How To Plan Your Novel Using The Three-Act Structure

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Writing a novel is hard, especially if you’ve never done it before. You’ve spent hours researching, building your world and becoming an expert on your characters. Now you’re ready for the next step: planning (also known as plotting).

While some people like to write organically (letting the story take you in whatever direction feels right), having a detailed outline can help make the novel-writing process a lot less daunting and overwhelming. But how exactly do you plan a novel?

Essentially, there is no right or wrong way to outline your novel. Each story is different and needs to be told in a different way.

However, if you need a bit more guidance on how to plot out the next bestseller you know you have inside you, the three-act structure might be for you.

Defining The Three-Act Structure

The three-act structure is a popular screenwriting technique that revolves around constantly creating set-ups, conflicts and resolutions. With this structure, a novel is divided into three acts: a beginning, a middle and an end.

There are many versions of the three-act structure. In some, the middle is the same size as the beginning and end put together.

However, when you’re first starting out, it’s much easier to plan each act to be the same length. In this version of the three-act structure, each act is divided into nine chapters for 27 chapters in total. The nine chapters in each act are also split into three blocks of three chapters each.

This version creates a fast-paced novel that invites readers to keep turning your pages. If you’re still unconvinced, for an example Suzanne Collins’ bestselling young adult Hunger Games trilogy follows this structure almost perfectly.

Throughout this article, we’ll take a look at what each section of the three-act structure involves, using examples from The Hunger Games to demonstrate each element. (SPOILER ALERT: If you haven’t read or seen The Hunger Games and don’t want key plot points spoiled, read on at your own risk!)

Act One (set-up)

The first act is used to introduce the reader to the world your characters live in and to set up the coming conflict.

Block One – Introduce Hero in Ordinary World

  • Chapter 1: Introduction (set up)
  • Chapter 2: Inciting incident (conflict)
  • Chapter 3: Immediate reaction (resolution)

In the first chapter, you need to set up your hero in their ordinary world. Introduce us to your characters and the relationships and conflicts between them. In The Hunger Games, the first chapter introduces the dystopian world and the Reaping.

The inciting incident in Chapter Two is the event or decision that sets your hero along the path of your narrative. The inciting incident is really important – without it, your story would not occur. The inciting incident in The Hunger Games is Katniss volunteering herself for the Hunger Games to save her sister; if Katniss didn’t volunteer, the rest of the novel would not have happened.

In the third chapter, the hero reacts to the inciting incident. The immediate reaction in The Hunger Games is when Katniss’ family and friends come to say goodbye to her before she leaves for the Games.

Block Two – Problem Disrupts Hero’s Life

  • Chapter 4: Reaction (set-up)
  • Chapter 5: Action (conflict)
  • Chapter 6: Consequence (resolution)

Chapter Four is where the hero reacts to and reflects on the long-term impacts of the inciting incident. In Chapter Four, Katniss reflects on the impact her death would have on her community, especially her mother and sister. Katniss also starts to discuss strategy with Haymitch, her mentor.

As a result of their reflection, the hero decides to take action and do something to change their situation in Chapter Five. In The Hunger Games, Katniss takes her first step towards winning the Games in the parade of tributes. Her fiery dress and attitude win over the crowd.

Chapter Six details the immediate consequences of the action the hero took in Chapter Five. In The Hunger Games, Katniss discusses the success of the parade with Haymitch. She also reflects on her past and the difficulty of rebellion.

Block Three – Hero’s Life Changes Direction

  • Chapter 7: Pressure (set-up)
  • Chapter 8: Pinch (conflict)
  • Chapter 9: Push (resolution)

The hero’s life has changed as a result of the action they took in Chapter Five, and this creates a lot of pressure and stress in Chapter Seven. The pressure is obvious in Chapter Seven of The Hunger Games. Here, Katniss has her demonstration where she shows the Gamemakers her archery skills by shooting an arrow towards them in frustration.

In Chapter Eight, the first pinch – or plot twist – occurs. A good plot twist is something completely unexpected for the reader. The first pinch in The Hunger Games is Katniss receiving a score of 11, something completely unexpected.

