Category: books

Setting: Incorporating Time

Time is an important factor in the development of setting because it is linked to so many other aspects of a setting.

Time and Technology

These two elements are intricately connected because technology changes with time and getting the pairing wrong creates anachronisms the reader will most likely notice. Technology can also impact the events of a story, such as being able (or not able) to contact someone easily by cell phone or the ability to find needed information.

When writing in your own time period, or one you have lived through, it’s easier to get the technology right. Any time you venture from familiarity, take the time to thoroughly research what was available in a time period. Not only will this create a more realistic setting, readers can develop respect for your hard work and you will increase your credibility when readers learn new things about a time period.

When writing crime, technology is critical to get right in order to be believable. Don’t just consider when a technology was developed, but also when it became widely available in cities and rural areas and what public perception of specific technology was during that time. DNA profiling became available in the early 80s, but required a much larger blood sample than is needed today and was more limited on what it could determine. It was could also be more hindrance than help in trials because so few members of the public understood what it was and either didn’t understand it or distrusted it even into the 90s.

Time and Society

Time also factors into self-perception and social rules. Self perception is all too often closely linked to how others treat a person. Throughout time, minority groups have been treated with varying degrees of respect and equality. Consider how the experience of a 1950s black woman applying for a professional job would be very different from a white teenage boy in modern times. The different way they experience life impacts how they see themselves and what trials and they will face.

Multiple studies have been conducted on how young Black and white children perceive beauty, goodness, and intelligence based on race. The social environments they grow up in significantly effect how they see themselves and others even today. Create realistic social environments by studying how a particular time period effected those living in it, especially in particularly volatile areas.

Time and Profession

Time period also limits opportunities for certain races, genders, religions, and other groups. Be sure to research historical rules, laws, prejudices, and customs of a time period. Elizabeth Blackwell was a British physician and the first woman to receive a medical degree in the United States in 1849, however it wasn’t until the 1972 Title IX of the Higher Education Act prohibited federally funded schools from discriminating based on gender.

Time should also be considered in sports, education, and careers. It’s important to know how long it takes to become a lawyer, professional athlete, business mogul, PhD, etc. and plan your timeline and the ages of your characters accordingly. Steer away from “genius” or “prodigy” characters unless absolutely critical to the story. This overused trope doesn’t hold the appeal it once did. If you must have a 22-year-old billionaire, it’s much more realistic that he or she inherited that wealth rather than built it on his or her own.

When writing in any time period other than the present, don’t forget to consider other aspects like fashion trends, politics, generally available knowledge, and other elements that are dependent on time as well.

Setting: Place and Location

Place and location impact a story by how characters interact with the setting and how it shapes their worldview.

Go deeper than just city, suburbs, or country when locating your character within a fictional world. Consider both place and location. Place is a broader term that defines a space or an area, while location is a more specific point where a specific town/neighborhood/building/etc. is physically located. So a place might be the mountains, while Emerald Lake is near Estes Park, Colorado is a location.

Place can also describe how a person lives within a space, such as an empty desert or isolated cabin. Defining place in this way can help you establish how it will impact the story and character. For example, living in seclusion limits interactions with people but may shift a worldview to one more peaceful and patient. Living in a bustling city may give a character energy and enthusiasm to achieve a dream.

Location can be used to create physical limitations and/or opportunities for a character as well. A character in search of an opportunity to share his art with others will have more opportunities in a city or town that values art and has a strong artist community. A character in search of a job outside of agriculture might face a great deal of frustration and disappointment in a small town that mainly relies on ranching for financial support if she is stuck there and can’t explore other locations.

Place and location should affect the story and characters differently depending on the situation. Consider how the same location of a small town with a close-knit community who has strong conservative values would have on a character coming home. A character coming home after a stint in prison for drug possession will be received and affected quite differently than a character who returns to announce an engagement and acceptance to law school.

Location also has an affect on a character’s thoughts and behaviors. Walking into a twentieth-floor office for a first day on the job may inspire anxiety and cause him to make mistakes while going out with friends for a fun night might inspire confidence and excitement.

Interactions with other people change in different types of location and choices may even be very different. Hanging out with people a character has known all his life makes him feel comfortable and let his guard down, maybe to the point of revealing something he wouldn’t or shouldn’t tell anyone else. Meeting someone on vacation could lead a person to inflate their status or lie about certain aspects of their self or life because they believe they will never see the person again.

