Jeanette O'Hagan

Story and Structure

At the beginning of the year, I attended Genre Con (put on by Queensland Writers Centre) which included a number of presentations and workshops on Manga and Asian story telling structure, on Scot Wilson and the Indigiverse, as well as a workshop that compared three ways of telling stories - the Hero's Journey, the heroine’s journey and the Asian Kishōtenketsu (起承転結) (a classical four-act narrative structure originating in Chinese poetry that is widely used across East Asian literature, manga, and cinema). And in May, at Christian Authors Showcase Queensland (CASQ), Anne Hamilton digged deep into the Hero's Journey.

And six months later, I'm still pondering about the different approaches to storytelling and structure. 

 

Plotter or Pantser

I have a confession to make. I wrote in first draft most of what is now the Akrad's Legacy series (four books) before seriously looking into structure. . It originally was meant to be one book, though now I'm trying to keep it to four (Akrad’s Children, Rasel’s Song, Lumi’s Allegiance and Mannok’s Betrayal). Mostly because every time the story became too long, I’d split that book into two, but then needed to add additional plot arcs so each book had its own resolution within the overall narrative arc.

Well, since then I have dived into the different approaches to story and structure - including K M Wieland's many wonderful posts a lot of useful information on plot and structure, Stephen King's On Writing,  Blake Synder's Save the Cat (which focuses on modern movie structure), Lisa Cron's Story Genius, Susan May Warren's Story Equation, Stephen James' Story Trumps Structure.  (Both King and James are pantsers.)  Plus, while getting a MA (Writing) lots on Joseph Campbell's The Hero with a Thousand Faces and Chrstopher Volger's The Writers's Journey (an adaptation of Campbell).

So I know the theory. 

But here's the rub.  I'm an organic writer or a discovery writer or maybe a tweener or a planster. When I start writing I need to have three tent pegs (or maybe triangulation points) to start the story - not necessarily the same each time. It could be any combination of a theme or premise (a lot of my short stories start with theme or genre), or the main character, or the setting, or sometimes the end or an even along the way. The rest develops as I write and I often plot on the fly. And  then there are the times the story and/or the characters take over.

I don't think that means my stories lack plot or structure. In fact, at least one reviewer thought my books were plot driven. (I like think they are both character and plot driven.)

Firstly, as avid readers we imbibe an intuitive sense of story structure, much as we first learn language - not by studying grammar but by soaking up the language that surrounds us. 

And secondly, I learn intuitively and write intuitively. Give me a garden with curving lines, fallen leaves and sprawling flowers, not strict, straight, geometical patterns. 

I love learning patterns, but I hate having to plod one foot in front of the other. I like tweaking and transcending (not breaking) the rules. So sitting down with a plan with precise percentage points of when center elements should be added in kills my creativity. 

We are all different.

Each of us probably falls somewhere along of the spectrum of plotter versus pantser, but even for full blown pantsers, it is still helpful to know readers’ (intuitive or instinctive) expectations of what is a good story. It's still helpful to understand the theory on structure.

We each will probably apply that knowledge in different ways.

Story, Plot and Structure

Story - is what it's all about - the interaction of the characters with the premise, plot, settings and themes. It provides the deeper meaning of the story, that rises from the characters, their past, their moral dilemmas and their journey. It's what keeps the audience emotionally invested.

Plot - is the action that drives the story forward,  the series of external events, usually connected by cause and effect. 

The story can be plot -driven (mainly about the external journey) or character driven (mainly about the internal journey) or often both.

Structure - the order in how the story is told, the way it's put together. It provides pace, organization and ebbs and flows in the story. For instance, in a dual narrative two interconnected stories are told in parallel.  Structure may include different acts (sections), inciting moments, mid-points, climax etc. 

Three Acts and the Hero’s Journey

Many millennia ago, Aristotle spoke of a three-act story - with a beginning (protasis, the set-up or exposition), middle (epitasis, confrontation or rising action) and end (catharsis, the resolution). 

However, Shakespeare's play generally had five acts - Act 1, the exposition and inciting incident, Act 2 Rising action and complications, Act 3 the turning point or climax, Act 4 the consequences of the turning point and climax, act 5 the resolution or denouement.

And some modern plays (Waiting for Godot) have a two-act structure. Other propose a 4-Act story. While other story telling is episodic.

Novels (unlike screen plays) are not often explicitly divided into Acts. Even so, they usually follow similar structures in development of the story.

