, though, and this is where you’ll do that. What happens to the protagonist after they defeat the villain? How do they rebuild? What are their next steps?

This is the last plot beat of your story—so make it satisfying.

Examples:

• Bilbo gets his share of the treasure, returns home to the Shire, and starts writing his memoir. (The Hobbit, J. R. R. Tolkien)
• The Pevensie children are crowned kings and queens of Narnia and rule for many years before returning through the wardrobe like nothing ever happened. (The Lion, the Witch, and the Wardrobe, C. S. Lewis)
• Harry defeats Voldemort and saves the Sorcerer’s Stone. Gryffindor wins the House Cup. (Harry Potter and the Sorcerer’s Stone, J. K. Rowling)

For more information on 3-Act Structure, check out K. M. Weiland’s series The Secrets of Story Structure.

The Hero’s Journey

The Hero’s Journey is possibly the oldest story structure on record. The name comes from Joseph Campbell’s book The Hero With a Thousand Faces, which was published in 1949. However, the structure itself is much older.

This is the structure most mythological epics (The Odyssey, The Iliad, Beowulf, etc.) follow. Another popular example is Star Wars: A New Hope. Luke Skywalker’s journey closely follows the Hero’s Journey structure, so we’ll use his story as an example.

The Hero’s Journey is similar to 3-Act Structure in many of its elements. However, it gets more specific. If you’re writing an epic fantasy or sci-fi story, consider using the Hero’s Journey for help!

Ordinary World

The ordinary world is where the hero’s story begins. It’s the familiar and mundane setting where the hero lives their everyday life—their routine, relationships, and goals. This is where we get to know the character and start to root for them.

In Luke Skywalker’s case, his ordinary world is his life on Tatooine as a moisture farmer with his aunt and uncle.

Call to Adventure

But the ordinary world can’t last forever. Next, the hero receives a challenge or opportunity that disrupts their ordinary world and presents them with a new goal or mission.

Luke’s call to adventure comes when he finds a message from Princess Leia in R2-D2.

Will they accept the call and change their world completely?

Refusal of the Call

Nope! They won’t.

In the Hero’s Journey, the hero almost always refuses the call. They don’t need adventures, please and thank you—like Bilbo Baggins, they think adventures are “nasty, disturbing, uncomfortable things! Make you late for dinner!”

But it isn’t so easy to resist adventure. And something happens in their life that pushes them outside their comfort zone and makes them change their mind.

Initially, Luke decides he’d rather leave Leia and the droids alone. He prefers to stay in his nice, straightforward life on Tatooine, not worrying about galactic conflict.

But then his aunt and uncle are killed. Suddenly, Luke’s perspective shifts—and adventure doesn’t sound so bad after all.

Meeting the Mentor

If the hero tries to save the world alone, they’ll die. They simply do not have the necessary skills—if they did, there would be no story. Enter: mentor!

The mentor is a wise and experienced character who guides and trains the hero. They provide advice, support, and teach the hero important skills and lessons that will help them on their journey.

In Luke Skywalker’s case, his mentor is Obi-Wan Kenobi. Obi-Wan teaches Luke about the Force and helps him begin his training as a Jedi. 

Crossing the Threshold

Finally, it’s time to set out on the adventure. This is known as crossing the threshold—the hero is leaving their ordinary world for the first time.

For Luke Skywalker, crossing the threshold occurs when he leaves Tatooine with Obi-Wan Kenobi and joins the Rebel Alliance to help in their fight against the Galactic Empire.

Tests, Allies, Enemies

But being a hero is no easy job. They’ll face obstacles as they move along their path. Throw as many challenges at them as you can think of—this is the longest section of the story.

Luke’s main challenge is learning to use the Force from Obi-Wan Kenobi as they prepare to enter the Death Star.

Approach to the Innermost Cave

 

The “inmost cave” isn’t usually a literal cave: it’s the hero’s ultimate goal. They’re getting ready for the final confrontation with the villain, and it’s a crucial moment of reflection and preparation.

Luke has entered the Death Star and needs to find his way to the princess and rescue her.

Ordeal

The protagonist faces their greatest challenge yet. They are tested physically, mentally, and emotionally. It’s the make-or-break moment of the story—will they succeed? Or will they fail and be defeated?

