When writers first tackle novels, they are often at a loss about how to structure one. Even writers who have been working on their novel(s) for a decade can have this problem.

A couple solutions exist for this issue, so let’s consider the first option: choosing a basic plot shape.

Plot shapes have to do with two things: spikes of conflict and reversals of fortune. First and foremost, this tells you two things: your plot must have conflicts, and it must have changes in the fortune of your main character(s). This would seem to be a rather silly thing to point out, but I have met plenty of writers who had no conflict in their stories. Also, I have met writers who tried to sustain a novel or short story on a conflict that would naturally take the space of one paragraph or one chapter to resolve.

Your conflict doesn’t have to be galactic. The Cylons don’t have to return looking like humans now, and the Empire doesn’t have to be hard at work taking over the galaxy and blowing up planets or stars. However, your characters do have to face an age-appropriate level of difficulty. For a fifth grader heading into middle school, this could be mean teachers, hitting puberty, and getting a first crush. Whatever it is, the size of the conflict and the size of the novel need to match. For those of you who relish in conflict, this might mean scaling it back. There is such a thing as too much tension. Readers need a sanity break or comic relief.

Once you’ve settled that, it’s time to try out a plot shape. General tip: always think in terms of experimentation. You don’t have to marry yourself to anything. That’s why we always say “writing is revision.”

The W Plot

The W Plot is the most common plot used in TV shows and movies. You don’t realize it, but you have this form memorized because you’ve seen it so many times.

This plot form is character-based. The hero agrees to walk the entire shape of the W in order to get what he, she, or they want.

Consider the shape of the letter W.

The first leg of the W comprises the first barrier and the first reversal. So when the hero begins—we’ll name her Molly for our example—she runs into an initial barrier to her goal. She has to stop and take out this barrier. If it’s a TV show, we can estimate that the first 15 minutes are spent overcoming this problem. In a novel, perhaps the first 5 chapters.

Just when things are working out, a second problem crops up. In the second leg of the W, Molly meets a second barrier to her goal, and she generates a second reversal. Since Molly barges through this problem and solves it, the second reversal is the peak of the W. You will not be surprised to learn the peak of the W is called the “high point.” This is in the point in the TV show, movie, or novel in which everything looks like it will all work out and be perfect. However, as a reader or viewer, you notice we’re only at chapter 10 or only about 30 minutes into our episode. That sinking feeling sets in. It can’t be that easy, so what’s going to happen now?

The third leg of the W starts off with what is called “the rug-pulling.” This is moment in which you pull the rug out from under Molly’s feet—and therefore out from under the readers’ feet. This catastrophic moment leads us straight into the climax of the story. Here, the final reversal of fortune takes place. This segment will be the final 10 minutes of the show or roughly the final 5 chapters, assuming a roughly 15-chapter-long novel (although that will vary).

The final leg of the W is the resolution. If your story is a comedy and not a tragedy, then this section in which you put the world back together so Molly can be happy. This can take anywhere from a few paragraphs to a full chapter. In a TV show, it can take anywhere from 30 seconds to three minutes. It has an emotionally balancing effect on the readers/viewers so they can feel satisfied when they set down the book or change the channel.

The number one thing to keep in mind is that the only reason your hero is willing to walk such a convoluted path to reach the goal is because it’s worth fighting for. The character’s motive drives the narrative. Likewise, we as readers are willing to read about the W because we want to watch the character achieve this goal.

This also means that the first and second barriers, along with the rug-pulling, must make sense as things that would normally or believably get in the way.

I suggest you grab your favorite movie or TV show, get a piece of paper and a pen, and draw the W. Plot the movie on the W as you watch it. Do this until the shape seems natural to you.

Mountain Plot

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