As a result of the pinch, the hero is pushed into a new world in Chapter Nine. The majority of this chapter in The Hunger Games centres around the television interviews with Caesar, the last formality before the tributes are sent into the Games. Here, Peeta declares his love for Katniss.

Act Two (conflict)

The second act is full of conflict. Character development is crucial in the second act; the hero at the end of Act One does not yet have the tools (whether those tools be emotional, physical or literal items the hero must retrieve) to succeed in the third act, so Act Two is all about the journey.

Block Four – Hero Explores New World

  • Chapter 10: New world (set-up)
  • Chapter 11: Fun and games (event/conflict)
  • Chapter 12: Old world contrast (resolution)

Chapter 10 allows you to introduce the reader to the new world. What has changed, and how does the hero feel about it? In Chapter 10, Katniss finally enters the Hunger Games.

In Chapter 11, the hero can take a break and have a little fun. Maybe they have a date with their new lover, or maybe they do something they’ve never done before. Here, Katniss travels through the arena looking for water, and while she is still in an intense environment, she has a bit of a break.

Chapter 12 is time for the hero to compare their current world to how things were at the novel’s beginning. After realising Peeta has teamed up with her enemies, Katniss reflects on their relationship and compares this Peeta to the person she was friends with.

Block Five – Crisis of New World

  • Chapter 13: Build-up (set-up)
  • Chapter 14: Midpoint (conflict)
  • Chapter 15: Reversal (resolution)

The fifth block is all about the midpoint, or the main crisis or conflict of your novel.

Chapter 13 is the build-up to the midpoint and Chapter 14 is the midpoint itself. A good midpoint will dramatically change the hero or impact their life in a negative way. In The Hunger Games, Katniss is pushed towards the Career tributes in Chapter 13, and escapes from them after Peeta saves her in Chapter 14.

Chapter 15 is the immediate reaction or consequence of the midpoint. Here, Katniss makes an alliance with Rue and they formulate a plan to take down the Career tributes.

Block Six – Finding a Solution

  • Chapter 16: Reaction (set-up)
  • Chapter 17: Action (conflict)
  • Chapter 18: Dedication (resolution)

In Chapter 16, the hero reflects on the long-term impacts of the midpoint. In The Hunger Games, Katniss realises that to take down the Careers, they need to stop their food supply.

In Chapter 17, the hero decides to take action to resolve the problem created by the midpoint; however, they realise the enormity of their task when things don’t necessarily go to plan. In Chapter 17, Katniss blows up the Career’s food supply, but before she and Rue can celebrate, Rue is attacked by another tribute.

Despite the set-backs, in Chapter 18 the hero decides that they will succeed no matter what. Rue dies in Chapter 18, and Katniss promises to win for her.

Act Three (resolution)

The final act is all about resolutions. In the third act, the hero needs to find solutions to the conflict created by the midpoint, and you as the author need to make sure you tie up all the loose ends.

Block Seven – Victory Seems Impossible

  • Chapter 19: Trials (set-up)
  • Chapter 20: Pinch (event/conflict)
  • Chapter 21: Darkest moment (resolution)

In Chapter 19, the hero faces significant trials. These trials are extremely difficult for the hero and is something the hero has never experienced before. Here, Katniss races to find Peeta and struggles to help save his injured leg.

Chapter 20 is the second pinch, where the hero experiences something completely unexpected that makes everything even worse. In Chapter 20, Peeta’s injury leads to blood poisoning.

This plot twist leads to the darkest moment in Chapter 21 where the thought of success is incomprehensible. Here, Katniss risks everything to get medicine for Peeta, and the chapter ends with her passing out from her own injuries.

Block Eight – Hero Finds Power

  • Chapter 22: Power within (set-up)
  • Chapter 23: Action (conflict)
  • Chapter 24: Converge (resolution)

Having hit rock-bottom, the hero remembers their desire to succeed in Chapter 18 and finds the power within to continue on. In Chapter 22, Katniss and Peeta both start to recover from their injuries.

After deciding they can do it, the hero takes action in Chapter 23, and this action causes the plotlines to converge and come together in Chapter 24. In Chapter 23, Peeta and Katniss realise how close they are to winning, and in Chapter 24 all of the tributes are pushed towards the lake by the Gamemakers for the final battle.

