Story Structure Explained: Climax, Denouement, Epilogues, and Endings

Endings tend to be a bit easier to write, because you've already set everything up and now you're resolving conflict after conflict, but the story can still blow up in your face if you don't handle it right. Or maybe you are one of the more uncommon writers that really struggles with endings. In either case, this article will help you structure the last portion of your story right.

Here is the (hybrid) structure I'm following, with the pieces we've talked about over the last few weeks now filled in:

Beginning ("Orphan" State)
(Prologue)--primary function is to make promises to the reader
Hook--draws the audience in by getting them to look forward (in openings, contrasts work well in particular)
Setup--establishes the current sense of "normal" while introducing key story elements
Plot Point 1 (or "Inciting Incident")--disrupts the normal and sends protagonist in a new direction.

Character arc and theme are introduced. Usually at this state, the protagonist believes in (or illustrates) a "false" thematic statement.


Middle ("Wanderer" State)
After Plot Point 1--the protagonist is reacting and responding to what's happening, while perhaps accumulating friends, mentors, love interests, etc.
Pinch Point--The antagonist applies pressure to the protagonist and is shown to be a formidable foe
Midpoint--Something new enters the story or the context shifts and the protagonist moves from reacting to acting. She becomes more proactive.

The theme is questioned, explored, and tested, usually through multiple characters. The character is confronted with and illustrates his weakness.

Costs and stakes escalate by either getting bigger or more personal or both.


Middle ("Warrior" State)
After the Midpoint--Now empowered, the character is more proactive in trying to defeat the antagonist
Pinch Point 2--The antagonist applies pressure to the protagonist and is shown to be an even stronger, formidable foe
Plot Point 2--Made up of two parts: "The Darkest Hour" and "The Final Puzzle Piece." Protagonist moves into a "martyr" state.

The characters struggle with their inner demons, testing the thematic statement.

Costs and stakes continue to escalate.

Ending ("Martyr" State)
Climax
Denouement/Resolution 
(Epilogue)

These parts belong in the ending, which is what I'm talking about today. 

Ending

We've grabbed the audience and setup the story in the beginning; disrupted the protagonist's sense of normal with the inciting incident; hiked up stakes and costs; questioned, explored, and tested the thematic threads; applied pressure through pinch points; and moved our hero from a warrior to a martyr as they experienced the "Darkest Hour" and put together the "Final Puzzle Piece."

To be fair, that last bit sometimes happens during the climax. During the final battle, the protagonist may experience the darkest hour and put together the final puzzle piece, completing their character arc, and finally reaching the "martyr" state.

Nothing in writing is purely black and white. And there are always variations and exceptions. And when it comes to story structure, some of it depends on how and where you decide to slice and dice it.

Climax

In the climax, the protagonist faces the antagonistic forces head-on, ready for the final battle that determines who (or what) wins the established conflicts.

Remember all those conflicts, stakes, costs, arcs, and themes you setup?

Now it's time to test, prove, and resolve them in the showdown.

It's hard to be exact on what needs to happen in the climax, because a lot of it will depend on what came before.

There might be a twist, surprise, or devastating cost.

But to be most effective and most successful, whatever is in there, needs to have been at least foreshadowed prior to this moment in some degree. It can be twisted. It can be shifted. It can be bigger or worse than expected. But it usually needs to be at least alluded to prior. If not, the audience may feel cheated; if it's something that helps the hero win, it's likely a deus ex machina.

Promises made (almost always) need to be kept. So if you promised a battle with a dragon, it better be there.

If promises aren't kept, whatever happens needs to be just as significant or more significant than what was promised. For example, maybe the monster is actually something worse, more terrifying, more formidable than the promised dragon.

In great climaxes, the story exceeds the expectations.

Stakes and costs will be escalated yet again. This is it. Everything is on the line.

Additionally, the climax is a great place to cross opposites--cross the broadest conflicts with the most personal conflicts for maximum impact. Character arcs are usually finished by the end of the climax, proving the thematic statement.

Often during the climax the protagonist will ultimately have to face the antagonistic force alone. The hero should ultimately be the savior, or in rare cases, if she can't literally, makes a final sacrifice that allows the others to deal the death blow.

For a more in depth look at some of these mentioned elements, see my article "How to Write Exceptional Endings."

In Spider-verse

The climax begins when the heroes confront the villains at the collider in the final fight. The heroes hope to return to their dimensions and Miles hopes to save Brooklyn. The antagonist, Kingpin, is set on seizing his wife and son from another dimension no matter the cost. He's willing to kill heroes, civilians, and destroy his own dimension. Those conflicts must now be resolved.

Stakes and costs are escalated. This is the moment where the protagonist could die, something he is reminded of when Kingpin taunts, "Not even the real Spider-man could defeat me. Why do you think you'd be any different?" The cost is the real deal.

The stakes are escalated in that multiple dimensions are coming into Miles's dimension.

Character arcs. Usually by the end of the climax, character arcs have been completed. The most personal, internal conflicts cross paths with the broadest conflicts. And the ugly inner demons may raise their heads one last time in the final fight. Peter B. Parker reveals he wants to stay in this dimension and die so that he doesn't have to go home to face his failures with Mary Jane. When attacking Kingpin alone, Miles gets brutally beaten and struggles to get up. Gwen comes to terms with making friends again.

Themes. After having been explored and questioned through the middle, the themes are finally tested and proven. Miles does get back up after getting knocked down. Peter B. Parker does return to his dimension to face his personal problems. Gwen Stacy does make friends with each of them. But the theme is also refined. Is there really any garantee that if you always want to get back up that everything will work out? Not necessarily. After all, the Peter Parker from the beginning, who was the epitome of the thematic statement, died despite having it all. Prowler, who at one point says, "You know me, sir. I never quit," didn't follow through when he realized the person he was trying to kill was his nephew, and Prowler died from that choice. Even Peter B. Parker remarks at one point, "Not everything works out." Which is why the sub themes of choice and faith come in.

Peter: How do I know I won't mess it up again?

Miles: You won't.

Peter: . . . It's a leap of faith.

So Peter chooses to go back and take that leap of faith.

However, as the ending continues it's shown that not quitting will get you further than you ever thought possible, as is exemplified when Miles says, "I'm doing all sorts of things I never thought I'd be able to. Anyone can wear the mask. You can wear the mask," which finally extends the theme to the audience. YOU can do all sorts of things you never thought you could do, as long as you always get back up.

Everything in the final showdown is foreshadowed in some way prior. 

Promises are kept. Miles and the other Spider people face off Kingpin and the villains in a battle over the collider that could destroy Brooklyn.

