Detailed Narrative Structures

If you have a general idea for a story but either aren’t experienced in writing a story to completion or are stuck somewhere along the way, a detailed narrative structure can give you some ideas as to how to get to typing “the end.” I’ll be talking about Lester Dent’s Master Plot Formula, Algis Budry’s Seven-Point story structure, and Dramatica.

Lester Dent Master Plot Formula

The Lester Dent formula is just that: a formula. It comes as close to a “input this, and you get a story” equation as any formula I’ve seen. Those who have used it swear by its success. It divides a short story into four, 1500-word sections with details that need to be included in each. Thanks to this site for helping me learn about this formula.

Genre: Works best for adventure, detective, western or war stories.

Story length: Creates a 6000-word pulp story.

• First 1500 words: the more of the following four details you include, the more unique your story will feel.

1. A different/unusual murder method for villain to use
2. A different thing for villain to be seeking
3. A different locale
4. A menace which is to hang like a cloud over hero

1. Shovel more grief onto the hero.
2. Hero, being heroic, struggles, and his struggles lead up to:
3. Another physical conflict.
4. A surprising plot twist to end the 1500 words.

• Third 1500 words

1. Shovel the grief onto the hero.
2. Hero makes some headway, and corners the villain or somebody in:
3. A physical conflict.
4. A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

• Fourth 1500 words

1. Shovel the difficulties more thickly upon the hero.
2. Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)
3. The hero extricates himself using HIS OWN SKILL, training or brawn.
4. The mysteries remaining—one big one held over to this point will help grip interest—are cleared up in course of final conflict as hero takes the situation in hand.
5. Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)
6. The snapper, the punch line to end it.

Algis Budry’s Seven-Point Story Structure

This structure follows the well-known three-act format with a bit more detail as to what to include in each act. Budry’s main idea is to have 1) a character (2) in a context (3) with a problem (4) who tries to solve his problem (5) but fails, (6) and then, at the climax of the story, makes a final attempt that either succeeds or fails, after which (7) the result is “validated” or resolved. In other words, put a character in a setting with a problem and then employ try/fail cycles until the climax where he succeeds or ultimately fails before ending with a validation. Head to this site or this site to see examples and learn more.

Genre: Works best for science fiction, fantasy. Also can work for any type of fiction.

Story length: Creates a full-length novel.

• The Beginning:
  1. A Character
  2. In a setting
  3. With a problem
• The Middle, based on the items established in the Beginning:
  1. Character(s) attempts to solve the problem in a logical way but doesn’t understand the true nature of the problem. The resulting catastrophic failure reveals more of the problem to the character(s).
  2. Two more attempts to solve the problem. Each requires more resources or effort on the part of the protagonist(s). Each ends in failure and costs them more, but also helps reveal the solution.
  3. A final push/attempt to solve the problem, giving all remaining to the solution, and resulting in either ultimate victory or final failure up to and including death of the protagonist(s).
• The End:
  1. Validation; someone authoritatively telling the reader the story is really over, either one of the characters, or through the general denouement of the story.

Dramatica

The Dramatica theory of story involves looking past the basic narrative structures that focus on plot or character or genre or theme and instead using four “throughlines,” or threads, that a writer weaves together to create a story with true depth. Each thread provides its own perspective, as well as its own character, plot, and theme. Digging into Dramatica can feel a bit overwhelming because there are a lot of new terms to provide a vocabulary as a story that gets broken down to its basic components. This explanation had me confused, so I would read this one first.

Genre: fiction

Story length: full-length novel

I’m not going to go into all of Dramatica’s ins and outs here (maybe in a separate post if there’s a lot of interest), but I’ll leave you with two components that are the most foundational: the throughlines and character arc.

• The four throughlines. Each throughline provides an angle on the events of the story as they unfold. Each has its own character, plot, theme, and genre.

1. Objective/Overall Story: the traditional idea of “plot”–a dispassionate overview of the events of the story
2. Main Character: the firsthand account of the events
3. Influence Character: the account of events from an alternate, often opposite, perspective to the MC
4. Relationship Story: the course of the interplay between main character and influence character

• Character Arc is not just how a character changes, but has two factors, one constant and the other fluid

1. Resolve: what the main character wants throughout the story (what they really want, not what they think they want, which may change); static
2. Growth: how that character grows as they try to achieve what they want

Further Resources

This site outlines the narrative structure of many books and movies.

I found this site to be helpful in thinking about how a narrative structure can be useful to you.

Here are seven additional plot structures for you to think about.

Conclusion

I still have a lot to learn about plot structures, but this post helped me to dip my toes into the world of plotting (and I had no idea there were SO MANY story structures out there). If there’s a specific narrative structure you’d like me to talk about, let me know in the comments! If your plot feels strong but your dialogue feels weak, check out this post.