Place and location almost act as another character in the way they can influence both characters and story. Carefully consider both to use them to their full potential.

Setting: Elements of Setting

Setting has several major components, most of which are at least somewhat interconnected.

It’s important to consider all aspects of setting and how each element will impact the story or characters.

Many aspects of setting have the potential to affect character and story.

Social environment

The social environment a character inhabits affects their place in society, how she view herself and how others view her. It can impact confidence and expectations the character holds for himself or that others hold for him. A social environment can be encouraging and supportive or destructive and hindering.

It’s also important to consider the stability or chaotic nature of a social environment. Instability may breed disillusionment and rebellion while stability encourages things to stay as they are and may either be peaceful or boring.

Place/Location

Where a character lives or was raised will impact how she thinks and what she values. Consider how the land and nature has impacted her life, or how a lack of either may create a sense of fear or longing.

Location also helps determines what hobbies, skills, or habits a character might develop. City dwelling requires different survival skills than country living and classical ballet may not have been an option in a small, rural town.

Place is also important in determining what a character has learned to value. Aspects to consider include, family bonds, responsibility or duty to the community, obedience to elders or leaders, respect for other cultures, etc. Think about what experiences a particular place would have available that will influence developing values.

Time

Time period plays an integral part in creating an accurate and believable setting. This is easier when dealing with the modern world, or a time period you personally experienced.

When writing in a time period not modern or not personally experienced, it is important to thoroughly research the technology, politics, fashion, slang and speech styles, important historical events, differences in geography or town/city structures, etc.

Every time period develops its own social and political culture that is created by a variety of factors. Become familiar with those factors in order to accurately portray a specific time period.

This type of research is also important to know because it will impact the character. Certain concepts and ideas were not widespread or commonly understood in one period versus another. Some ideas, freedoms, or information were simply unavailable in certain time periods and will affect how a character views his or her self or the world.

Mood/Atmosphere

Whether mimicking a real setting or creating a fictional one, mood and atmosphere need to be considered in order for a scene to connect with the reader in the way you want it to.

Determine what type of mood and atmosphere will best serve the scene, then break down what will help create the right mood and atmosphere. Factors may include, weather, decor, time of day/night, sounds, lighting, colors, formal or informal environment, other people in the scene, topic of conversation, and more.

Climate/geography

Weather and geography can influence both the storyline and a character’s thoughts or actions. When writing a scene, consider whether the climate and geography will help, hinder, or remain neutral.

A neutral climate or geography will have little to no impact on the events or actions of the scene. In this case, neither is usually mentioned more than in passing.

A helping climate or geography will provide support to the purpose of the scene, whether that be physical, emotional, or mental. Good weather and a pleasant geographical area can further deep thinking, romantic opportunity, or clam reflection. Bad weather or rough geography can also be a help if it pushes the story in the desired direction (seeking shelter together or providing strenuous activity to clear the mind).

A hindering climate or geography will frustrate a goal or action, through ultimately continue to advance the storyline. A storm might knock out power when it’s needed most or a swampy landscape might make tracking a suspect slow or impossible. While actions or goals might be temporarily hindered, they should also provide opportunities for progression and growth for the character, such as overcoming a fear or physical limitation.

Politics/culture

A character’s political views and cultural background greatly impact how he sees himself or the larger world. It is important to consider how a town’s or region’s politics and culture intersect with a character’s goals, decisions, relationships, career choices, etc. Some areas have strong and specific cultures, which are often intertwined with political ideals. Other areas have more general cultures and political ideals, so individual family culture and politics may play a bigger role in a character’s development.

Young minds are highly influenced and the political and culture environments a person grows up in helps to shape their personality and worldview. A major point of conflict in a story may revolve around overcoming closely held views as a person grows older, experiences a new culture of political view, or faces a personal crisis.

Fully exploring these aspects of personality and character development can help you create a deeper character that connects with readers on a more profound level.

History

History should be considered on a personal, local, and macro level when developing setting.

A character’s personal history with a setting can deeply effect how they view that location and may change some aspect about their personality when they are in that location, such as going how to an abusive environment.

Towns or neighborhoods have specific histories as well. How a neighborhood developed within a larger city might have to do with its ethnic or racial background, or may be more closely linked to career or trade. Natural disasters or community tragedies will also affect the culture and atmosphere of a place.

