Story Structure: The Orientation

It’s fascinating how most stories follow the same structure. Generally, there’s the Orientation, the First Plot Point, Pinch One, the Midpoint, Pinch Two, the Second Plot Point, then the Resolution.

I’ve found that this structure is the cure to writer’s block.

A sculptor cannot mold a statue from mud. A painter cannot create a masterpiece on his front lawn. Sculptors need clay, painters need canvases. In the same way, this structure serves as the foundation for our art form. Without it, it’s difficult to create anything at all.  

That being said, some people think of structure as restricting, similar to how discovery writers view outlines. But, honestly, this foundation makes the process easier and your story stronger. There’s a reason this same basic story structure has been used since the beginning of time; it works.

All of the familiar plot points are there, but that doesn’t make the story trite. Readers like structure. We’d all get annoyed if the villain was suddenly defeated right after the conflict of the story was introduced. It feels unnatural because it deviates from the structure.

The Orientation

****Note: After brainstorming your story’s basics (plot, character, and setting), many writers advise plotting the end of the novel first. This way, you know what you’re building toward and can choose how to get there in an interesting way. The ending of your character arcs and conflict should be the opposite of where they started in the orientation.****

The orientation (generally the first 25% of the novel) shouldn’t depend on backstory. Hook readers with an interesting first line and hit the ground running (but don’t go back in time and explain afterwards). Strive to be honest, rather than unique. Generally, there are two things to focus on during the Orientation of your novel…  

Make readers care about your protagonist and their struggles. To do this, use conflict to display the hero’s sad, boring life prior to the inciting incident. This conflict should portray and be a product of your character’s unmet hopes, dreams, and desires, which result from the lie they believe at the beginning of the novel. Their goals and pain make them relatable, which makes us care about them.

Furthermore, as the protagonist pursues this preliminary goal, readers will get a feel for their strengths, weaknesses, quirks, history, and interesting and candid voice. These aspects make the character intriguing and likable.  

It may be important to note that external struggles ignite interest, and internal/interpersonal struggles ignite empathy.

Intrigue readers not only with a unique protagonist, but by making them curious about a strange aspect of the hero’s life, the plot, or the setting. Mysteries are promises that keep readers turning pages.

Introduce something interesting about your character’s circumstances. Maybe they have a disability, a unique job, or a hidden power or talent.

Sprinkle in interesting worldbuilding. For example, in Patrick Ness’s novel, The Knife of Never Letting Go, a boy named Todd must escape from his hometown - but his pursuers can hear his thoughts. By introducing something different about your world, you are either promising that your characters will use that aspect in an interesting way, or that you will solve this problem in a way that’s worth sticking around for.  

Raise a plot-based question. For example: Why did the prince just visit the protagonist’s workplace (Cinder, Marissa Meyer)? Why is the killer stealing his victims’ organs (I Am Not a Serial Killer, Dan Wells)?

Thus begins my story structure series! Next week I will discuss the First Plot Point. Please refer back to these posts whenever you like - I know I have to remind myself of this seven-point story structure all the time. Leave a comment below if this series helped you!