Expectations are Exceeded. In this story, other, seemingly insignificant elements are brought back in during the final battle to help exceed our expectations. That ridiculous shoulder touch thing Aaron teaches Miles? Miles uses it defeat Kingpin. The stupid cartoony stuff about the pig? He's literally using cartoon elements to fight, dropping anvils and pulling out items that are way to big to fit in his pockets. Everywhere during this fight scene, elements that have been present elsewhere are coming back into play for a stronger impact.

Protagonist faces antagonist alone. After sending everyone to their proper dimensions, Miles faces Kingpin alone for one final fight, where his character arc and newfound abilities are proven. Some of the best elements of this moment come from the writers playing the concept of the "orphan" state. Remember how most heroes start in a literal or figurative orphan state? This whole time, Kingpin has been trying to get his family back--he's in an "orphan" state too! What does he say in the final fight to Miles? "I'm going to make sure you never see your family again!" What does Miles say? "I'll always have my family." And to top it off, the person Miles was most "orphaned" from, his father, is there watching and now supporting him ("Get up Spider-man! Get up!"). Miles is no longer alone. He has friends and family. And he gets back up and defeats Kingpin.

Martyr State 

During the ending of the story, the protagonist is in a "martyr" state, which I talked about last time.  Like all the other states, it can be literal or figurative. But at this point in the story, the heroine has sacrificed or is willing to sacrifice her "life." In some cases, this is literal. Frodo in Lord of the Rings and Harry in Harry Potter, are literally willing to sacrifice their lives in order to defeat the antagonist. In many cases, it is figurative. Christopher Robin in Christopher Robin is willing to sacrifice his lifestyle. Hamilton is willing to sacrifice his most extreme characteristic: his resolve to never throw away his shot.

In the ending, we must see that the protagonist is truly ready to sacrifice or give up whatever has been holding him back from success.

This change will then be validated in the denouement.

In Spider-verse

Miles enters the marytr state when he truly commits to give up giving up. It turns out that's what has been holding him back this entire time, even in his personal life, and in school. He doesn't want to work hard. He doesn't want to be amazing. He doesn't want to deal with expectations. He wants to quit. Quitting is easy. Getting up over and over and over again is hard. But when he truly sacrifices his natural tendency, he starts being successful. And the ending proves that it works.

Denouement

The antagonist has been defeated, so now that means we need to hurry and end the story right? Wrong. Partially. Denouements are another element in storytelling that I feel are often misunderstood. It's not just about ending the story quickly. It about validating everything that has changed.

Remember all the crazy things we've just dragged the audience through? Well, we need to validate that all those things actually happened and that the sacrifices paid off (in some rare endings, you may be validating that those sacrifices didn't pay off, but let's stick with the general for today). In a romance, you need to validate that the couple are actually together and in a great relationship--this might be done with a marriage or marriage proposal. If anyone died, we need that validated--we may need to see the protagonist attend a funeral. If the antagonist has really been defeated, we need to see that their power is gone from this world.

What we do not want to do is end the story by undercutting the entire experience we just created. This is just another reason why a story that ends with "it was all a dream" is so horrific. It undermines everything. Another example of this is Lost, where audiences found out at the end that the characters had just been dead the entire time. This doesn't mean you can't ever have loose ends, but you should not undermine everything you just slaved so hard to make.

The denouement also complements and foils the setup. While the setup works to establish a current normal, the denouement works to establish a new normal. So often in a lot of stories (and this relates to the Hero's Journey story structure), you'll see direct similarities between the setup and the denouement. At the beginning and end of (almost) every Harry Potter book, Harry starts at his aunt and uncle's and ends there, and yet things have changed.

If there are any loose ends or unresolved conflicts, they will typically be addressed and handled in the denouement. 

In a series, the denouement may function a little differently. You will be validating the major changes of the story, but may leave or suggest loose threads that will play a part in the next story.

Never forget Mickey Spillane's sound advice: "The first chapter sells the book; the last chapter sells the next book."

This is true for any book, series or not. If it's a series, it sells the next installment. If it's not, it leaves people wanting to buy the next book you write.

In some stories, the denouement may actually be one of the most powerful parts, because you are validating one change after another after another in a short amount of space, so it has a profound emotional impact. (Almost) Never skimp out on it.

However, like the setup, you don't want it to be too long either. Remember, they complement each other. Just like you don't want to give a play by play of "normal" in the setup (super boring), you don't want to give a play by play of the new normal in the denouement. Validate and convey what you need to and then move on. Keep it short enough to stay interesting but long enough to cover the important parts. 

In Spider-verse

The denouement succeeds in all these ways. It validates all the changes. Kingpin is officially caught (Miles shows him stuck in a web). The relationship between Miles's dad and himself (even as Spider-man) is repaired and at least tolerated. This is further validated by Miles saying, "I love you," when in the setup he refused to say it unless he had no choice. Now he means it and wants to say it.

Peni is shown safe in her own dimension repairing her robot. Spider-man noir is shown safe solving the Rubik's cube (one of his struggles). The pig is back in his dimension. Gwen Stacy is staring at a picture of her new friend. And Peter B. Parker, despite the fact he at one point would literally rather die, brings flowers to Mary Jane, in an attempt to repair their relationship.

Then we have the protagonist, Miles. What is he doing? He's attending school and applying himself. He's putting up his art with his dad. (See how these things directly complement the setup?) Which, in the process, validates the death of his uncle. He's being Spider-man. And he's no longer an orphan. "Whenever I feel alone, I remember my friends out there who get it." And best of all, he's overcome his internal weaknesses and embodied the true thematic statement: "I'm doing all sorts of things I never thought I'd be able to. Anyone can wear the mask. YOU can wear the mask."

All of us can do things we never thought we could do, as long as we get back up.

Do you see how powerful a properly crafted denouement can drive home the point?

Then at the very last second, we see that somehow Gwen Stacy is talking to Miles from her dimension. This creates a thread of a loose end. In other words, Spider-verse is one of those magic things that agents love to hear: a standalone story with series potential.

From another perspective, this moment simply shows the audience that all these characters may somehow be able to communicate with each other despite being in different dimensions. They aren't alone.

(Epilogue)

Like a prologue, your story may or may not need an epilogue, and some stories can work in either case. Epilogues function mainly in two different ways.

1. They offer additional needed closure. In some stories you may not be able to tie everything up in the denouement. You may need an epilogue to finish it out. This can be especially true if it seems "too soon" to close some unresolved components in the denouement. 

2. They start more loose threads. If you have another installment planned after this one, an epilogue can promise that there is more to the story. This works well when you want a lot of closure for the current installment, but want to signal to the audience that there is more. You tie up everything in the denouement, but then start some new threads in an epilogue.

In a lot of ways, the epilogue complements the prologue in type and structure. It may be a bit theatrical. It may be a short teaser. It may close out the story in two different ways (one component is dealt with in the denouement and another is dealt with in the epilogue). It may provide an alternate viewpoint that didn't belong in the main story. It may be displaced in time. Or it may give additional information. Check out my article on the different types of prologues, and you'll see that it is so. 