Luke finds the princess and rescues her. However, Darth Vader fights Obi-Wan, and Obi-Wan sacrifices himself.

Reward

And they succeed! The hero passes the test. And to celebrate, they gain something from it—a physical reward, perhaps, or an emotional one too. Either are fine.

Luke’s reward is the Death Star plans. Now, the rebels have a chance!

The Road Back

The hero begins their journey back out of the innermost cave—but this isn’t an easy journey. It’s marked by obstacles, dangers, and pursuit from the enemies they awoke.

In Luke Skywalker’s case, the road back is when he and his allies escape from the Death Star and head back to the rebel base, pursued by TIE fighters.

Resurrection

The Resurrection is the final confrontation, the climax. It’s the last test of the story. If your protagonist overcomes this, they’ve won.

Luke and the rest of the rebel army approach the Death Star. Luke, with the help of Han Solo, manages to shoot the thermal exhaust port and destroy the Death Star for good.

Return with the Elixir

This is the final step of the Hero’s Journey. The hero has achieved their goal, and now it’s time to return to the ordinary world. They bring with them the knowledge, growth, or treasure they gained on their journey.

Luke Skywalker returns to the rebel base, a true hero. He receives a medal for his achievements.

Save the Cat! 

Save the Cat! plot structure gets its name from the famous screenwriting book Save the Cat! by Blake Snyder. Though the structure was originally for screenwriting, it works well for novels as well.

Like the Hero’s Journey, Save the Cat! is a variation on 3-Act Structure. However, it also comes with percentage marks of when each beat should take place. If you have trouble with pacing or you’d like a more detailed structure for a story with a strong thematic statement, the Save the Cat! method might work very well for you.

Act 1: Opening Image

How does your novel start?

The Opening Image is where you show your character’s world. Who are they? What is their world? What are their flaws?

In a standard 300 page novel, this should take place within the first three pages.

Theme Stated

What’s your theme? Sum it up in one sentence, then have one of your characters verbally tell it to your protagonist. This will set up their character arc for the rest of the story.

The theme should be stated at about page 15, 5% through the story.

Setup

The setup is where you introduce the protagonist’s ordinary world and their goals, motivations, and conflicts. You also establish the setting and provide background information to give readers a sense of the protagonist’s life.

The setup usually happens over the first 10% of the novel—pages 1 to 30.

Catalyst

The catalyst is the event or incident that disrupts the protagonist’s ordinary world and sets the story in motion. The protagonist has to choose how to respond, but no matter what they do, there’s no going back to the way things were.

The catalyst usually occurs around the 12% mark of the story, or page 36.

Debate

After the catalyst, the protagonist is faced with a choice: to accept the call to adventure and embark on their journey, or to refuse. Ultimately, they have to be the one to make the choice, or it won’t be satisfying—they can’t be forced into it.

The debate happens from 10–20%, pages 30–60.

Break into 2

“Break into 2” gets its name because it’s the beginning of Act 2. The protagonist fully commits to their journey and leaves behind their ordinary world. They’re ready to face the challenges and obstacles that await them—or at least they think they are.

This break usually occurs around 25% through the story, or page 75.

B Story

The B story is a secondary storyline that runs parallel to the main story, similar to a subplot. It often involves a romantic or personal relationship for the protagonist and helps to develop the protagonist’s arc.

The B story happens throughout the course of the novel, starting with the Break into 2.

Fun and Games

This is the fun part! For your readers, at least. Your characters might not be having any fun at all.

The Fun and Games is the longest beat. It’s sometimes called the “promise of the premise” as it’s often hinted at in your hook. Often, it’s the reason your readers want to read your book. So make it count!

The Fun and Games happens between 20% and 50%, pages 60 to 150.

Midpoint

The midpoint is a major turning point in the story. Something happens that changes the protagonist’s understanding of the story and propels them forward. A dramatic revelation, a ticking time bomb, a plot twist—whatever it is, it needs to raise the stakes.

The midpoint happens halfway through the story: page 150.

Bad Guys Close In

After the midpoint, the tension rises. Your protagonist’s enemies—both external and internal—are closing in. The tension from the midpoint is only continuing to grow.

