It follows a format that sucks readers in; introduces characters, character development , and world building; and compels readers to keep reading in order to satisfy conflict and answer questions. So how do you build a plot with this cause-and-effect thing? Fortunately, the answer is simple: you break plot down into its components. The components of plot are like puzzle pieces. If you want your reader to see the final picture, you need to see the shape of each component and fit them into their proper place.
Does anyone else feel like this puzzle piece is closing a hole in the universe or something? Just me? Too much Dr. Who, I guess. At the beginning of the story, the exposition establishes characters and setting. Learn more in our full exposition guide here. Inciting Incident.
This movement culminates in the climax and denouement. Learn more in our full inciting incident guide here. Rising action, or Progressive Complications. This is the largest part of the story, and where most of the conflict takes place. You know that quote about getting your characters up a tree, then throwing rocks at them?
This is rock-throwing time. Learn more our full rising action guide here. Dilemma or crisis, according to Story Grid. Learn more in our full dilemma guide here. This is the big moment! If you did it right, this is the worst i. Learn more in our full climax guide here. Denouement or Resolution. Your readers can sit with your characters a little in their new normal, emotionally wrapping everything up so your reader can put the book away without flipping back through the pages to see what they missed.
Learn more in our full denouement guide here. Historical Note : One of the earliest writers to talk about this structure was Gustav Freytag, the German author who wrote in the middle of the 19th century. Falling action is usually described as the events to wind down the plot after the climax, but in most stories, the climax happens near the end of a story, usually in the third to last scene.
Thus, the falling action and denouement are virtually indistinguishable. To avoid confusion, we believe the falling action should be phased out from use as an element of plot. In a short story, however, these elements will be necessarily abbreviated. For example, where rising action might have many complications in a novel, it might only have one complication in a short story. Resolution: Six months later, Lockwood goes back to see Nelly and learns that Heathcliff, still heartbroken and now tired of seeking revenge, has died.
Cathy and Hareton fall in love and plan to get married; they inherit the Grange and the Heights. Lockwood visits the graves of Catherine and Heathcliff, noting that both are finally at peace. Exposition: Teenager Carrie is an outcast and lives with her controlling, fiercely religious mother. One day, she starts her period in the showers at school after P. Not knowing what menstruation is, Carrie becomes frantic; this causes other students to make fun of her and pelt her with sanitary products. Around this time, Carrie discovers that she has telekinetic powers.
Rising Action: Carrie practices her telekinesis, which grows stronger. The students who previously tormented Carrie in the locker room are punished by their teacher. One girl, Sue, feels remorseful and asks her boyfriend, Tommy, to take Carrie to the prom. But another girl, Chris, wants revenge against Carrie and plans to rig the prom queen election so that Carrie wins. Carrie attends the prom with Tommy and things go well—at first. Everybody laughs at Carrie, who goes mad and begins using her telekinesis to start fires and kill everyone in sight.
Falling Action: Carrie returns home and is attacked by her mother. She kills her mother and then goes outside again, this time killing Chris and Billy. As Carrie lay dying, Sue comes over to her and Carrie realizes that Sue never intended to hurt her.
She dies. Resolution: The survivors in the town must come to terms with the havoc Carrie wrought. Some feel guilty for not having helped Carrie sooner; Sue goes to a psychiatric hospital. Exposition: Bella Swan is a high school junior who moves to live with her father in a remote town in Washington State. She meets a strange boy named Edward, and after an initially awkward meeting, the two start to become friends. One day, Edward successfully uses his bare hands to stop a car from crushing Bella, making her realize that something is very different about this boy.
Rising Action: Bella discovers that Edward is a vampire after doing some research and asking him questions. The two develop strong romantic feelings and quickly fall in love.
When playing baseball together, however, they end up attracting a gang of non-vegetarian vampires. One of these vampires, James, notices that Bella is a human and decides to kill her. Edward and his family work hard to protect Bella, but James lures her to him by making her believe he has kidnapped her mother. Climax: Tricked by James, Bella is attacked and fed on. At this moment, Edward and his family arrive and kill James. Bella nearly dies from the vampire venom in her blood, but Edward sucks it out, saving her life.
Falling Action: Bella wakes up in the hospital, heavily injured but alive. She still wants to be in a relationship with Edward, despite the risks involved, and the two agree to stay together. Resolution: Months later, Edward takes Bella to the prom.
The two have a good time. Bella tells Edward that she wants him to turn her into a vampire right then and there, but he refuses and pretends to bite her neck instead. Despite what some critics might claim, Twilight does, in fact, have a plot. What is plot? These events must be purposeful and organized in a logical manner that entices the reader, builds tension, and provides a resolution.
All plots have a beginning, middle, and end, and usually contain the following five points in this order:. Sketching out a plot diagram can help you visualize your story and get a clearer sense for where the climax is, what tensions you'll need to have in order to build up to this turning point, and how you can offer a tight conclusion to your story. A key literary element as it turns out. Learn about other important elements of literature in our guide. We've also got a list of top literary devices you should know.
Working on a novel? Then you will definitely want to know what kinds of tone words you can use , how imagery works , what the big difference between a simile and a metaphor is , and how to write an epilogue. Interested in writing poetry? Then check out our picks for the 20 most critical poetic devices. She is passionate about education, writing, and travel. Our new student and parent forum, at ExpertHub. See how other students and parents are navigating high school, college, and the college admissions process.
Lure : A person must decide whether to give in to temptation, revenge, rage, or some other passion. He grows from discovering things about himself. Race : Characters chase wealth or fame but must overcome others to succeed. Gift : An ordinary person sacrifices to aid someone else. The lead may not be aware of his own heroism until he rises to the occasion.
Regardless which basic plot you choose, your goal should be to grab your reader by the throat from the get-go and never let go.
Ask yourself two questions: Is your story idea weighty enough to warrant 75, to , words, and Is it powerful enough to hold the reader to the end? I immersed myself in this book in the s, and my writing has never been the same. For a thriller it might be a life or death situation.
In a romance novel, it could mean a young woman must decide between two equally qualified suitors—and then her choice is revealed a disaster. The trouble is seen in an entirely different light once a reader is invested in the character. Everything your character does to try to get out of that trouble makes it only worse….
Every complication must be logical not the result of coincidence , and things must grow progressively worse. Make your predicament so hopeless that it forces your lead to take action, to use every new muscle and technique gained from facing a book full of obstacles to become heroic and prove that things only appeared beyond repair.
Reward readers with the payoff they expected by keeping your hero on stage, taking action. Give them a finish that rivets them to the very last word. Gone are the days when a reader enjoyed curling up with a book and spending the first hour or two by immersing herself in the beauty of the setting and culture.
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