In Spider-verse

Whether or not the after credits scene functions as a true epilogue is debatable. In some ways it does, and in some ways it's just a fun after credit scene to make people laugh. I'm leaning more toward the latter. But let's talk about it.

Of the two purposes above, it mostly fits into the second. It starts something new. We're introduced to another spider character who now has the ability to intentionally travel to other dimensions, successfully. What does that mean? Perhaps it's similar to Gwen talking to Miles at the end. These spider characters will interact with each other again. There is more to the story.

But as the scene plays out, it ends more as another opportunity to get one last laugh out of the audience. That's fine, for a superhero movie.

Or maybe that ending is intentionally ambiguous. One interpretation works better for a series, and the other works better for a standalone. Maybe the writers intentionally wanted to have it fit for either, as they wait and see if they can get funding and support for another film to happen.

Whatever the case, you can watch or read other epilogues and see how they either add more closure or add more loose threads.

And that's story structure explained.

Now what? Do you need to follow all these components to write a good story? Not necessarily. Heaven knows there are plenty of writers who are successful without knowing about these things at all. However, I will argue that whether it's intentional or not, most writers who write successful stories will hit the majority of these components in some way, even if it's completely done subconsciously. We've seen and been fed this story structure so much, from such young ages, that if we don't follow it to some degree, something will feel off or wrong, even if we can't pinpoint or communicate what it is exactly. In fact, we may even misdiagnose the problem. But if this has been helpful to you, go ahead and use it. If you feel like it's paralyzing you, don't worry about it so much. This is meant to help, not hinder. Do what works for you. And there are other sliced and diced forms of story structure you can look into.

In the future I want to grab some other stories and break down how they fit these elements, briefly, so you guys have examples of how it works for vastly different narratives.


Resources:

This article series was influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid.

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Story Structure Explained: Pinch Points, Midpoints, Plot Points, and Middles (Warrior)

Some writers find the middle of a story very difficult to write. They know the beginning. They know the end. But they don't know what comes in between. After this article, you should have the information you need to finish filling in that middle! And filling it in, in interesting ways.

This post focuses on the second part of the middle, aka, the "active" or "warrior" phase of the story, and will take you from the midpoint up to the climax.

For the beginning part of story structure--the prologue, hooks, setup, and "orphan" phase--visit this page.

For the first part of the middle, between the inciting incident and the midpoint, or the "reactive" or "wanderer" phase, visit this page.

Midpoint

At the midpoint, new information enters the story that changes the context. It moves the protagonist from reaction to action. He stops being a wanderer and turns into a warrior, trying to fight back and attack, usually with a clearer goal or a more refined strategy. In other words, he is now more empowered than before.

Midpoints can be mind-blowing. Or they can be subtle. In the film Interstellar, the midpoint also serves as a twist. The context shifts and the audience and protagonists realize that there never ever really was a plan to save the humans on Earth. It was all a ruse to provide people hope. Once Cooper learns this, he changes into warrior mode, determined to do whatever it takes to return to Earth and/or save the people there.

Other midpoints aren't as drastic. It might be the protagonist sitting down to eat and suddenly having a profound realization that changes the perspective of everything she's been reacting to.

In Spider-verse

The midpoint in Spider-verse happens at the very end of the scene where Miles and Peter B. Parker steal the computer from Alchemax, and it goes into the very beginning of the next scene, the bus ride with Gwen Stacy.

Prior to this, even if Miles and Peter have a plan, they've largely been responding. And the only reason they need to go to Alchemax in the first place is because Miles himself broke the override key.

However, by the end of this scene, a few things have changed that steer us into the next phase:

1. Miles learns how to unstick intentionally
2. And how to use his web, intentionally
3. By this point, he's learned how to listen to his spider senses.
4. Peter and Miles begin working together as a team

In other words, things they were reacting to are starting to get under control. Sure, Miles still doesn't have control over all his powers, and maybe that's a variation, but it works because he has control over the iconic, main Spider-man powers.

On the bus ride afterward, Gwen Stacy reveals she knows where they can go to make another override key, promising they'll make sure the new one doesn't break, and thus giving Peter and Miles a clear plan and a clearer path to defeating the antagonist.

Warrior State (and Character Arc)

From the midpoint to the climax, the protagonist is in a stronger proactive or "warrior" state. Armed with what they've learned as a wanderer (which may include having mentors, friends, and helpers), the protagonist is ready to make more proactive efforts or actual attacks on the antagonistic force.  According to Larry Brooks, they may literally fight back, hatch a plan, enlist assistance, demonstrate courage, or show initiative.

They may not always be successful (after all, the story isn't over), but they are brave and intentional. And not only will they be fighting the antagonistic force, but their inner demons as well (which relates to character arc and theme).

In Spider-verse

Now having learned how to stick and unstick, web sling, and listen to his spider senses, Miles is more equipped to carry out (the original) Peter Parker's plan to destroy the collider. He's accumulated a mentor and a friend (and some of the wanderer phase bleeds out just a bit, because he's about to accumulate a few more) to help him on his way--and they are now working together. They are ready and willing to address the antagonistic problem, more directly. And Miles in particular is going to be the one to save the other spider people and send them home (at least that's the plan and attempt at this point.)

Just as much, they are going to be confronting their inner demons too, which in this story, relates to quitting.

Miles, crumbling under everyone else's expectations of him, is going to want to quit progressing. ("I don't know if I can do it. I'm tired of letting everyone down.")

Peter B. Parker, haunted by his failure as a husband and fear of being a father, is going to have to confront that, and he'll have second thoughts about returning to his home dimension. ("You needed me, and I wasn't there. If all I'd given you was the . . . bread that you deserve. We could fill this whole room with bread.")

Gwen Stacy, stuck with having to work with five other people she relates to (not to mention a live version of her dead best friend), is going to be unsure about making friends with them. (Miles: "If you ever open up a slot, maybe we could be friends.")

Worth noting is how these arcs change at the midpoint. By the midpoint, Miles is now planning not to fail. He's trying to reach his potential by succeeding at something new, and he does succeed. (And he's not going to stand by and watch Spider-man die again.) Peter, who fears and is annoyed with kids in the first half of the middle, at the midpoint says, "I'm proud of you Miles! . . . Do I want kids?" And Gwen Stacy, who has isolated herself from friendship, considers maybe making friends.

Pinch Point 2

We have attack mode. We have skills. And friends. And we have a proactive plan.

Great! Just in time for things to get worse! Like the other pinch point, the second pinch point is the antagonistic force applying (painful) pressure on the protagonist. Because guess what? Now that the hero is stronger and better, we need to show again that the antagonistic force is still a formidable foe--even more of a formidable foe.

Stakes and costs will rise.

Conflicts will broaden and deepen.

Let's see this in action.