On a larger scale, major events within a society should be considered when developing setting. What changed about New York post-911 or in elementary schools during the COVID-19 pandemic? What are the lingering effects still seen in New Orleans form Hurricane Katrina? Has the BLM movement changed the way some town and neighborhoods interact with police or racial groups? Some authors choose not to address such issues in order to avoid dating a story, but that often proves impossible. If an large-scale issue impacts setting, thoroughly research the issue in order to portray its effects realistically.

Story Structure: Linking Beginnings and Endings

As you near the end of your project, it’s important to consider the link between the beginning and the end.

Linking the Beginning to the Ending

The beginning and ending of a story should not only be strong, but they should be related in some way.

This may be through reiterating the stated or implied theme at the beginning again at the end of the story, referring back to the symbolism used throughout the story, using situation to mirror or contrast the beginning, coming back to a specific action or piece of information, or other similar methods of tying the two scenes together.

The ending will have more meaning to the reader if the beginning and the end tie together in a meaningful way. To be meaningful, the final scene should relate to the overall concept of the story, which should have been layout or hinted at in the early chapters.

Look back at the beginning scene and consider what message it communicated to the reader, particularly what promises it made, what theme(s) it introduced, what changes the character needed to make in order to find purpose or happiness, etc.

Once you isolate that message, look at your ending scene and make sure that you are fulfilling reader expectations. This may mean fulfilling a promise, completing a character or story arc, or coming back to a theme or concept important to the story or character.

The ending scene should fulfill reader expectations set in the early chapters so they put down the book feeling satisfied.

Final Scene Crafting Detail to Consider

When reviewing scenes, there are a few important factors to consider:

  • Make sure scenes have the right balance of details to create a full scene without bogging it down.
  • Descriptive details should be pertinent to the action, help create mood and tone, or accentuate the dialogue.
  • Details should use all relevant senses to create a full picture of the setting, the characters, and the emotion.
  • Details should reveal something relevant to the character or story and not be superfluous. A clenched fist shows anger, fidgeting conveys unease, food and clothing choices set the stage and reveal preferences, etc.

The structure of a story determines how well it will be told. Poorly thought out or constructed stories frustrate readers and confuse the purpose of the story.

Story Structure: Showing Character Change and Staying on Point

Every scene in a book should have a purpose. Part of that purpose should be to show how a character is progressing through their arc.

Showing Character Change

Every scene should demonstration some form of character change. The change exhibited may be subtle, especially if it is a transition scene or largely informational. When considering how to show how a character is changing, think back to the character arc and what point the character is on the arc at that moment.

The change shown should show development and growth of the character in reference to previous scenes, or show backsliding behavior that may lead toward a crisis. The change shown should be related to what is happening in the scene.

Whatever happens in the scene should have an impact on the character, eliciting change on some level, whether emotional, mental, or behavioral. Change should match the character and the event to keep it realistic. A minor even that creates a major change will feel forced to the reader.

One character may also see an event as not a big deal, while the other sees it as a huge problem, so be sure to consider the character’s personality developed up to that point. The character needs to react and change according to their perceptions.

Staying on Point

Scenes should leave out all the boring and non-important details of the characters’ lives. Life may be filled with the mundane, but scenes should not include details that are not relevant to the scene’s purpose.

If the information, actions, or dialogue don’t pertain to the purpose of the scene, cut it out and reevaluate what is needed to move the scene forward.

Consider starting in the middle of a scene, with action of some kind, and leave out the movements in and out of the scene. This helps curtail unnecessary details that will bore or confuse the reader. Irrelevant details can make the reader focus on the wrong information, thinking it is important to the story or scene.

Only insert backstory when it doesn’t slow the present scene. If a large portion of backstory explanation is needed, structure the scene around that information rather than trying to insert it into scenes with a different purpose. It’s also important only to share relevant backstory information needed for that particular scene to keep from bogging it down.

Story Structure: Crafting the High Moment and Using Conflict

A strong high moment and relevant conflict are important components of effective scene crafting.

Crafting the High Moment

Scenes within a story should mimic the overall story structure, meaning it should have a beginning, middle, climax/high moment, and an ending.

The high moment of a scene uses elevated emotion, action, or revelation to impact the character(s) in some way. This does not have to be a major event or action scene, but it should be noticeable to the reader and stand out in some way.

