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Structural Mastery: Why the Classics Endure

Today’s post is by David Griffin Brown and Michelle Barker, co-authors of Story Skeleton: The Classics and Immersion and Emotion: The Two Pillars of Storytelling.

We’ve come across many authors who believe that plot points amount to paint-by-numbers storytelling—or that only genre writers need to worry about structure. However, if you look back through the classics, almost every novel features these plot points, though not always in the same arrangement.

That’s not because classic authors were following some secret formula or even consciously checking off structural beats. It’s because novels that hit these plot points immerse and engage readers by creating emotional resonance. These books have endured not because of subject matter alone, but because they were structurally effective. The right moments happened at the right times to elicit reader investment and momentum.

So, let’s take a closer look at why structure works—not as a mechanical template, but as an emotional engine that corresponds to human nature and thereby drives a reader’s engagement.

How plot points create emotional draw

Each major plot point in fiction serves a distinct emotional function. Rather than thinking of them as fixed beats in a formula, consider them as emotional turns in the reader—shifts in tension, investment, and stakes that make a story compelling.

Stasis: establishing motivation

This is the protagonist’s life before the story begins. But ordinary doesn’t mean uneventful—something is already missing, broken, or unsatisfying. Even in a happy-seeming stasis, an underlying tension hints at what’s to come. The emotional purpose? To connect the reader with the protagonist’s core motivation or values that will take shape with the inciting incident.

Inciting incident: triggering emotional investment

Something disrupts the protagonist’s normal life, creating a clear emotional shift. The protagonist now has a new desire, question, or problem they can’t ignore. This moment establishes the stakes—what might be lost or gained—and hooks the reader because of the intensity of the protagonist’s desire. Their urgency, fear, or determination makes us feel the weight of what’s at stake, drawing us into their struggle.

Point of no return: deepening emotional commitment

The protagonist makes a decision or takes an action that locks them into the story. This moment eliminates the possibility of returning to their old life, heightening the stakes. The reader experiences this shift, feeling the protagonist’s fear, excitement, or desperation. One way or another, the protagonist will have to see this through to the end, but at this stage the reader has no idea how they’ll manage it. The gap between what must be accomplished and who has to accomplish it invests us further in the story.

Rising action: building tension with action and reaction

Rising action makes up most of the story. As such, it’s not a true plot point but rather more of a plot stage that can occur in many places: before and after the point of no return, after the midpoint, and even after the all-is-lost moment. In rising action, the protagonist engages in action (efforts toward their narrative goal) and reaction (responses to new obstacles that arise in their path). With each action and reaction, the protagonist is tested, and meanwhile readers get to know them better. Also, we get to cheer them on (while fearing their failure), which keeps us connected to them and committed to their journey.

Causality solidifies this structure. As action and reaction build, momentum is created. Without causality, a story will meander and feel anecdotal—meaning one thing happens after the next rather than because of what has come before.

Midpoint: raising emotional uncertainty

A game-changing development occurs—whether it’s an epiphany, a shocking reveal, or a seemingly insurmountable obstacle. The stakes escalate further, and so does the reader’s emotional engagement, because they realize this story is bigger than they thought. What once may have seemed like a straightforward path now carries unexpected complexity or consequence.

All-is-lost moment / False victory: maxing out emotional tension

Either everything collapses (all-is-lost) or appears to be resolved when it isn’t (false victory). In both cases, the reader is at peak uncertainty. The protagonist’s goal is either in serious jeopardy or seems achieved in a way that feels incomplete. This moment is key to keeping the reader glued to the story.

Climax: delivering emotional catharsis

This is the moment of truth—the final confrontation where the protagonist either succeeds or fails. Every emotional turn that has shaped the story must now reach its conclusion. The reader should feel the weight of every choice, every lesson, and every hardship leading to this pivotal moment.

Resolution: providing closure

A breath after the storm. The protagonist and reader alike need a moment to process everything that has happened. This final section is about tying up loose ends and cementing the story’s emotional impact. Whether triumphant, bittersweet, or tragic, the resolution leaves the reader with a lasting emotional impression.

Creativity in structure

A significant part of a novel’s creativity lies in the manipulation of its structure, as we will see in the following examples.

Case Study 1: The Old Man and the Sea – Simplicity as strength

On the surface, Hemingway’s The Old Man and the Sea is a straightforward narrative: an old fisherman, Santiago, ventures far out to sea, hooks a massive marlin, and struggles to bring it home—only to have it devoured by sharks. Yet despite the novella’s brevity and simplicity, it remains a beloved tale of perseverance and determination. Why? Because it uses a strong structural foundation, internal conflict, and thematic rhythm to generate emotional draw.

A clear narrative goal and a rhythmic structure

From the outset, Santiago’s motivation is both concrete (catch a fish) and existential (prove he is not defeated by age or misfortune). His journey is framed as a test of endurance—not against nature, but against himself. The emotional stakes are clear: if he fails, he is not just unlucky; he is obsolete.