Block Nine – Hero Fights and Wins

  • Chapter 25: Battle (set-up)
  • Chapter 26: Climax (conflict)
  • Chapter 27: Resolution (resolution)

Block nine is the finale. In Chapter 25, the character has one last battle. This doesn’t have to be a physical battle – it could be a fight between friends or lovers, or a mental battle your hero has with themselves. Here, Peeta and Katniss try to survive the freezing night and kill Cato.

Chapter 26 is the final climax. The decisions the hero makes here will impact the rest of their life; it is the point of no return. In The Hunger Games, Katniss and Peeta pretend to eat the poisonous berries, which leads to President Snow stopping them by declaring them both winners. However, Katniss realises that despite winning the Games, she’s now in even more danger.

Chapter 27 is the resolution or the immediate reaction to the hero’s decision in the last chapter. Here, Katniss and Peeta finally get to go home.

The way you end your novel is up to you. You might choose to explain everything, or leave some things (or a lot of things) up to your reader’s imagination. It could be a happy heroic ending, or it could be a tragedy where everyone dies.

Either way, congratulations! You’ve planned a novel.

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One last thing to note: When you start to plan your novel using this structure it’s important to remember it’s just a guideline. You don’t have to change your story to suit the structure; you can change the structure to suit your story. If your plot twist would make more sense earlier or later, move it. These aren’t hard rules. Do what is right for your story.  So take a deep breath, set yourself up in your favourite place to write and start planning!

Via: https://writersedit.com/plan-novel-using-three-act-structure/

Top 10 Plot Twists In Fiction | The Guardian 

Gone Girl Film Shot

The word “twist” exerts a strange power over crime fiction addicts like me. Publishers know this all too well, which is why the promise of a twist is often used to advertise books that don’t have twists at all. “You’ll never see the breathtaking twist coming!” screams the press release. Well, no, you won’t, because it doesn’t exist. And so many people think a brilliant resolution is the same thing as a twist. It isn’t. Agatha Christie’s Murder on the Orient Express offers the most impressive puzzle solution in all of detective fiction. But, however ingenious and surprising, it’s not a twist ending.

So what is a bona fide twist? In my view, it has to be something that overturns or negates an already drawn conclusion or a firmly entrenched and reasonable assumption (Orient Express overturns an unreasonable assumption on the part of the reader, which is why I wouldn’t call it a twist).

Writing a twist isn’t an exact science, but part of what makes the brilliant ones so attractive in fiction is that feeling of having everything you thought you knew reversed, inverted or demolished; the fictional equivalent of being on a rollercoaster that suddenly turns upside down, leaving everything looking and feeling very different for the rest of the ride. And the new picture created by the shake-up of the twist has to be one that makes sense and is not risible. For example, if you find out at the end of the novel that the murderer is not the person whose fingerprints were on the knife, but rather his long-dead second cousin who developed marvellous fingerprint-forging technology unknown to science or the reader – that’s not a twist, it’s a travesty.

It’s going to be very hard to do this without spoilers, but I will try. In my opinion, these are 10 excellent examples of novels with genuine twists:

1. My Sister’s Keeper by Jodi Picoult
A moving, complex moral-dilemma story about a girl who takes her family to court in order to win the right to refuse a life-saving bone marrow transplant to her dying sister. What’s great about the twist is that you were neither waiting nor hoping for it – the story feels totally satisfying and complete without it – and yet when it arrives, you realise that there was a carefully and subtly carved space all throughout the novel for that perfect twist to fit into.

2. Rebecca by Daphne Du Maurier
A psychological suspense classic about a woman who marries a man she adores, only to discover that he, his home and his staff are apparently still obsessed by his far more charismatic first wife, to whom our heroine fears she can never measure up. Without revealing anything that’s gone before to be a lie, the twist changes the meaning of everything we’ve seen so far and provides the novel with an exemplary and memorable resolution.

3. Jane Eyre by Charlotte Brontë
Not all superb twists need to come at the end. There’s a twist in the middle of this classic novel that takes it to another level of passion, intrigue and excitement. There are hints before the big reveal, but not even the most imaginative reader would dare to imagine the truth. Twists in the middles of stories rather than at their ends tend to say: “And what do we all think now?” rather than, “So THIS is what we’re supposed to think!” – and this one does that brilliantly.

