Story structure is often taught by story analysts as plot, but it is really the DNA of our protagonist’s internal journey to transformation.
Without a sense of a beginning, middle and ending, you are likely going to get lost, and by having a sense of how to proportion your story you will be more aware of where your story is not working.
Structure is related to THEME and not PLOT. By working with structure we begin to understand what we are trying to express. Don’t assume or take for granted that you know what you are trying to express. I always say that “Our idea of our story is never the whole story. It is not that our idea is incorrect. It is that it is incomplete.”
By deepening our relationship to story structure, we develop the tools to write a more compelling narrative.
I always love to hear from writers. Please share with me your thoughts on this.
Structure is related to theme and not plot; as actions do not necessarily amount to “a story”. By God, I think I’be got it. Thank you for sharing and God bless,
Please keep me posted.
Although this concept makes sense I had never thought about story in those terms, it sounds totally new like a psychological explanation on human behaviour that happens only on a subconscious level. I feel I have to access this idea over and over not to lose track of it. I’m on day 35 of the novel and must say that working with this structure in mind is helping me have the feeling that I have something to say, otherwise I would have already given up. It works.
I’m working on the re-write of the draft I wrote in your novel class. This whole concept of transformation has been a spiritual experience for me. Working the theme through every main character has made me so much more aware of the dynamics I see playing out each day in real life.
This has been really mind expanding and soul searching work. Thanks so much for being the spirit guide.
Thanks for all the replies. Yes, story structure is a bottomless mystery – it is not a math formula, despite the approach so many story analysts seem to take. When we focus on plot we get stuck, but when we focus on our protagonist’s primal desire, this leads to a shift in perception. Let’s say our story is about fame. In the beginning of La La Land, fame is a fantasy, a glorified dream that exists somewhere ‘out there’ but by the end of the story we discover that it is a function of risking everything, and that it comes at a tremendous cost. We are moved by the ending because we understand that the glitter can never fulfill the inner yearning for connection.