The high moment typically comes at or near the end of the scene, with the previous parts of the scene building or leading up to the high moment. It should be something that produces a reaction in the character(s) involved in the scene. The more important the scene is, the more important the reaction should be. Reactions might include, fear or happiness, making a decision or increasing uncertainty, hiding or running, pulling away or moving forward, etc.

The high moment reveals the purpose of the scene. The character should learn something, either about his or her self or the other characters, which then affects their perceptions or choices. It should also lead the reader into the next scene by setting up the next step the character(s) will take after the revelation in the current scene.

Emphasizing Conflict

Every scene needs some form of conflict: internal, external, or both.

The conflict in a scene needs to have meaning, not be pointless arguing or endless internal lamenting. Have a clear reason for the conflict and consider how it will eventually be resolved, even if the resolution won’t take place until later in the story. Focus the conflict no the purpose of the scene to keep it from meandering.

Conflict, in general, should get progressively worse throughout the story. This increases the stakes for the character(s). Keep this in mind while planning individual scenes and make sure there is an overall progression throughout the story. When considering the main conflict, break it down into smaller pieces or steps and plan its progression with particular scenes.

It’s also important to vary the type of conflict in subsequent scenes. Too many action scenes or scenes with external conflict in a row can be exhausting for the reader and not provide enough time to take in information or impacts of the action. Internal conflict slows down the action and gives the reader a chance to process the conflict and information along with the reader. Scenes with mostly internal conflict won’t be as explosive, but should increase the overall tension.

Story Structure: Scene Position, Purpose, and POV

Where a scene is located in the story structure, what role it plays, and whos tells that section of the story are important elements in deciding how to craft a particular scene.

Positioning

Opening scenes should introduce characters, set up the story premise, and give hints at backstory. Don’t go overboard on any of these elements. Orient the reader, and fill in the details later in order to avoid overwhelming the reader with too much information or names to remember.

Middle scenes should continue to introduce and work through complications, provide twists, and increase the stakes. These scenes contain the bulk of the story. They should build on each other and provide story progression. Scenes that lag or lack clear purpose should be eliminated or revised to prevent the reader getting bored.

Climactic scenes will build to a climax, and are typically toward the last third of the book. They are often shorter and use high levels or emotion and action. Be careful not to string too many climactic scenes together. This can overwhelm the reader. Give the reader a break every so often with scenes more focused on recovery, discovery, or introspection.

The tone, feel, and purpose of a scene should correspond to its place in the story.

Purpose

Every scene must have a purpose. That doesn’t mean that every scene needs action. Purposes might include advancing the plot, revealing something about the character or world, or providing information about the overall plot, highlighting change, etc.

For writers who outline, it is usually easier to make sure each scene will have a purpose before it is written. For pansters, this may be more challenging, because you don’t always know where a scene is going when you start writing it. Pansters need to revise critically to make sure there are not superfluous or meandering scenes.

The purpose should be able to be condensed into a one sentence summary. For example, This scene will show David blowing up and scaring Emily away by proving to her that he can’t control himself. If a scene doesn’t have a purpose, it likely doesn’t need to be there or need to be revised with a stronger focus on accomplishing something relevant to the story.

Point of View

It is important that a scene be told from the most impactful point of view.

This is usually the character who is most impacted by the events of the scene. If you find that emotion isn’t coming through in the scene like you wanted it to, reevaluate whose POV it’s being told from. Think about what the stakes are for each character involved and who has the most to gain or lose by the outcome of the scene.

POV is often tied to the purpose of the scene. Make sure you have a firm purpose and then evaluate who will learn the most, change the most, react more strongly, risk the most, etc.

There are exceptions, of course, often stylistic ones. If the emotional elements are so strong they may impact the reader in a negative way or be overwhelming, writing the scene from a peripheral viewpoint might be a better option. This may be the case with traumatic experiences or a particularly gruesome encounter.

Story Structure: Opening a Story

The opening of a story should catch the reader’s interest right away.

The TOP priority of the opening scene is making the reader want to know what will happen next. Many readers have short attention spans and will only give a book a few pages to grab them. Opening scenes must get the reader invested in the characters and the story very quickly.

Tips for Writing a Great Opening Scene

Start with conflict or tension. It’s important to present some sort of problem early on, even if that problem is simply that the character is unhappy or something is off in their world.

