The Chopping Blog

Obstacles in a plot are like roadblocks a character must get around. Reversals, however, require a total change of direction.

In crafting The Alchemist, Paulo Coelho dared to prioritize narrative context—in this case his personal philosophy—over traditional story elements like subplots and character development.

The complexity that we would normally find in subplots instead takes the form of extensive world-building.

"Napoleon drives the story from beginning to end."

Setting is the key organizational tool in Jane Eyre.

There's a certain allure to a novel that intertwines disparate storylines, tying together seemingly unrelated narratives to form a compelling whole.

The climax ultimately addresses the question posed by the inciting incident: can the protagonist truly reconnect with his brother after learning about Sonny's arrest in the newspaper?

Anne of Green Gables offers many episodic threads that come together to deeply characterize herself, her adoptive parents, and many of the other residents of Avonlea. There is one thread, however, that directly connects the inciting incident with the climax: her relationship with Matthew.

With these tricks of voice, Salinger creates a character who feels like a real person. He captures the nuances of Holden's emotions, making the reader feel his pain, confusion, and alienation.

Keep in mind that story structure is more about convincing readers to keep turning pages than it is about how to write a story. Within the dimensions of narrative structure, there are still limitless possibilities.

What Oates controls so beautifully in this story is the quality and intensity of escalation.

We don’t particularly need subplots or B-stories or great complexity because the character of Stargirl herself is so compelling, so glowingly fresh and well-drawn, we are charmed into turning each page.