In Spider-verse

Pinch point two begins when Miles discovers that his uncle is actually the Prowler. Bam! That conflict just deepened (became more personal). And guess what? It broadens too! Because as Miles runs back to Aunt May's house, it turns out he was followed, which means now we have a big fight on our hands.

Pinch point two is bigger than pinch point one. Instead of having 2 - 3 villains to deal with, you'll notice we now have 4 - 5. Likewise, we have more heroes. And Prowler is trying to kill Miles.

At the end of the second pinch point, Uncle Aaron dies. That's a big personal cost to Miles.

Despite being armed as a warrior, this is not going to be an easy win.

Plot Point 2

Remember at the start of this series when I complained how a lot of terms in the industry are ambiguous? Like plot point one/the inciting incident? Well, the term plot point two can be a bit ambiguous too. But whatever you call it, make sure you understand the concept.

Plot point two (my hybrid version 😅) is made up of two parts: The all-is-lost lull and the last-piece-to-the-puzzle moment.

Most people I've found say plot point two is the second part. Others say it's the first part. Whichever it is, in most successful stories, these two things usually happen in some way, and they again pivot or propel the story in its final direction.

In some stories, they may seem to happen within the climax portion. In others, they occur just before. It all depends on the finer points of the story's structure and how you want to slice and dice and define it.

Part 1: "All is lost"/"Dark night of the soul"/"Darkest hour"

Whatever you call it, before the (typically) last piece of realization/information/context enters the story that allows the hero to win, there is a painful lull where everything feels lost and hopeless.

A mentor may die.

A big failure may take place.

The antagonistic force pulls out something unforeseen and seemingly unconquerable.

Friends and colleagues turn on one another.

Or any other number of devastating things.

It can be internal and personal. Or external and broad.

Not all stories have this moment, but I'd argue that it exists in most successful stories in some way, to some degree.

Part 2: "The last piece to the puzzle"

The last bit of information, realization, or context shift happens or fits into place that allows the hero to defeat the antagonistic force. It pivots the story to the "final chase." Often, it relates to the protagonist finally fully overcoming her inner demons (and therefore manifests the thematic statement by completing the character arc).

It is the moment where the hero moves from being a proactive warrior to becoming a martyr.

Like the orphan state, the martyr state may be more literal or more figurative. But it means the heroine is ready and willing to sacrifice herself. She might be literally willing to sacrifice her life. Or, it might be that she is willing to sacrifice a characteristic or quality of herself or lifestyle.

This is why it often relates to character arc.

Because the inner demon that the protagonist has been struggling with is overcome and "sacrificed" in order to save the "world." The old version of the protagonist is "sacrificed" to overcome the antagonist.

That's my opinion anyway.

So the dad that is working too much may now be willing to quit his job.

Hamilton is now willing to "throw away his shot" (literally and figuratively).

Or perhaps it is more literal.

Harry is willing to die in order to defeat Voldemort.

Whatever it is, after plot point two, the hero is more than a warrior, he's a martyr.

In Spider-verse

After the death of Prowler, everyone realizes that Miles isn't capable of playing his part in defeating the antagonistic forces, precisely because of his inner demon: He can't always get up after getting knocked down (thematic statement). As much as they would like to rely on him, they can't trust that he'll be dependable to save them and all of Brooklyn. Even Peter Parker ultimately deals the blow by "tying" Miles up so he can't be involved.

It's the worst of the worst. Miles has failed in the worst way.

To top it off, the fact that he can't meet their expectations and be who he needs to be means that one of the other characters must face death, because in carrying out the plan, they'll be stuck in this dimension and die in the process (escalating stakes and costs).

Miles asks when he'll know he'll be ready. Peter explains that you won't. It's a leap of faith (a secondary theme).

To make the lull even more lully, Miles's dad comes, and we're reminded that they have drifted even further apart since the beginning of the film. However, his dad explains a few key things. While Miles has been told (and has stated himself) throughout the movie that he "doesn't have a choice," his dad reveals that he believes Miles will be amazing at whatever he pursues (releasing the pressure of his dad's expectations (a secondary theme)), and whatever that is, is his choice (another secondary theme).

At this critical point, we see themes coalescing. For this story, the secondary themes are the final puzzle piece. Miles doesn't need to fear that he won't meet others' expectations; it's his choice what to do and become; and that choice is put into action by a leap of faith.

Empowered with these thematic statements, he's ready to be Spider-man, aka, the martyr. He immediately venom strikes his hold, turns invisible, and gets his own Spider-man suit. He has let go of his old self and inner demons and has become a true hero, willing to do whatever it takes to save others.

All of these changes and thematic statements will be tested, proven, and validated in the climax and denouement, which I'll cover next time in our final installment.

Continue -->

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Story Structure Explained: Pinch Points, Midpoints, Plot Points, and Middles (Wanderer Phase)

Some writers find the middle of a story very difficult to write. They know the beginning. They know the end. But they don't know what comes in between. After this article, you should have the information you need to start filling in that middle! And filling it in, in interesting ways.

As a quick recap from my post on beginnings, this is my (hybrid) structure I'm following:

(Prologue)
Hook
Setup
Plot Point 1 (or "Inciting Incident")
Pinch Point
Midpoint
Pinch Point 2
Plot Point 2
Climax
Resolution/Denouement
(Epilogue)

This is influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid.

And I'm taking the heroes through these stages:

Orphan
Wanderer
Warrior
Martyr

The bold words fit in the middle.

I'll also be including character arcs and themes and talking about escalating stakes and costs.

So let's do this. 😈

Middle (or Rising Action)

We've covered the beginning. Made promises to the audience through the prologue (if you have one). Opened with some juicy hooks that get the audience looking forward (thereby enhancing anticipation and therefore tension). Introduced key characters, arcs, themes, and established a sense of normalcy. Shown how the protagonist is a figurative (or literal) "orphan." And then confronted him with a moment that will change his direction and disrupt said normalcy: plot point one/the inciting incident.

After Plot Point 1: Reaction

Plot point one changed something. It changed the story from setup to reaction.

Something happened, and now your character has to respond to it. Life is no longer "normal." He may even try to pretend it is, but it can never be quite the same. A new conflict has been introduced, and it's taking shape. It is threatening his old way of life, his safety, or it is introducing a new dream or opportunity. What is he going to do about it?

The character has a new need or goal.

And he's going to react to it. He will be in a state of reaction up until the midpoint. That doesn't necessarily mean he's not trying to solve things; it doesn't necessarily mean he's reacting passively either (though in some stories he might). But he doesn't yet have full grasp or control of what just entered the story. It's beyond him in some way.

How he responds may convey a great deal about that character.

In Spider-verse

Plot point one happened when Miles got bit by the spider. He literally will never be the same after that. So what does he do? He reacts to his changing body.

He wakes up and his pants are too small.

Reaction: "I must have hit puberty."