Start with the story, NOT the backstory. Wait to give the reader the character’s full story. Focus on where the character’s life is currently at so the reader can see why or how it needs to change or what is disrupting it.

Introduce the characters in a way that focuses on the individual, not the “type” of character they are. Stay away from stereotypes in general, but especially in the opening scene. This can turn readers off very quickly. Highlight unique traits to pique the reader’s interest.

Be specific but brief in setting the scene and with description. Give the reader a sense of when, where, and how the character exists in his or her world, but don’t overdo it. The reader should usually be more focused on the character than the world. Orient the reader, then save all the other exciting or fascinating aspects of the world for later.

Set the tone of the story through description, action, dialogue, etc. Pay attention to how your describe the world and character. Match the tone to your wording choices and what you choose to focus on. A character who thinks their life is amazing will notice pleasant things in his or her surroundings. An unhappy or frightened character will notice things that feed into the perceptions and emotions that are experiencing.

Make promises to the reader that you WILL keep by the end: finding love, solving a mystery, learning something, etc. Even if you are a pantser and don’t know exactly how the story will end when you begin writing, you should have a general idea. the opening should mirror the ending, in most cases, and show how the character changes from their initial state in the opening scene to the final chapter.

Tips to Avoid a Lackluster Opening Scene

Don’t open with heavy description or backstory. Readers will often get bored and lose interest in the character if she or he is not the main focus of the story. Be concise and stay focused on what will engage the reader.

Don’t open in the middle of confusing events. Starting in the middle of action is fine, but it needs to be understandable, unless your goal is to confuse the reader, which I don’t recommend. Be clear about who is involved, when and where it is taking place, and what the main conflict is.

Don’t open with too many characters. Generally, it’s best to stick to three or fewer characters in an opening scene. It’s overwhelming for readers to meet so many characters at once and try to determine their important, how they fit into the story, and whether they are good or bad (to put it very simply).

Don’t open with a dream or flashback. Some writers do manage to do this effectively, but most don’t. There’s always a risk of upsetting the reader, even if it is done well. If you feel that you absolutely must start with a dream or flashback, make it crystal clear that is what the reader is experiencing so they are confused and don’t feel like to when you make the switch.

Don’t open with a cliché. This is basically anything that will make a reader roll their eyes or think, Oh, it’s that kind of story. The girl standing in front of a mirror describing herself to the reader is a personal pet peeve of mine. I will put a book down for that reason alone.

Don’t open with flowery language. Get to the point of the scene without a meandering trip through the garden. Readers get bored quickly.

Don’t open with “telling.” Show the reader what they need to know using dialogue, action, internal thought, or interactions. Heavy exposition makes a scene drag and long internal soliloquies are exhausting. Think of it as a movie scene. If nothing is happening that the reader can “see,” go back through this checklist and start cutting.

Don’t open with a stolen prologue to fix a boring beginning. Pasting a later scene onto the beginning of a story to make it more interesting is lazy. If your opening scene isn’t interesting enough to stand on it’s own, it needs reworked. Rethink the structure and point of the opening. It should introduce the main character, their current situation, their problem, and a hint at what’s to come next.

Use your opening scene to hook the reader by presenting an interesting character, a problem the reader wants to see solved, and a world that ties the two together.

Story Structure: Chronological and Non-chronological

How you tell a story in time can make a big difference in its effectiveness. Chronological timelines are the the most common, but non-chronological structures can also work very well when done with careful planning and attention to detail.

Chronological Structure

The story is told largely in chronological order, meaning events are told in the order they occur. Brief flashbacks or flashforwards may be included, but they are not the main storytelling device.

This is the most common story structure used and the easiest for readers to understand. It is important to make sure the order of events and passage of time is clear to the reader. You can achieve this by establish the setting/time in the first few chapters to orient the reader, and then staying consistent throughout the book. This is especially important in anything not set in a current time period. If there is a flash forward or backward, give clear indication of the time change, either through exposition or noting the time change.

During editing, check for inconsistencies, such as injuries, broken items, or people coming or leaving and ensure there are proper healing time, things broken stay broken or get fixed, the people involved doesn’t change without being mentioned to the reader, etc. It’s easy to forget little details and have someone using a whole item that was broken in an earlier chapter, or forgetting an injury should hinder movement or ability, or forgetting about a character who existed in the background of a scene.