Once Santiago hooks the marlin—the biggest fish he’s ever seen—his goal shifts from survival to conquering something extraordinary. Hemingway pivots the novella on a memory of an arm-wrestling match and uses that to create a rhythm for his structure. For the first half of the story, the marlin pulls Santiago out to sea. For the second half, Santiago harpoons the marlin and lashes it to his boat (effectively pulling it back). It seems as though he has won, but this is the false victory. The sharks arrive to attack his prize. Nature reclaims what he fought for, and Santiago returns empty-handed.

Why it works: thematic and structural alignment

The structure of The Old Man and the Sea keeps the reader emotionally engaged by balancing tension, release, and inevitability. Santiago’s struggle isn’t just about catching a fish—it’s about proving to himself that he still has strength and purpose. The reader is drawn in by his determination, rooting for him even as the odds stack higher.

The midpoint flashback shifts the reader’s perception of Santiago. Until then, he has been losing ground, pulled farther from safety. But the memory of his arm-wrestling victory reframes the battle—Santiago has overcome impossible odds before, and now the reader has hope that he might do it again. This moment raises the stakes and deepens the emotional investment in his final effort.

The false victory—Santiago harpooning the marlin—gives the reader a moment of triumph before pulling the rug out. When the sharks arrive, the emotional turn is one of devastation, not just for Santiago but for the reader, who now realizes that the victory was never truly his to claim. The final resolution, where Santiago returns home empty-handed but still admired by his young companion, Manolin, provides a quiet catharsis. The reader feels the weight of loss, but also the endurance of dignity.

Case Study 2: The Great Gatsby – A protagonist in disguise

Some writers cite The Great Gatsby as an example of a passive protagonist done right. However, Nick Carraway is merely the narrator—something of a social detective—and Jay Gatsby is anything but passive. While Fitzgerald’s novel indeed plays with structure, Gatsby’s actions drive the story from start to tragic finish.

Gatsby’s narrative goal: the dream reclaimed

At its core, Gatsby’s motivation is simple: to win Daisy back. But structurally, the novel functions like a mystery, with Nick piecing together Gatsby’s stasis, inciting incident, and initial rising action. Gatsby is not passively waiting—he has spent years deliberately crafting a life of wealth and glamour for the singular purpose of rekindling a past romance: he wants to win back Daisy, the girl he has always loved. There’s only one problem: she’s already married to the wealthy Tom Buchanan.

Gatsby throws elaborate parties, hoping to catch Daisy’s attention—and with Nick’s help he finally does (which is where the novel opens). When the romance rekindles, Gatsby is convinced Daisy will leave Tom. But Tom exposes Gatsby’s shady past, and after Daisy accidentally kills Myrtle Wilson in a hit-and-run, Gatsby takes the blame. Believing Gatsby to be responsible for Myrtle’s death, her husband, George, shoots him before turning the gun on himself.

Why it works: the added intrigue of mystery

By structuring The Great Gatsby as a mystery rather than a straightforward tragic romance, Fitzgerald deepens the reader’s emotional investment. Instead of presenting Gatsby’s story chronologically, he withholds key pieces of information, allowing Nick—and by extension, the reader—to gradually uncover the truth. This creates intrigue, transforming Gatsby from a mere lovesick dreamer into an enigmatic figure whose past, motivations, and eventual downfall must be pieced together. The emotional weight of the novel builds not just from what Gatsby wants, but from the slow realization that his dream was always doomed.

If Fitzgerald had told Gatsby’s story in order, it would be a simple rise-and-fall narrative: a man amasses wealth to reclaim lost love, only to be destroyed by forces beyond his control. By filtering events through Nick’s perspective and revealing Gatsby’s past in layers, the novel fosters suspense and a sense of inevitable tragedy. The structural delay means that by the time the reader fully understands Gatsby’s quest, it is already unraveling.

In conclusion: learning from the masters

The classics have endured not just because of their themes or elevated prose, but because they are structurally effective. Each major plot point cranks the emotional dial, keeping readers invested, engaged, and eager to turn the page. These novels don’t follow a rigid formula, but they do tap into the natural rhythms of storytelling—whether through a straightforward struggle like The Old Man and the Sea or a slow-burning social mystery like The Great Gatsby.

For writers looking to refine their craft, studying the structural choices in classic literature is one of the best ways to understand how story architecture fuels emotional impact. These books prove that structure isn’t a limitation—it’s what makes a story resonate long after readers turn the last page.

No Twists for Twists’ Sake: Earn Your Ending

Today’s post is by author Kathleen Barber.

Imagine you’ve just picked up the latest buzzy thriller, the one that has everyone on social media raving about the “shocking twist.” You start reading, and you’re really into it. It’s a murder mystery with no shortage of suspects—the victim Jane’s cheating husband Hugo, her jealous best friend, her unstable coworker, an obsessive delivery person—and you’re having fun guessing which one is the culprit. You turn to the final page, full of anticipation … only to discover the murderer was the victim’s long-lost twin sister, a character who was never once mentioned in the preceding 300+ pages. What?

Is that a twist? Technically. But it’s also an unearned ending. The author didn’t take the time to lay the groundwork for that conclusion, and the reader is left feeling unsatisfied, even cheated.

