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How to Write an Ironic Story: 10 Types of Irony to Consider
Ironic moments in life can make us change our perspectives, laugh, or discover something we didn’t know before. When you’re trying to make them happen in a story, it can be more difficult than you first realized.
Here’s a quick guide to writing irony in your next story so you can think of those moments as a strategic writer.
What Is Irony?
“What? That’s so ironic.”
We’ve all said a similar line when reacting to something before. Do you remember what it was? Can you point out why it was ironic?
Definition 1: Irony is when something happens or someone says something other than what you expect.
Let’s imagine your protagonist walking outside. They’re in a good mood, but quickly realize it’s pouring rain. They were supposed to go on a walk, but they look up at the clouds and say, “What a beautiful day!”
As a reader, you’d expect that character to be frustrated that the rain ruined their plans to go walking. It’s ironic that they actually find the weather beautiful. It might even make your reader laugh in surprise.
Definition 2: Irony is when something happens or someone says something other than what you expect but in a sardonic way.
This might be the definition of irony that you naturally think of. It’s when something unexpected happens and you have a bitter laugh about it. Deep down, you likely suspected the truth all along. The reveal is negative in nature.
Imagine a politician pushing a bill to outlaw the color blue. They make speeches and go on news networks saying how the color blue is a danger to everyone, so it must be outlawed immediately. While pushing this narrative, a journalist discovers leaked photos of the politician’s interior decorating—their home is entirely blue. Additionally, news comes out that the politician had recently received a significant reelection donation from the We Hate the Color Blue corporation.
The reveal means that the politician didn’t believe what they were saying. They were only passing the law because they received money to do so, even though the color blue wasn’t harming anyone or causing a problem.
If you lived in this world, you’d likely read the headlines and roll your eyes. It’s a frustrating irony that isn’t altogether unexpected, but still a reveal.
Ironic Plot Devices
There are a few ways to use irony as a plot device. You can use them to reveal things to your characters, change your plot’s direction, or cause character growth. Check out a few examples to see how.
1. An Unforeseen Blessing
Definition: Something good happens by something bad happening.
A character is in desperate need of a new car. They don’t have the money to buy one and their current vehicle is so old, they won’t get more than a couple hundred dollars to trade it in.
One day while driving it, the car shuts down. The engine melts into the pavement while your character tries scooping it up with an old milkshake cup from their backseat.
Someone records the entire thing from a distance and posts it online. The video goes viral, prompting the milkshake restaurant chain to give the character a brand new car for free.
The loss of their old car and potential public embarrassment is terrible, but your character gets the car they need. Some would say the melting engine was a blessing in disguise. Others would call it irony.
2. Accidental Harm
Definition: Someone attends to hurt someone, but the wrong person gets hurt instead.
There are a few ways this irony could play out. Your protagonist could set a bucket of water over a doorframe, hoping it pours onto their little brother when he gets home from school. However, the protagonist gets distracted during the day and walks through the door themselves. They get soaked and become the target of accidental harm.
Their grandfather could come home before their brother too. When the grandfather gets soaked by the bucket prank, they’re the victim of accidental harm. The irony in both situations is that the actual target—the brother—never has the chance to fall for the prank.
3. Good Actions Have Opposite Effects
Definition: Someone attempts to do something the right way, but it doesn’t work out in their favor.
Your protagonist studies through the night for a high school exam. They pour all of their efforts into staying up and retaining as much information as possible because they realize they need better grades to go to their dream college.
After taking the test and getting it back, your protagonist gets a perfect score. However, the teacher announces they graded everyone on a curve due to an issue with their previous lesson plan. Everyone gets an A and the protagonist gets frustrated because they lost sleep over studying that didn’t ultimately matter.
4. Selfish Actions That Backfire
Definition: Someone does something exclusively for their own benefit and anyone or anything else benefits instead.
A character decides to run in a community race to win the prize money for a vacation. Halfway through the race, they realize they’re out of shape and there’s a shortcut up ahead. They take the shortcut and win, but the judges quickly realize they cheated to reach the finish line.
Their prize money automatically goes to the second runner-up, which happens to be the character’s worst enemy. They watch their worst enemy spend the money on lottery tickets that don’t result in any winnings.