So he has to go to class in clothes that are too small for him.

He's reacting to all his changes--his thoughts are too loud, he's sweaty, he's become more perceptive

He runs into Gwen and gets his hand stuck in her hair. They both are reacting, a lot. Miles is trying to get unstuck, but Gwen must shave her hair. As the morning goes on, Miles is sticking to everything: walls, ceilings, clothes, even pigeons. (Notice how this section also introduces us to his new powers.)

He realizes that this is just like Spider-man, so what does he do? He reacts by trying to get more answers--retracing his steps to find the spider he actually got bit by. Which leads to the first pinch point.

Pinch Point 1

Nobody likes getting pinched. Not even those obnoxious kids who didn't wear green on St. Patrick's Day to instigate pinches. You know the ones. You pinch them, and they reveal they are secretly wearing green so they could pinch you 10 times. 🤦‍♀️ (Talk about antagonistic forces.)

A pinch point relates to the antagonistic force. It's what you would imagine. It's the equivalent of the protagonist getting pinched by the antagonist. It might be a small pinch or it might be one that leaves a nasty bruise. Whatever the case, it reveals to the audience that the antagonist is a legit force and foe.

Typically, the pinch puts pressure on the protagonist, forcing her into action.

If the antagonistic force has already been introduced, this moment heightens the sense of pain, pressure, or tension and reveals the antagonist to be worse or "more" than what the we gleaned prior.

If the antagonistic force hasn't yet been introduced, then this is his/her/its introduction.

In some pinch points, the hero may not actually be present, but the audience perceives that the antagonist is going to be a legitimate problem for the hero, even if the hero herself is unaware.

In Spider-verse

Since the antagonistic force hasn't yet been introduced, the pinch point does that, while also illustrating that Kingpin is a legitimate foe to be reckoned with.

After finding the dead spider, Miles's spider senses (which he is still discovering/reacting to) lead him toward the collider, where he finds Spider-man fighting off villains.

We see the collider in action. We see Spider-man in action. And we see Kingpin in action.

And what does he do? As soon as Miles has someone to talk to and get help from (Spider-man promises to teach him), Kingpin kills him. If that's not a pinch, I don't know what is.

But we aren't done yet.

Kingpin sees Miles and sends Prowler after him to kill him.

Now we have seen the antagonists, and we know how powerful and formidable they are. They just killed THE Spider-man.

Miles is now the only who knows about the collider, and it will destroy all of Brooklyn if he doesn't stop it! The pinch point puts pressure on him and forces him to act.

Escalate Stakes and Costs (Broaden and Deepen)

In the middle of a story, stakes and costs should either broaden or deepen or do both (you've heard me talk about this before.)

The stakes are what the protagonist has to lose; it is what is at risk in the story. The costs are what it takes to save that. And both need to escalate through the middle.

In Spider-verse

In the beginning of the story, all Miles had at stake was his academic future and his relationship with his dad. But now the stakes have broadened. If he doesn't stop Kingpin and the collider, everyone in Brooklyn will die!

And it's going to cost a lot to stop that from happening. As we just saw with Spider-man, it may even cost Miles his life. At the very least, he's going to have to learn to harness his spider powers.

But the stakes also deepen. They become more personal. His family lives in Brooklyn, so they could die too. And right now, his relationship with his dad is becoming more strained. Miles feels more alone now than he did before. Because he knows his dad hates Spider-man, he feels he can't turn to him for help.

As the middle continues, you will see that the stakes and costs become more and more personal, and even broader as he learn this conflict not only affects the people here, but the other spider people (and therefore by extension, their dimensions).

Wanderer State

Complementary to the reaction part of the story, is the "wanderer" phase. A wanderer doesn't really know what she is doing or where she is going. She's going in some direction, because she is in motion, but she's largely responding, like we talked about. During this state of being, the protagonist often accumulates sidekicks, mentors, friends, partners, and anyone else that is going to help her on her journey, as she's wandering around trying to make sense or fix everything. If these characters were already introduced or foreshadowed in the setup, we'll now get to know their "true identities" (figurative or literal) and "magical abilities" (figurative or literal). This section is particularly common in the Hero's Journey story structure.

In Spider-verse

Even after Peter Parker's death, Miles is still reacting, but now he is not only reacting to his abilities, but to everything related to Kingpin. He is trying to makes sense of what is going on and how to solve the problem. He is trying (dismally) to learn to use his spider abilities. But it's not enough. He needs more help. He needs more knowledge.

In steps Peter B. Parker, from another dimension, who becomes the reluctant mentor.

But that's not the only person Miles meets. He gets to meet Gwen Stacy . . . the real Gwen Stacy.

And he also accumulates a number of other side characters who have abilities that can help him.

Thematic Threads and Character Arcs

In the beginning, we introduced the theme and the main character's arc. Those two things almost always go hand in hand. The arc demonstrates and validates the theme. The theme puts words to the character arc and provides the takeaway value of the story.

In Amanda Rawson Hill's fabulous article on theme and character arcs, she explains that the protagonist starts in a state that is the opposite of the theme. They start with a "false theme statement." (Note: in some rare stories, the character can start with the true theme statement, but probably 95% of stories start with a false theme statement, and starting with the true theme statement is extremely difficult to write, in part because the character can't have that arc. In either case, the middle is handled somewhat similarly.)

So what happens through the middle?

The story forces the protagonist to question their "false theme statement" (what they falsely believe to be true or right). So the middle should be dealing with theme by getting the protagonist and the audience to question and explore different points of the theme topic. It will test theme statements.

One of the biggest problems I see happen here with writers, is that they start implementing correct thematic answers too early. Those should come at the end of the story. Right now, in the middle, we need to see characters struggle with the theme. We need to ask real questions about the theme topic. Sure, the thematic statement can be mentioned, but it shouldn't fully fit or be realized yet, for the protagonist.

The theme statement is only really meaningful when it's realized after there is a struggle--just as with most parts of storytelling.

One of the best ways to include thematic questioning and exploration is to have characters with different perspectives on the theme topic. Another is to include more plot elements that explore it. And since those often go hand in hand, you can do both. (You can read more about that here.)

In Spider-verse

Like I talked about last time with beginnings, the theme in Spider-verse is not quitting. It's getting back up no matter how many times you get knocked down.

But what does Miles believe in?

He wants to quit. In fact, his teacher even calls him out on the fact that he's trying to quit school.

In the middle, he's still wanting to quit. He asks his mom if she's ever thought of moving out of Brooklyn. What does his mom say? "Our family doesn't run from things, Miles."

But Miles hasn't fully embodied the theme yet. He doesn't fully, really believe it yet, because he hasn't experienced it yet.

And guess what, there are other characters who have different perspectives and interactions with the theme that call the thematic statement into question.

At the collider, Spider-man can't get up. Miles asks him if he can. What does he say?