The Bad Guys Close In occurs between 50% and 75%, pages 150 to 225.

All Is Lost

The protagonist faces their greatest failure or setback. Maybe someone dies. Maybe they get betrayed. Whatever it is, it pushes the protagonist to the lowest point yet.

This beat is usually around 75% through the story, page 225.

Dark Night of the Soul

How does the protagonist react to this devastating event? The Dark Night of the Soul is a time of despair and self-reflection—the protagonist needs to decide whether or not they can continue on their journey. Is there a chance of success, or is it better to give up?

The Dark Night of the Soul happens 75–80% of the story, or pages 225–240.

Break into 3

But no. The protagonist decides to continue—and in doing so, finally learns the thematic lesson that has eluded them for the whole story so far. It’s the “aha!” moment, the climax of their character arc.

You’ve made it to Act 3! This should happen at the 80% mark, page 240.

Finale

The finale is the climax, the big showdown between the protagonist and the antagonist. This is where the tension reaches its peak, where the protagonist finally faces off against the external bad guys.

And—spoiler alert—they win. (Unless you don’t want to have a happy ending.)

The Finale happens from 80–99%, pages 240–299.

Final Image

The Final Image is the closing scene of the story. It shows the aftermath of the climax and gives readers a glimpse of what the protagonist’s life looks like now.

The Final Image mirrors the Opening Image. Who was your protagonist at the beginning? Who are they now? How have they changed? Try to draw some parallels to the beginning in the actual scene—that’ll make the ending feel satisfying.

The Final Image (fittingly) takes place on the last three pages of the novel. You’ve reached 100%!

For more information on how to use the Save the Cat! method, check out Savannah Gilbo’s article on it.

How to Structure Your Novel: Implementation

You may feel like I just threw a bunch of words and terms at you that you have to keep track of. But don’t fear! The real test is in the implementation, and that’s what we’re going to talk about next.

How you implement these will depend on whether you’re a plotter or a pantser—whether or not you like to outline before writing your book.

If you’re a plotter, pick which structure you want to use and write out each beat of your story. If you use 3-Act Structure, write out your hook, inciting incident, first plot point, and so on—and boom, you’ve got a structured outline!

If you’re a pantser, you won’t make that kind of outline at first. Instead, you’ll write the book like you would normally write it, keeping plot elements in mind. When you finish, go back and make an outline of the story you just wrote. Then, revise the outline so that it fits the story structure, and rewrite the book according to the updated outline.

Plotting isn’t inherently better than pantsing. Both are valid ways of writing. That said, learning to outline will save you a lot of time—you can write a structured book on the first try without having to rewrite the whole thing.

Also, you don’t need to follow these structures to the letter! You have some wiggle room. But the principles are still important. Following them will help your story work better—they’ve become standard for a reason.

This is so formulaic…

“But Emma,” you may be wondering, “won’t this just make my story boring?”

Following story structure doesn’t eliminate creativity. You still need an imagination! All story structure does is sharpen your imagination so that you can think of a story that works.

The “formula” of structure is like the canvas of an artist. Yes, the shape of the canvas limits you—but within that canvas, you’re free to paint whatever picture you want. 

Plus, limitations don’t stunt our creativity. In fact, they actually improve it. Trying to write a story with no limits is actually a lot harder than writing with constraints—you don’t have a starting point or a direction to go in. 

For example, think of poetry. Even if you don’t like writing poetry, chances are, you’d find it pretty easy to write a haiku. Haikus have a very specific, contained structure, but that actually makes them easier to write. 

Having a structure to follow won’t make your story boring. It’ll fuel your creativity and help you write a strong novel that you can be proud of. 

Your Next Steps

Excited about what you’ve learned? Want to apply it? Good! Here are two exercises for you to do:

1. Take one of your favorite books and study the structure. Read it through and take notes—what is the inciting incident? Where is the midpoint? How does the author write the climax?

2. Take your current work in progress and plot it out using one of the story structure methods described above.

If you’re not familiar with story structure already, it might be intimidating to try on your own. Fortunately, you don’t have to! Download the worksheet below to get a free story structure template with blanks to fill in the plot points.