According to Joseph Campbell, the most common (or he would claim 'universal') structure is the Hero’s Journey. Certainly, it is a widespread and popular approach often portrayed as a circle (from normal  world to the new normal) and with a number of - 18 steps or Campbell.Volger simplifies it into 12 steps - such as 1. the normal or ordinary world, 2. the call to action, 3. the refusal of the call, 4. meeting the mentor, 5. crossing the threshold, 6. tests-allies-enemies (sometimes called fun and games), 7. approach the cave, 8. the ordeal, 9. the reward, 10. road back (back lash), 11. the resurrection, 12. bring gifts to the normal world. Some definite similiarities here with Jesus' life, death and resurrection.

Stories such as Star Wars – New Hope, Eragon, or the Matrix follow the Hero’s journey and as do many modern movies.

Can you think of other popular stories that follow this structure. Or perhaps others that don’t?

Btw, for a neat discussion that go beyound 3-Act structures and the Hero's Journey check out this blog.

Breaking the Mould

Slice of life stories and literary fiction are less dependent on plot and focus more on character or setting (or both). Such stories are much more about the journey than the destination.

As a pantser (or planter), I found Stephen James’ StoryTrumps Structure, helpful. But, as I said, I’m also intrigued with different story structures. And …. in the tradition of splitting up things in three parts – I hope to dive deeper in the Heroine’s Journey and Kishōtenketsuin in subsequent posts.

Jeanette O'Hagan has spun tales in the world of Nardva from the age of eight. She enjoys writing fantasy, sci-fi, poetry. Her Nardvan stories span continents, millennia and cultures. Some involve shapeshifters and magic. Others include space stations and cyborgs.

She has published over forty stories and poems, including the Under the Mountain Series (5 books), Akrad's Children and Rasel's Song, the first two books in the Akrad’s Legacy series and more recently, Rise of the Consortium. Her story in Stepping Sideways, 'In a League of Her Own' won the 2024 Aurealis Award for YA Short Stories & 'Anomalies at Prospero Base' (in Rise of the Consortium) was shortlisted in the 2025 Aurealis Awards.

Jeanette has practised medicine, studied communication, history, theology and writing. She loves reading, painting, travel, and pondering the meaning of life. She lives in Brisbane.

Find out more about Jeanette at:

My Website | Facebook Author Page | Amazon | Books2Read | Goodreads

Labels and Character Arcs by Jenny Woolsey

 

From the moment we’re born and as we grow up, society pins labels on us. The first one is usually boy or girl. After this, dependent on how we look, our personality and how we act, others are tacked on. For example, pretty, cute, naughty, active, quiet, tomboy, girlie, fat, loud etc.

Labels can be positive or negative and are often expressed as words, facial expressions, body language or behaviours. When labels are negative, they will have a dramatic impact on our self-esteem and mental health.

As well as other people’s and society’s labels, we often give ourselves labels. Some positive, others negative. Examples of negative labels may be, poor writer, not good enough to be published, stupid, hopeless Christian, incompetent parent, unlovable… The list goes on.

We label ourselves about every area of our life—our perception of being a child, a parent, a worker, a writer, a Christian and anything else we do.

• How do you see yourself?
• What type of labels do you carry?

As Christians, to not be weighed down by society’s labels, we must know how God sees us. For this, we look to the Bible and find that God sees us as his beloved children, created in his image, with inherent worth—more valuable than gold. We are precious and cherished, and fearfully and wonderfully made.

Replacing Negatives with Positives

There are times in the past when I've been negatively affected by labels, but with God's help, labels don't have to define me or you. In my book Be Weirdly Wonderful: Embrace Your Differences, I share my own story and some tools to help you lead your best life. If negative labels are affecting your self-esteem and self-confidence, bringing you down and stopping you from living your best life, you might like to try this practical activity that I mention in the book.