5. Accidental Self-Harm (Physical or Non-Physical)
Definition: Someone attempts to hurt another person, but it hurts them instead.
When you picture this irony, imagine Road Runner and Wile E. Coyote. The coyote always wants to capture or hurt Road Runner, but ends up running into his own traps instead.
Sometimes this irony can be a physical harm from a prank gone wrong or it might be an assassination that doesn’t work out. It could also be a character spreading a rumor to hurt another person, but the rumor affects their own reputation instead.
6. A Sacrifice Without Reward
Definition: Someone makes a major sacrifice that ultimately is meaningless.
Characters experiencing this irony give up something they care about and get nothing to show for it. It might be lighter in nature, like a sister giving up her spot as captain of the soccer team so her equally-talented sister can have the role. Ultimately, the coach cuts them both from the team for not jumping at the leadership role fast enough.
It can also carry a heavier theme. A character could sacrifice to keep their loved one from getting hurt, but they die and their loved one gets hurt in the process anyway. There are multiple ways for irony to serve your plot. You just have to give it a purpose in connection with your theme or message.
7. Great Things Happening to Terrible People
Definition: Someone looks forward to achieving a rare thing they want very badly, but it goes to the worst person they can think of instead.
Your protagonist’s character works hard to put themselves through school, buy a house, and even start a family. One day, they get a letter that a grandparent they never knew recently passed away and wants to give them a million-dollar inheritance. It would free them of their student loan and mortgage debt, but the cruel parental figure that shares your character’s name gets the money instead.
8. An Unwanted Achieved Goal
Definition: Someone finally achieves their long-term goal, but they realize it isn’t what they wanted.
Sometimes the idea of something is better than getting it. Your protagonist may finally move to the mountainside cabin of their dreams, but realize they hate living in an area that gets heavy snow after the first winter storm hits. It’s ironic and a bit depressing, but it shifts your character toward new goals that drive the plot in a fresh direction.
9. Trivial Events Undo a Character’s Work
Definition: Someone’s hard work or life’s work gets ruined by a tiny detail they didn’t see coming.
When someone’s ultimate goal gets undone by something minor, it’s devastating. It’s also something readers connect with because it happens in real life.
Your protagonist might work really hard to earn their pilot’s license, only to get up in their first test flight and realize they have an innate fear of heights. Their future career as a flight operator for a private space exploration company depended on getting that license, so they have to rethink everything.
10. Success Without Meaning
Definition: Someone achieves something at long last, but can’t enjoy it for whatever reason.
Your protagonist decides to become CEO of a major tech company so they can pay off their parent’s debt and provide for them forever. When they finally get that job after a lifetime of earning a college degree and climbing the company’s ladder, their parent doesn’t want their money. Now they’re stuck in a job they might not want for themselves because the purpose behind it will never exist.
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You can write an ironic story with any of these tricks and reach your readers’ hearts. Consider which storytelling tools serve your story’s theme or message to match your plot with the best plot device.
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
Structuring a Series: Part IV
Structuring a Series Part IV: Follow-Up
Welcome back to Structuring a Series! This is mostly a follow-up to the rest of the blog series. If you haven’t yet read Parts I, II, or III, or familiarized yourselves with Dan Well’s 7 Point Plot Structure, now’s a good time to do it! This installment is for structuring a series that is not a trilogy. Using this structure is best for series with a serialized structure (or mythology arc)…
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Structuring a Series: Part III
Structuring a Series Part III: Planning a Series from 1 Book
Welcome back to Part III of Structuring a Series! If you haven’t read Parts I and II yet, you might want to. Or at least familiarize yourself with Dan Wells’s 7 Point Plot Structure. (No word on which one is a bigger time commitment.) Ok, so… you want to write a trilogy (or some other type of close-ended series with at least one arc running through the whole thing), BUT you only know what you…
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Structuring a Series: Part II
Structuring a Series: Part II: Extrapolating Complete Episodes from the Trilogy #writerslife
Welcome back! If you haven’t checked out Part I already, go ahead and do that; we’ll be right here when you get back. Extrapolating Complete Episodes from the Trilogy (more…)
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Structuring a Series: Part I
Structuring a Series: Part I
Last Tuesday, my writing group did a mini-workshop of Dan Wells’s 7 Point Plot Structure, which is awesome and everyone not familiar with it should go check it out (if you don’t have time to watch the whole thing just now, I’ll go over the basics in this post, but I still suggest seeing his presentation for more details). Anyway, Two is trying to plot a trilogy, which got me thinking about how…
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Inanimate Insanity S2 EP16 and EP17 spoilers??