Let’s discuss some techniques and craft elements that will help you craft an ending that feels both surprising and satisfying. Note that while I focus on thrillers in this article, earning your ending is important across all genres. No matter whether you’re writing a thriller or a romance or upmarket fiction or something else, you want your reader to feel fulfilled by the ending.

1. Sprinkle the clues

The most straightforward technique is sprinkling clues throughout the novel—while withholding the one element that ties them all together. As an example, in the imaginary thriller I described above, we might see clues throughout the novel that Hugo is the murderer—a single piece of jewelry left behind by his lover, a receipt proving that he wasn’t where he said he was, an unexplained scratch on his face—but it isn’t until a final clue slots into place that we reach the inescapable conclusion that Hugo is guilty.

2. Layer the clues with red herrings

To throw your reader off track, consider layering your legitimate clues with misdirection and red herrings. In our example, this would mean each time the author hinted at Hugo’s guilt, they would also plant a false clue pointing toward someone else. In the same chapter we learned about Hugo’s gambling problem, we might also find evidence that the obsessed delivery driver had been peering through the windows at night or following Jane around town.

3. So many suspects

You can also throw so many suspects at the reader that you completely muddy the waters. Creating an ensemble cast can be one way of doing this, as can systematically introducing and dismissing additional suspects as you move through the book. The way this would work in our example would be to first throw suspicion on the delivery driver, only to reveal in the next chapter he had an airtight alibi. Suspicion might then move to her coworker, and the coworker would then be excluded. And so on, until the field narrows around your ultimate culprit. The trick is to present many options and make them all seem equally likely.

4. Set it up

You can also provide the answer at the outset of the book. I know that sounds counterintuitive: who wants to read a book when you already know what happens? It’s actually a neat trick to keep the reader off-balance. In our example, we would strongly suspect Hugo at the beginning. But, as the novel progressed, that suspicion would be clouded by things like giving him an alibi, destroying his motive, and of course throwing suspicion on other characters. Later, when the author circled back to definitively show it was Hugo all along, the reader would be satisfied they called the ending—and more important, satisfied by the ride that took them there.

5. Multiple POVs

Using multiple points of view can help earn your ending because different characters have access to different information, and while none of the characters individually know enough to identify the culprit, the reader has an advantage. In our example, this could mean that Jane’s best friend, sister, and coworker are all POV characters, and they’ve all seen something that makes them suspicious of Hugo—but none of them alone has seen enough to cause them to really think it was him. Only the reader has access to all the clues.

6. Interstitial elements

Incorporating interstitial elements like news articles, social media posts, and journal entries can provide clarity to the reader while leaving the narrator and other characters in the dark. In our fake example, useful interstitial elements could be Jane’s journal entries revealing a darker side of Hugo or emails between Hugo and his lover.

7. Flash forwards

Starting the novel with a flash forward allows you to present a clue to reader right from the start. This is most effective when the clue is out of context and the reader can’t make sense of it until much later. In our example, the book might open showing us the murderer leaving the scene of the crime, and the reader is given a small clue to his identity—such as a hidden tattoo—that doesn’t come back to the story until much later.

8. Flashbacks

Flashbacks can help earn your ending because they give the reader a glimpse into a character’s past or illustrate how things are set up. In our example, a useful flashback might reveal a dark secret from Jane and Hugo’s past.

9. Dual timelines

Dual timelines are challenging but amazing when done well. In essence, you’re telling two stories: the present-day story and a parallel story in the past. It’s effective because you can gradually reveal the truth in one timeline while keeping the characters in the other timeline in the dark. In our example, the investigation into Jane’s murder could play out in the present-day timeline while the past timeline reveals a surprising motive for Hugo—and it isn’t until the storylines come together that the reader understands the full picture.

10. Unreliable narrator

Finally, there’s everyone’s favorite: the unreliable narrator. With an unreliable narrator, you can include direct—even obvious—clues that still throw the reader off because they’re reluctant to accept anything the narrator says at face value. In our example, let’s pretend the narrator is Jane’s sister, who has a known substance abuse problem. She sees clues pointing to Hugo’s guilt, but because she’s under the influence at the time, no one believes her, not even the reader.

No matter which of these techniques and craft elements you incorporate into your novel, the important thing to keep in mind is that you want to leave your reader satisfied. Readers want to both be surprised by the ending and to feel as though they should have seen it coming, and so it’s important to take the time to set things up and to earn your ending.

Highlights from London Book Fair

There’s continued optimism and enthusiasm around TikTok, and rapid growth in AI audiobook narration.

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Book sales update: March 19, 2025

BookTok, Bibles, and bibliotherapy drove a 1 percent increase in book sales last year and may help sales in 2025.

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A new digital media outlet that focuses on libraries: Words & Money

The newsletter and podcast will “center the role of libraries in the 21st-century publishing business.”

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New agency: Eric Smith launches agency

Eric Smith, formerly of P.S. Literary Agency, has established Neighborhood Literary, based in Philadelphia.

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Links of Interest: March 19, 2025

The latest in traditional publishing, marketing & publicity, culture & politics, and AI.

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