• Write a list of your negative labels on a piece of paper or write a letter to your younger self stating the labels. (When writing the letter, tell your younger self that those labels which were said to hurt you were lies and you’re not going to accept them anymore.) If you want to, you could also write a letter to a specific person who gave you the negative labels.
• Next is to actually burn the list or letters you write. Yes, put a match or a lighter to them or place them in a bonfire and watch the flames vaporise those labels. They’re gone. (I have done this a few times now and I have found it to be very cleansing.) If burning isn’t your thing, then you could tear them up into tiny bits and send them off in the wind or float them down a creek or out in the ocean. As a Christian, you could nail them onto a wooden cross or pin/glue them on a picture of the cross. The healing is in the process of letting the labels physically go.
• Now you’re going to replace the negative labels with positive words. To do this, take out a fresh piece of paper and list all the great things about yourself. For example, strong, funny, quirky, pretty. The Bible is full of positive labels of who God sees you as. These are some examples: I am strong and courageous, I am precious, I am God’s child, I am loved. I am forgiven. I am fearfully and wonderfully made. For this activity you could also write out bible verses that speak to you.
• Then write down the things you’re good at, how the people who love you see you and what you like about yourself. If you’re having trouble, ask trusted loved ones and friends for how they see you. And remember, the fact that you’re alive means that you’re meant to be here. You are meant to impact the world in a positive way, whether big or small.
• Last, display them in some way. You could write the positive labels on post-it notes and stick them on your mirror or around the house where you’ll constantly see them. If you like art and craft, you could draw, scrapbook, collage, decorate the page or make your new labels into a painting. You could even make a bookmark, a fridge magnet or a picture to go in a frame. This step is crucial for two reasons. One, it celebrates how wonderful you are and two, you’ll see the positive labels day after day. When you see them regularly, over time they will take root in your mind and you’re more likely to believe them.

Character Arcs and the Hero's Journey

When we give our life to Jesus, we become a new creation and the old passes away (2 Corinthians 5:17). With the help of the Holy Spirit we begin to develop the fruits of the spirit (Galatians 5)—love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self-control. These are all positive labels.

As time goes by, and we learn what behaviours we’re exhibiting that don’t please God, we make a concerted effort to cease these. In most Christians, particularly those who have become Christians as adults, there is a character arc—a transformation.

When we write, we want our protagonist (main character) to have a character arc too. (Our other characters can also have character arcs.)

The character arc is a measure of how a character changes over time. It can be internal or external leading to personal growth or decline.

Why do we need character arcs in our stories?

In a story, readers want to see a character fail or succeed. They want to see characters face consequences for bad deeds, or rewards for doing the right thing. And they want to see conflict —it is conflict that keeps the story growing in tension until the climax is reached.


There are different types of character arcs but the primary types are:

1) Transformational arc—character arcs that follow drastic and significant changes

2) Positive Change arc—characters evolve positively, overcoming flaws and changes

3) Negative Change arc—characters undergo a negative transformation succumbing to flaws or destructive paths

4) Flat arc—characters remain relatively unchanged, imparting stability or providing a contrast to dynamic counterparts.

Within the transformational character arc we could place the most known story structure and character arc, called the Hero’s Journey, created by Joseph Campbell.

The Hero’s Journey unfolds in 12 distinct steps, commencing with the protagonist’s ordinary world, a call to adventure, and the crossing of a threshold into the unknown. Challenges, mentors, and ordeals follow, leading to a transformative crisis. The triumphant return from this brings newfound wisdom which they bring back into their ordinary world. This story structure is seen in myths and movies such as Star Wars.

Think about a story you know well. What type of labels or traits does the protagonist have in the beginning? Then, what type of labels or traits do they exhibit at the end? Do they go from devious to honest? Do they go from murderer to saint? Are there characters in the story that have negative change or flat arcs?

Now, think about your latest piece of writing.

• What labels have you given your protagonist?

• What is their character arc? (Which of the 4 primary types is it?)

• Is there a transformation?

• How could you improve the character arc?

• Are you able to add more obstacles or incidents to make the transformation more epic?

• Are you able to give more labels or traits to the antagonist or other characters to make them more interesting?

• And finally, does your story structure help or hinder the character arc? How could you make it better?

In conclusion, labels and character arcs go hand-in-hand. Every person on Earth carries around many invisible post-it labels pinned to them. Some positive, some negative. The negative labels can affect our self-esteem and self-confidence. As Christians, we need to always remember that no matter what the world has told us, we are loved, worthy and valuable.

And finally, when we’re writing a story, always give thought to the characters’ traits and their character arcs. Our writing will be so much better when we do.

God bless.

Author Bio

Jenny Woolsey, M.Ed. (Hons), is a Christian author, speaker, potter and carer. She was born with a facial difference and lives with low vision. Jenny is an Amazon best-seller and has published eight middle grade/YA novels and a personal development book, Be Weirdly Wonderful! Embrace your Differences. Her short stories are published in 23 anthologies. Jenny volunteers in the community and mentors at the Queensland Writers Centre.

https://jennywoolsey.com

Photo Credits

Featured photo by Anna Saveleva on Unsplash; Hero's Journey diagram from Imagine Forest; book cover and author pic supplied by the author.