Non-Chronological Structures

Past prologue: This type of structure details an important event that happened in the past and has effected the current situation. This is commonly used when there is too much backstory detail to work into a present conversation without info dumping. The reader is given all the pertinent information in a past prologue to orient them in the current time when the story begins.

Future prologue: This type of structure details a tension-filled or dramatic future event meant to capture readers’ attention. It is most commonly used to show an unlikely or startling endpoint of a character or story, then reverts back to the present to show what led to the unexpected event. This should not be used simply for shock value to attract a reader’s attention. It should be important and relevant information the reader needs to know when beginning the story.

Alternating timelines: With this structure, past/present or present/future timelines alternate between different characters or the same character in different time periods. This is often used to show a comparison of experiences or times, or to brings two timelines to an eventual intersection.

Circular timelines: In this type of structure, the story ends where it began. It is used to create a sense of departure from and return to the original structure. Characters still undergo transformation and are affected by events.

Flashbacks: A flashback breaks from the current story to tell of an event that happened in the past, as a complete scene. It can be located anywhere in the story. It is used when more details are needed than what can be conveyed through a recap or explanation, or when the reader needs to “experience” the moment to full understand it. Flashbacks should be used minimally to avoid distraction and breaking the story flow.

Parallel timelines: This is used to tell two stories chronologically in different time periods. Both move forward together and inform the other. This is often used to compare two periods of time and how characters experience those time periods. There should be a link between them that sheds light on one or both storylines.

Time jumping: This is when a character moves through time, either forward or backward, or a combination of both. Scenes are connected in some way and inform the other scenes. Outside of an actual time-traveling storyline, this can be used to show changes in a character, situation, place, etc. in different time periods.

Story Structure: 3-Act Structure

One of the most commonly taught and used story structures in the 3-Act Structure. In this post I’ll break down each act and what should be in it.

Act 1 – The Beginning

Act one compromises about the first 25% of the story and has three main parts.

  • Introduction: The introduction should establish who the main characters are and what their “normal” life looks like at that point in time.
  • Inciting Incident: The inciting incident presents a situation that will prove to be a catalyst for change and which will set the story in motion. In a romance novel, this is usually the meet-cute.
  • Plot Point 1: This first major plot point will introduce the central conflict and present a call to action for the character. The character(s) then react to the inciting incident and call to action, usually accepting the call and setting themselves on the path of the story and character arcs.

Act 2: The Middle

Act two compromises about the middle 50% of the story and contains the bulk of the plot.

  • Confrontation: During the confrontation, the main character faces the first obstacle to achieving his or her desire or goal. In a romance novel this is often something that will prevent a real relationship or keep the main character’s apart, either physically or emotionally.
  • The midpoint: At the midpoint, the main character faces the central conflict in some way. The realization causes a change in the character. This is often a revelation about the self, information about another character, shocking news, reflection on the main conflict, etc.
  • Rising action: During the rising action, the stakes must rise for the main character, building up to the central conflict he or she must face. This is usually achieved through subplots and new information about the central conflict.
  • The second plot point: This is the highest point of tension. It is a crisis that makes the desired ending seem impossible. This should use high emotion to engage the reader and make them concerned for the character. This MUST be believable enough to make the reader think a happy ending may not be possible. This should be big enough that it can’t be resolved easily.

Act 3: The End

Act three compromises the last 25% of the story and contains the worst moment for the characters as well as the resolution or climax and the final ending.

  • Pre-climax/darkest night: In this blackest moment, the character faces the possibly of not achieving their goal during a final clash with the antagonist and deals with the fallout of the crisis The character may realize a new goal that will help them move past the crisis (often alone).
  • Resolution/Climax: This is the final moments of the main conflict where it is resolved by providing an answer to the main problem/conflict. This is normally a single scene, but may extend to several scenes if the resolution/climax is complicated or involves interactions with multiple characters.The main conflict’s resolution MUST be believable and not a simple misunderstanding. The solution should be real and still have an element of risk. The benefits of taking the risk should outweigh staying safe.
  • Denouement:This final ending fulfills all promises to the reader. Make sure to tie up loose ends, answer questions, underscore the theme, in order to leave the reader satisfied.

There is, of course, room to make changes or try new tactics within a 3-Act story structure, but it is still important to make sure you hit all the main elements in some fashion.