"I always get back up." --this is the same Spider-man from the prologue.

But what happens? He literally isn't able to get back up, and he dies.

That definitely calls some things into question.

Then we get Peter B. Parker. And his whole introduction is a perfect antithesis to the thematic statement, in fact, they literally overlap. While he's saying that he never gives up and always gets back up, his actions are saying the exact opposite. He failed his marriage. He failed at his finances. He failed at personal health. He failed at personal fitness. He doesn't really thrive off being Spider-man. He's literally crying curled up in his shower and eating pizza. He's interacting with the theme differently than the other characters.

Gwen Stacy. Failed to save her best friend. Unlike other characters, she hasn't quit completely. She's still Spider-Gwen, in a band, doing dance and school, but she quit making friends. She sorta got back up--with limitations.

Uncle Aaron, dying in the alley, what does he say to Miles? "I just wanted you to look up to me, and I let you down." Aaron didn't live up to his expectations and potential either. And when he's dying, what does he ask Miles to do? "You're on your way. Just keep going." aka, don't quit.

You can see similar things happen with other thematic statements in the story, like about choices and faith.

But the middle asks us to question the theme topic and demonstrates real struggles with it. The theme isn't simple. And it's not easy.

Midpoint

At the midpoint, new information enters the story that changes the context. It moves the protagonist from reaction to action. He stops being a wanderer and turns into a warrior, ready to fight back and attack.

And again, there is just too much awesome to fit into one post! So next time, I'll continue talking about middles and go into more with the midpoint.


Continue -->

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Story Structure Explained: Prologues, Hooks, Setups, Inciting Incidents

Over the last several months I've been reviewing story structure off and on as I try to brainstorm and "percolate" my next novel and finish revising my current one. I've already broken down and talked about the basic approach to story structure in the post "What to Outline When Starting a Story." But since there are different approaches and story structures and more elements than I covered in there, I'm revisiting the topic with more specificity.

The elements in here aren't my own, but they have my own spin and explanations. This post's take on story structure is influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid. You'll find that a lot of story structure resources have the same points and elements, but may call them different things or approach them in different ways. What matters most is that you understand the concepts and ideas, not what you call them (and in the writing community, some terms are used very ambiguously).

None of these things are 100% black and white--there are grays and there are variations--but you'll find that most successful stories have this structure or some rendition of it. And whether you like to plot or discover your story, whether you write intentionally or subconsciously, you'll probably hit a lot of these elements by the time your story is finished, so this isn't meant to restrict you, but help enhance your storytelling.

I'll be referring to Spider-verse as an example, because I love it, it recently won an Academy Award, and I've watched it four times over the months I've been reviewing story structure. You'll see how it fits, and varies, from the structure. Also worth noting is that while it is not the most mind-blowing story, the creators completely nailed everything they approached.

Here are the elements I'm going to hit:

(Prologue)
Hook
Setup
Plot Point 1 (or "Inciting Incident")
Pinch Point
Midpoint
Pinch Point 2
Plot Point 2
Climax
Resolution/Denouement
(Epilogue)

This varies somewhat from the others (and is a combination of them), so I hope that doesn't offend anyone, but it's how I like to think of it. 😉

I'll also be taking the heroes through these stages (I've heard them attributed to the Hero's Journey plot structure, but I'm not sure that's where they originated):

Orphan
Wanderer
Warrior
Martyr

And I'll be including character arcs and themes and talking about escalating stakes and costs. So let's get started with the beginning! (Cause apparently it's too much awesome to fit in one post! 😎)

Beginning (or "Exposition")

The following elements are in the beginning of the story, what Fretag's Pyramid refers to as "exposition"--I don't recommend using that term because it makes it sound like you can write a bunch of info-dumps. 😂 (Spoiler: you can't 🤷‍♀️)

Prologue (not always present)

I was going to say this was "optional," but that's not the right way to look at prologues. Listen, some stories need prologues, some DO NOT need prologues, and some can actually work either way.

People are hecka confused about what prologues are, how they actually function, and how to even write a good one. I strongly believe the primary, all-encompassing purpose of a prologue is to make promises to the audience. That is the main function of a prologue. There are different kinds of promises you can make and different kinds of ways to make them. If you haven't read my post and plan on using prologues in your writing, I strongly recommend you check out "How Prologues Actually Function & 6 Types to Consider"

In Spider-verse

In Spider-verse, the prologue is at the very beginning, where Peter Parker tells the audience who he is and what it's like being Spider-man.

Type: Informational

- an informational prologue functions by making promises to the audience via giving information

Note: This can't come across as a stale info-dump, which is why you'll see in here the prologue is also infused with the appropriate voice and tone to be entertaining.

Notice that this prologue also gets everyone on the same page by offering a quick recap of Spider-man and his origin story. It also bridges Peter Parker's past story to the story we are about to watch.

But most importantly, it makes promises to the audience--like every good prologue should. And the promises work as hooks, which brings me to the next element.

(Worth mentioning is that this prologue also relates to the dual draw, alternate POV, and even touches the theatrical types of prologues.)

Hooks

I decided to make the term plural, because today, you really need more than one hook. Hooks are lines, concepts, elements--whatever--that pull the audience in. Often this is done by making promises. (The terms can overlap, but technically aren't the exact same thing.)

Hooks primarily function by getting the audience to look forward in some way, so they are anticipating what comes next in the story (which relates to tension). There are a lot of ways you can infuse your story with hooks, so I won't lay them all out here, but I have some helps in "5 Tricks that Help with Hooks."

Hooks should be included throughout your novel, but they are vital to open with. You may even open directly with The Hook™ (the concept that the audience came for). But hooks should be in the very beginning, which is why I'm including it as part of story structure itself.

In Spider-verse

Most of the hooks in Spider-verse come from the prologue. You might be thinking, "Really? But it was just information we already know!" Stick with me. This is exactly why they work as hooks.

Almost always, by the time the audience has sat down in a movie theater or picked up a book, they know something about the story, even if it's minimal. For books we have the back cover copy. For movies, we have trailers. You can absolutely create hooks by playing with the relationship of the back cover copy with the opening pages (or, since back cover copies are often written later, by keeping that in mind).

Unless you are blind (haven't seen trailers, posters, or any promotional material, or talked to anyone), you know Spider-verse has more than one "Spider-man" in it, which is why the prologue has so many hooks--we know that everything Peter Parker is saying is about to change. "I love being Spider-man." "I'm the one and only Spider-man." In other words, it creates a lot of contrast and carries contradictions, which is one approach that almost always works for writing hooks in the beginning of a story: using contrasts or opposites. Contrasts and opposites immediately draw attention and beg the audience to stick around for the story--because they are wondering how those contradictions are going to fit together.

Other hooks include elements of humor (dancing, Christmas music, a popsicle) and the promise of simply getting a good Spider-man story. Even before the prologue, we get teasers of a glitching world and the comic book style of animation--all hooks.

