Story Frameworks
Proven templates to structure your narrative
8 Essential Events
Nor Sanavongsay
I adapted this structure from other frameworks, this structure is optimized for children's books (32 pages). It focuses on clear character agency and pacing.
- Character living their life — Introduce main/sub characters living their mundane life. (Pages 1-6)
- Problem arises — An obstacle appears or something provokes action. (Pages 7-8)
- Acknowledge problem — Main character realizes the problem and tries to solve it. (Pages 9-12)
- Attempt to solve problem — They try and fail a few times, but they must be the one acting. (Pages 13-20)
- Find a solution — The main character finds a way to solve the problem. (Pages 21-26)
- Situation intensifies — The solution makes things worse (Climax). (Pages 27-28)
- Resolution — The problem is resolved; character gets what they want or deserve. (Pages 29-30)
- Learned a lesson — Discovery about self/others and what was learned. (Pages 31-32)
The monomyth pattern found in myths and stories worldwide. A hero ventures from the ordinary world into adventure, faces trials, and returns transformed.
Act I: Departure
- Ordinary World — The hero's normal life before the adventure
- Call to Adventure — A challenge or quest presents itself
- Refusal of the Call — Initial reluctance or fear
- Meeting the Mentor — Guidance from a wise figure
- Crossing the Threshold — Commitment to the journey
Act II: Initiation
- Tests, Allies, Enemies — Challenges and new relationships
- Approach to the Inmost Cave — Preparing for major challenge
- The Ordeal — The central crisis or battle
- Reward (Seizing the Sword) — Achievement or treasure gained
Act III: Return
- The Road Back — Beginning the journey home
- Resurrection — Final test, death & rebirth
- Return with the Elixir — Hero returns transformed
A popular screenwriting formula with 15 story beats that hit at specific page counts. Named after the advice to have your hero do something likable early on.
Act I: Setup
- Opening Image — Sets the tone and shows the "before"
- Theme Stated — Someone hints at the lesson
- Setup — The hero's world and flaws
- Catalyst — Life-changing event happens
- Debate — Hero resists change
Act II: Confrontation
- Break Into Two — Hero enters the new world
- B Story — The love story or friendship begins
- Fun and Games — The promise of the premise
- Midpoint — False victory or false defeat
- Bad Guys Close In — Problems intensify
- All Is Lost — The lowest point
- Dark Night of the Soul — Hero wallows in defeat
Act III: Resolution
- Break Into Three — Solution found using A + B stories
- Finale — Hero proves they've changed
- Final Image — Opposite of opening image
Storytelling wisdom distilled from Pixar's story artists. Not a structure, but principles that make stories emotionally resonant.
You admire a character for trying more than for their successes.
You gotta keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be very different.
Trying for theme is important, but you won't see what the story is actually about till you're at the end of it. Now rewrite.
Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.
What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.
When you're stuck, make a list of what WOULDN'T happen next. Often the material to get unstuck will show up.
Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.
Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.
Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.
Why must you tell THIS story? What's the belief burning within you that your story feeds off of? That's the heart of it.
If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.
No work is ever wasted. If it's not working, let go and move on - it'll come back around to be useful later.
You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
Exercise: take the building blocks of a movie you dislike. How do you rearrange them into what you DO like?
You gotta identify with your situation/characters, can't just write 'cool'. What would make YOU act that way?
What's the essence of your story? Most economical telling of it? If you know that, you can build out from there.
A four-act structure from East Asian storytelling. Unlike Western structures, it doesn't require conflict. Instead, it relies on contrast and twist.
Introduction
Introduce characters, setting, and the world. Establish the normal state of things.
Development
Deepen the story. Follow the ideas introduced. No dramatic conflict needed.
Twist
The unexpected turn. Something that puts everything in a new light. Contrast, not conflict.
Conclusion
Reconcile the twist with the earlier parts. Show the new understanding.
A simple fill-in-the-blank template for improvisation and storytelling. Perfect for quickly outlining any story idea.