After watching the episode, I’ve been looking at the reactions from people on this site and a lot of them are similar, saying that they, “can’t just end the show like that”, or just expressing general sadness of the show being “finished”.
However, no, inanimate insanity is (most likely) not ending like that. How do I know? Well it’s by looking at the language used for the finale episodes.
In the trailers for inanimate insanity they talk about them as “act 1” and “act 2” like the image below shows in the trailer for II 17 and II 16.
Which, if you don’t know what that’s referring to, it’s talking about the 3 act structure usually found in pieces of media like films and plays.
Seeing as how in the II ep 16 trailer it describes it as a movie as shown below, it’s most likely not a coincidence.
(Below is a general outline of the 3 act structure that I found through google on a website called “Reedsy Blog”.)
Since II 16 and 17 released, it means we’re already through the first 2 acts, meaning that the final act will include the climax and the falling action.
(Heres a description of the climax and falling action I found on google)
So yeah, that’s it really. I mainly made this post to hopefully calm people’s worries about episodes 16 and 17!
(Even though this may worry people even more lol! Like, “WHAT DO YOU MEAN THERES MORE?!)
(Admittedly I don’t know that much about the 3 act structure, I’m just going off what I know and have seen)
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
Here's some writing resources on worldbuilding, pacing, and story structure, since I see many people struggle with them.
Worldbuilding
Worldbuilding In Fantasy - The Best Advice, Tips And Guide
10 Worldbuilding Tips: How to Write an Engaging Fictional World
Worldbuilding Guide & Template: Your #1 Resource
Pacing
7 Quick Tips for Mastering Pacing in Your Story
Story Pacing: The What, Why, and How for a Fiction Writer
Story Structure
Story Structure: 7 Narrative Structures All Writers Should Know
The Hero's Journey: A 17 Step Story Structure Beat Sheet
Save the Cat Plot Structure
The Three-Act Structure
have fun <3
How to Make Your Writing Less Stiff Part 3
Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.
Part 1
Part 2
1. Eliminating to-be verbs (passive voice)
Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.
There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.
My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.
She was standing /// She stood
He was running /// He ran
Also applicable in present tense, of which I’ve been stuck writing lately.
There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.
For once, it’s a cloudless night. /// For once, the stars shine clear.
Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).
Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.
He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.
2. Putting character descriptors in the wrong place
I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.
She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)
Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.
He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.
To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.
3. Lacking flow between sentences
Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.
Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.
From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.
Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.
This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.
4. Getting too specific with movement.
I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.
A ridiculous example:
Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.
Unless tying his shoes is a monumental achievement for this character, all readers would need is:
Jack shoves on his running shoes.
*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.
This also happens with multiple movements in succession.
Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.
Or
Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.
Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.
Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.
If you’re not writing something where the extra details service the character or the story at large, consider trimming it.
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These are *suggestions* and writing is highly subjective. Hope this helps!
Basic Story Structure
Basic story structure looks like this:
Setup/Exposition - we meet the protagonist in their every day life, possibly meet a few other important characters, and learn important basics about the setting. We also learn about the protagonist’s internal conflict.
Rising Action - The inciting incident turns the character’s life upside down, the character responds by forming a goal. The protagonist pursues this goal while the antagonist/antagonistic force throws obstacles into their path, which they must overcome. Sometimes they succeed, sometimes they fail and have to try again or find a way around it. This struggle builds the conflict and increases the tension as the story races toward the climax.
Climax - this is the “big showdown,” where the protagonist faces the antagonist/antagonistic force head-on, and usually (but not always) succeeds.
Falling Action - this is the aftermath of the big showdown, where the dust settles and all the final pieces come to rest. Most of the story’s loose ends will be tied up here if they weren’t tied up already.
Resolution/Denouement - this is where the story is wrapped up once and for all. We see the protagonist (and other characters) settled back in their old life or getting used to a new normal. If there is a moral to the story, it is revealed here. If the story is leading into a second book, a little bit of set-up for the new story will occur here.
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