Note: In the Seven Point Plot Structure, the term "hook" is used to encompass the whole story's setup. I don't like it used that way because I don't believe everything in the beginning functions as a hook, and it makes the term "hook" more ambiguous. Open with a hook and get the setup going.

Setup

This is often the most difficult part of the story to write, because you have to convey a lot without being boring or killing the pacing. (FYI, whether or not you have a prologue, you still need a hook in the opening, but then you should continue using hooks to help tighten pacing.)

In the setup, you are essentially grounding the audience: Who is this story about? Where is this story taking place? When is it taking place? What's normal?

And the last one is important, because I'd argue that one of the primary purposes of the setup is to convey a sense of normalcy to the audience (because everything is about to change).

The setup will introduce us to the main character's arc ("arc" refers to how a character grows or changes) by showing how the character is now, which means it also usually nods to the theme, because those two elements are almost always tied together.

If you are writing speculative fiction, you may be explaining magic systems and worldbuilding elements in this section as well. 

In Spider-verse

The setup conveys all these things:

Protagonist: Miles

Setting: Modern day, New York

State of normalcy: Miles is a teenager who lives with his parents, likes graffiti, and is attending a new school where he doesn't feel he fits in. His father is pushing him. Spider-man regularly saves people in New York (as shown on the news). Classes at the new school are intense.

Key characters introduced: Mom and Dad, Gwen, Uncle Aaron, Spider-man (already introduced in the prologue), and we even get a cameo of a villain, Olivia

Character arc introduced: Miles wants to quit his new school, is dealing with everyone's expectations of him, and doesn't know what he wants to do with his life.

Theme introduced: This is directly related to the arc. The primary theme of Spider-verse is to get back up (in other words, not quit). Notice how this is also introduced in a contrasting way in the prologue, where Peter Parker says directly that he always gets back up. Peter knows who he is, what he likes to do ("I love being Spider-man,") and how he is going to live his life.

Foreshadowing: In Miles's class, we see Olivia talking about other universes. When Uncle Aaron takes Miles somewhere to put up his graffiti, Miles asks, "How do you know about this place?" and Aaron answers, "I did an engineering job down here"--alluding to working for the villain. People are talking about earthquakes happening in New York.

Character traits, abilities, and wants: Miles does graffiti art and is apparently pretty good at it. He's also smart enough to go to this new school and get "100%" on his test. But what he wants is to flunk out and return to his old life and not deal with others' expectations. These are important elements. His skills make him likeable and a want/desire/goal gives a sense of direction to the story so it isn't stagnant--it still has a sense of progression.

It's important to know that while you are conveying a sense of normalcy, what's on the page (or screen) needs to be moving the story forward. This means that we don't need a play by play of your protagonist waking up, showering, eating breakfast, sitting through each and every class, etc. (though that is all one reason why those beginnings are so cliche). Notice that we don't get a play by play of every moment of Miles's day; we get a montage, which in novels, is the equivalent of summary.

Orphan State

At the beginning of the story, the protagonist is often in an "orphan" state. This may be literal (Harry Potter, A Series of Unfortunate Events, Peter Parker (both his parents are dead), Frodo (lives with his uncle), or a zillion other protags with no mom and/or dad), or it may be figurative--they may be removed from their parents, isolated from friends, or emotionally distant in some way.

In Spider-verse

While Miles has both parents, he is an "orphan" in the sense that he has become somewhat emotionally distant from his dad and literally distant by attending a new boarding school. He's been disconnected from his past friends, and he feels like he doesn't fit in.

Plot Point 1

This is often called the "inciting incident." But like other terms, there is some disagreement on what and when the "inciting incident" is, though putting it here with plot point one is most common. However, there are others who argue they are two different things, on a more micro-level. (Curse you ambiguous writing terms in the community!! 😡👎) But like I said in the beginning of this article, what matters is not so much what you call it, but that you understand it.

This is the moment where something enters the story and critically changes the protagonist's direction; it's when the story moves from setting up to reaction, from "exposition" to "rising action" if you like Freytag's pyramid, from beginning to middle, from intro to significant conflict. In a Hero's Journey story, this is the "call to action." However you want to think of it, it is the moment that disrupts the established normalcy and sends the protagonist in a new direction.

The inciting incident/plot point one may happen in an instant or it may take place over several scenes.

In Spider-verse

This is the moment where Miles gets bit by the spider. It changes everything. We leave the setup and enter the rising action. He can't go back to the "established normal." And he's going to have to react to all the changes.

In other words, we are leaving the beginning, and starting the middle. . . which I'll cover next time!

Continue to middles -->

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How to Punctuate Dialogue

I usually don't do posts on punctuation, because I figure it's something that anyone can simply look up, but lately I've been running into quite a bit of dialogue that has been punctuated improperly, which is really no surprise, because when you are learning to write dialogue, punctuating is super confusing.

Let's start with the most basic and then move on to the most complicated.

Dialogue is usually made of two parts: the dialogue, and the dialogue tag.

"I'm hungry," (<-- dialogue) Micki said. (<-- dialogue tag)

The dialogue tag tells us who said it and (sometimes) how.

Sometimes dialogue will have no tags because who is saying it is implied. This is the easiest type to punctuate.

Dialogue with No Tags

- Simply put whatever is said in quotations.

Examples:

"Please pass the water."
"Go to your room!"
"Are you staying for dinner?"
"First I want to go biking. After that, let's go fishing. If we have time still, let's go hiking."

*Note: Inside the quotations, always treat capitalization like you would normally.


Dialogue with Tags Coming After a Complete Sentence (Or Intentional Fragment)

When dialogue would ordinarily end in a period:

This is the next simplest.

- If you end the dialogue with a complete sentence that would ordinarily end in a period, put a comma instead, then the dialogue tag, then the period.

Examples:

"I'm setting up an aquarium," Jen said.
"Can you pick up some eggs? I have to bake cookies for the fundraiser," Pat said.
"Shut up! I can't listen to you for another second," Steve yelled.

*Note: If you are ending the dialogue on an intentional sentence fragment, you would do the same thing.

"There were bears. Huge bears," Tanner explained.
"No one can stand her. Ugly. Mean. A monster," he said.
"Bears. Beets. Battlestar Galactica," he said.

*Note: If you are not ending on a proper name, lower case who is saying it (he said, she said, they said, the man said, etc.) 


When the dialogue ends in a question mark:

- Put the question mark inside the quotation, then the dialogue tag.

Examples:

"Did he love you?" her father asked.
"Would Wednesday work for the meeting?" she asked.
"It's my sister's birthday this Saturday. Do you want to come to the party?" Emma said.


When the dialogue ends in an exclamation point: 

- Put the exclamation point inside the quotation, then the dialogue tag.