4. Before I Go to Sleep by SJ Watson
An unputdownable novel about a woman who loses her memory every night as she sleeps, and wakes each next morning remembering nothing. The author expertly leads the reader to assume that there is a binary choice in terms of who and what to suspect, and then reveals at the last moment that there is a third and even more terrifying possibility…

5. We Need to Talk About Kevin by Lionel Shriver
You can tell when a twist is brilliant, because copycats spring up all over. The twist at the end of Lionel Shriver’s masterpiece about a school shooting and a difficult mother-son relationship is one that literally takes your breath away. I’ve read two novels since that have copied and pasted Shriver’s twist as if it hadn’t been done before (or perhaps they simply hadn’t read Kevin!). Either way, neither of the copycats used the twist with Shriver’s panache.

6. Innocent Blood by PD James
I know I don’t have to choose a No 1 – this is, after all, a top 10 – but this novel contains my favourite twist in all of crime fiction. Halfway through this story of an adopted young woman determined to trace her biological parents, there is a twist that made me leap up off my sun-lounger and yell at random holiday makers that they needed to read this book urgently. I won’t say any more – just, please, read it.

7. Shutter Island by Dennis Lehane
This novel about a US Marshal trapped on an island, trying to find an escaped murderer in a sanatorium, has a twist of such audacity, I’m not sure I’d have dared, but I’m very glad Lehane did. It’s so bold and all-encompassing, it’s perfect.

8. Gone Girl by Gillian Flynn
This brilliant thriller contains a meta-twist, devised and inflicted by a central character within the novel rather than by the author herself. It’s a middle-twist rather than an end-twist, and the character responsible spends much of the novel afterward boasting about it. It works exceptionally well.

9. The Secret House of Death by Ruth Rendell
A brilliant crime novel by one of the UK’s finest crime writers, in which the murder itself is the twist. You won’t understand what I mean by that – so you must read the book! The last line, which underscores how profoundly the reader has been fooled, sent a shiver down my spine.

10. Behind Closed Doors by BA Paris
I’m not sure all readers would recognise that this is a twist-based story, but it is. It twists our expectations of the entire psychological thriller genre. The novel begins as a portrait of a marriage in which the wife seems to be a little nervous around her husband… What could possibly be going on? Is he abusive? Does she have a guilty secret? I liked this novel from the start, but a few chapters in, one of the main characters provides information that’s so startling, it shakes up all of the reader’s expectations about the genre they think they’re reading, making the rest of the story all the more exciting.

So there you have it – I hope these have whetted your appetite. If you haven’t yet read them, add them to your TBR pile immediately! Happy reading 🙂

Via: https://amp.theguardian.com/books/2017/aug/16/top-10-twists-in-fiction

Writing Fundamentals: Plot Points

What is a plot point? Like scenes and the four stages of a novel (inciting incident, rising action, climax, and ending), plot points are another structural element of your story which you’ll need to keep track of. For the writer, plot points are destinations. We write with the purpose of moving the characters towards the plot point. For the character, however, the plot point is a beginning…

via Writing Fundamentals: Plot Points | Truth, Fact, and Fiction

What’s Your Story? Character vs. Plot-Driven

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Knowing how to approach your plot will help you work out many things in the rest of your work, from what to research, to chapter length and even the impact of your ending.

Most stories can be classified as plot-driven or character-driven (and sometimes a mash-up of the two). But what do these terms really mean? A lot of websites provide conflicting definitions and examples, but here’s what it boils down to…

Via http://writersedit.com/character-plot-driven/

What we can Learn from J.K. Rowling about Plotting 

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At the height of the Harry Potter novels’ popularity, I asked a number of people why those books in particular enjoyed such a devoted readership. Everyone gave almost the same answer: that author J.K. Rowling “tells a good story.” The response at once clarified everything and nothing; of course a “good story” can draw a large, enthusiastic (and, at that time, impatient) readership, but what does it take to actually tell a good story?

Via http://www.openculture.com/2014/07/j-k-rowling-plotted-harry-potter-with-a-hand-drawn-spreadsheet.html