Examples:

"I hate you!" Carry said.
"Shut up! Shut up!" Sean yelled.
"Someone's hurt. Hurry!" she said.


Dialogue with Tags Coming First

This is done more rarely, but here is how you would punctuate it.

- Use a comma between the tag and the dialogue. End the dialogue punctuating how you would normally.

Examples:

Timmy asked, "Will it hurt?"
Mom said, "I've already cleaned the entire house."
Dad said, "Don't back talk me!"
She said, "I don't have a lot of time. Could we reschedule?"


*Note the slight difference in "sound" and beat when the dialogue tag comes first.

*Note that since the dialogue tag starts the sentence, the first letter will always be capitalized  (She said, He said, Her mom said, Timmy said, The man said).


Dialogue with Tags in the Middle

With tags after a complete sentence or intentional sentence fragment

- Punctuate it according to the second section, then start the next line of dialogue, punctuating it like the first section.

Examples:

"I'm so cold," Rupert complained. "I can't wait for summer."
"What's your favorite color?" her sister asked. "I like blue."
"I love him!" she said. "You can't change my mind!"
"Bears. Beets," Jim said. "Battlestar Galactica."


With tags technically coming before the next sentence

- Alternatively, the middle tag can be attached to the next sentence.

Examples:

"I'm so cold." Rupert said, "I can't wait for summer."
"What's your favorite color?" Her sister said, "I like blue."
"I love him!" She said, "You can't change my mind!"

*Again, note there is technically a slight variation in sound and beat:

"I'm so cold." / Rupert said, "I can't wait for summer."
vs.
"I'm so cold," Rupert said. / "I can't wait for summer."


*Watch out for attaching the tag to the wrong sentence.

Wrong: "What's your favorite color?" Her sister asked, "I like blue."

"I like blue" can't be "asked." It's not a question.

Correct:  "What's your favorite color?" Her sister said, "I like blue."

(This is why I changed it in the example.)


With tags interrupting a sentence

Maybe you want the tag coming in the middle of a dialogue sentence.

- Use commas to separate the tag from the spoken dialogue.

Examples:

"All I was wondering," she said, "was if you were going to the party."
"He always lies, cheats," Tiff said, "and steals!"
"After practice," her dad said, "let's get ice cream."

*Notice that having the tag split a sentence alters the beat with an extra pause. This can sometimes be used to convey hesitancy (perhaps in the first example) or emphasis (in the second example).

Keep in mind that all the lines of dialogue here are complete sentences:

"All I was wondering was if you were going to the party."
"He always lies, cheats, and steals."
"After practice, let's get ice cream."

So you should not tag them as if they are complete sentences.

Wrong:
"All I was wondering," she said. "Was if you were going to the party."
"He always lies, cheats." Tiff said, "And steals!"
"After practice," her dad said. "Let's get ice cream."

Always look at the sentence(s) in the dialogue and where you are placing the tag to determine how to punctuate them.


Dialogue with Action Implying the Speaker

You can often imply the speaker with action. Keep in mind that this is implying NOT tagging.

- The action and the dialogue are two separate things, so they should be punctuated as two separate things. Punctuate the dialogue as if there is no tag. Write the character's action as you normally would.

Examples:

"Do you need help?" David smiled. [dialogue. action.]
"Hurry!" Nick opened the car door. [dialogue. action.]
She closed the envelope. "It's the only letter he wrote me." [action. dialogue.]
"I'm exhausted." She put on her pajamas. "I want to sleep a full week." [dialogue. action. dialogue.]


WRONG:
"Do you need help?" he smiled.
"Hurry up," Nick opened the door.
She closed the envelope, "It's the only letter he wrote me."
"I'm exhausted," she put on her pajamas, "I want to sleep a full week."

These aren't tags because they do not "speak." You cannot "smile" a spoken sentence. You can smile while speaking a sentence, but you cannot smile a spoken sentence.


Attaching the action to a tag

Alternatively, you can attach the action to a tag, using both a tag and an action.

Examples:

"Do you need help?" David asked, smiling. [dialogue, tag with action]
"Hurry!" Nick yelled and opened the door. [dialogue, tag with action]
She said while very slowly closing the envelope, "It's the only letter he wrote me." [tag with action, dialogue]
"I'm exhausted," she said and put on her pajamas. "I want to sleep a full week." [dialogue, tag with action. dialogue.]

For more advanced tips on this, you can see my post "5 Most Common Mistakes with Dialogue."


Action Interrupting a Dialogue Sentence

Sometimes you may want action to come in the middle of a dialogue sentence. But here's the problem. It's not a dialogue tag.

- Use em dashes to set off the action outside of the quotes. Don't use commas within the quotes near the interruption.

Examples:

"You said"--she wrenched open the car door--"that she would be safe!"
"Next time you go blabbing about our secrets"--he kicked a rock--"you'll be put in isolation."


Dialogue and Paragraphs

- Every time there is a new speaker, start a new paragraph.

Example:

"You said they would be safe," Lance said. "You said you could defend them!"
"I thought I could! But I didn't know they could wield magic," Ellie said.
"They were our last hope."
"At least I tried to help. Some people around here have done nothing," she said pointedly.
Lance glared.

- If one speaker is speaking for multiple paragraphs, delete the closing quote of their previous paragraph and start the next with another quotation mark. It feels counterintuitive, but that's the rule.

Example:

"You said they would be safe," Lance said. "You said you could defend them!"
"I thought I could! But I didn't know they could wield magic," Ellie said.
"They were our last hope."
"At least I tried to help. Some people around here have done nothing," she said pointedly.
Lance glared."Nothing?" he asked. "You think I've done nothing? I guess I haven't then.
"I guess getting intel from the enemies was nothing.
"I guess locating the chosen ones was nothing.
"I guess sacrificing time that could be spent with my own children is nothing.
"You had one job to do.
"But maybe to you, it was nothing."
Ellie was speechless. 

Typically writers reserve this sort of thing for long paragraphs but my example still proves the point.


Internal Dialogue/Thoughts

At some point you'll probably have internal dialogue (or maybe better put . . . monologue), or in other words, your character's direct thoughts.

- Never put these in quotes. Not double quotes. Not single quotes. Since they aren't being spoken, they should be in italics (in some styles, this is underlined, but you can almost never go wrong with italics). However, handle tags the same way you would in spoken dialogue.

Examples:

I can't believe she did that to me, George thought.
I can't do this anymore! Monica thought.
Please, please let this work, Jasper silently prayed. I can't mess this up again.
If I see him at school tomorrow, she thought, then I will confront him.

In some speculative fiction, you may have characters who can communicate via thoughts. These should also be in italics, not quotes.

Example:

There is danger out there, Saphira thought to him.
Don't worry. I'll be careful. Eragon strapped on his boots.

If you have any dialogue questions, feel free to ask.

* This is based on U.S. English

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