write an essay on plot

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What Makes a Good Plot? A Guide to Character, Conflict, & More

Last Updated: November 28, 2023 Fact Checked

Outlining, Structure, & Worldbuilding

Creating unique characters, adding conflict & style, expert q&a.

This article was written by Lydia Stevens and by wikiHow staff writer, Finn Kobler . Lydia Stevens is the author of the Hellfire Series and the Ginger Davenport Escapades. She is a Developmental Editor and Writing Coach through her company "Creative Content Critiquing and Consulting." She also co-hosts a writing podcast on the craft of writing called "The REDink Writers." With over ten years of experience, she specializes in writing fantasy fiction, paranormal fiction, memoirs, and inspirational novels. Lydia holds a BA and MA in Creative Writing and English from Southern New Hampshire University. There are 12 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 214,285 times.

Plotting a narrative can be one of the most rewarding tasks for writers…but where do you begin? A good plot is well-structured, and bursting with conflict and character. In this article, we’ll offer you an expert guide on how to craft all three to make your story engaging from beginning to end. Whether it’s a novel, a script, or a short story, by the time you’re done reading, you’ll have plenty of tools to make your tale pop. This article is based on an interview with our author and developmental editor, Lydia Stevens. Check out the full interview here.

Things You Should Know

• Begin plotting your story by writing down concepts you find interesting. These initial ideas can be detailed (two opposing samurai falling in love) or simple (a story about grief).
• A good plot requires a relatable protagonist that reacts to situations organically. The best way to create a dynamic character is to give them clear goals and flaws.
• Conflict adds tension to your plot. Place your characters in situations where they struggle and increase the difficulty as your story progresses.

• Consider getting a notepad. The act of writing by hand can get your ideas flowing more freely.

• Instead of saying a character is sad, show them holding back tears or maintaining a stoic expression while everyone around them is joyous.

• Comedy: These stories are usually shorter and meant to showcase the absurdity or silliness of human nature. Characters are often more broad, and the resolutions are usually happy. (Examples: A Midsummer Night’s Dream, Much Ado About Nothing, Don Quixote )
• Tragedy: A character has a major flaw that ends up being their undoing. Endings are often sad, as a once happy protagonist falls from grace. (Examples: Macbeth, Oedipus Rex, Hamilton )
• Hero’s Journey: A protagonist goes on a quest to get somewhere or find a special object. They face obstacles and meet people that teach them along the way. (Examples: The Odyssey, The Lord of the Rings, Interstellar )
• Rags to Riches: A poor character acquires wealth, power, or status, loses it, then must fight to gain it back. These stories often explore the nature of power and responsibility. (Examples: Aladdin, Jane Eyre, Charlie and the Chocolate Factory )
• Rebirth: An event (either supernatural or realistic) forces a jaded or corrupt character to live a better, more generous life. These stories often have spiritual themes and draw from religious texts for inspiration. (Examples: Pride and Prejudice, Beauty and the Beast, Groundhog Day )
• Overcoming the monster: A battle of Good vs. Evil where a character must fight an opposing force that threatens the well-being of their family, home, or overall status quo. (Examples: Star Wars, Dracula, Perseus)
• Voyage and Return: A character visits a strange new world, adapts to it, and returns home with a new perspective on life. (Examples: The Wizard of Oz, Gulliver’s Travels, The Lion King )

• Dialogue: Have your characters talk about their lives in conversation.
• Narration: Let the audience hear what’s going on inside your character’s head and how they feel about the world around them. This usually works better in prose.
• Conflict: Have your character face an obstacle early on to show what they stand for.
• Objects and symbols: Focus on items (newspaper clippings, household furniture, clothes) that give a clear picture of the world your character lives in.
• Try to make your status quo contrast with the journey you plan on sending your character on. The further your characters venture out of their comfort zone, the more opportunity they have to grow.

• Character vs. self has a character working through their own inner demons and flaws. These stories are often dramas, tragedies, and tales of rebirth. (Examples: Good Will Hunting, Emma, Hamlet )
• Character vs. character is the most common conflict; a protagonist must fight an antagonist who challenges their core values. These stories can be any genre but usually fall into the “Overcoming the Monster” plot. (Examples: Star Wars, Othello, Crime and Punishment )
• Character vs. society explores your protagonist challenging the social norms and bigotry of the people around them. These stories are often farcical comedies or have strong undercurrents of social commentary. (Examples: To Kill a Mockingbird, The Color Purple, Blazing Saddles )
• Character vs. supernatural has the character fighting against a force with special powers. These stories are always fiction, usually sci-fi or fantasy. (Examples: Harry Potter, The Odyssey, Ghostbusters )
• Character vs. technology has a protagonist fighting against a machine or technological advancement (usually one similar to a device that’s taking off in the real world, like AI). These stories are usually a form of science fiction, but they can be any genre. (Examples: Blade Runner, 2001: A Space Odyssey, The Matrix )
• Character vs nature stories are often visual. The protagonist must fight against the natural world. These stories are very adventure-based. (Examples: Cast Away, Hatchet, The Martian )

• Pay attention to cause-and-effect in your rising action. Every action has a reaction, and no events are random. Each decision the character makes should affect future situations. [10] X Research source
• The best structure to create a meaningful rising action is “[Character] did _____. Because of that, _____ happened so they _____.”
• Utilize your world to impact your rising action, too. For example, if your character lives on Mars 3000 years in the future, your character should probably deal with struggles unique to that planet, rather than common Earth problems. [11] X Research source

• In Oedipus Rex , the climax occurs when Oedipus realizes his hubris has made him fulfill the prophecy so he blinds himself as punishment for his actions. Because this story is a tragedy, the climax is dark, sad, and violent.
• In Shrek , the climax comes from the reveal that Fiona is an ogre too. Because the film is a subversive comedy about beauty standards, the silly plot twist matches the movie’s tone.

• In Little Red Riding Hood , the falling action covers the part where the Woodsman finds Little Red and saves her from the Big Bad Wolf. Because Little Red learns her lesson on gullibility in the climax (when she discovers Granny’s been eaten), her resolution is happy and simple.
• To create a more effective conclusion, set up story beats early on that you can pay off later. For example, at the beginning of Game of Thrones , Theon Grey Joyce betrays the Stark family. However, he ends the series fighting (and dying) to protect their name.

Rain Kengly

"If you find yourself struggling to plot a story from beginning to end, start with the ending and work backward! Knowing how and where you want your story to end can help you understand what developments your characters must have to get there."

• Does your character like attention or avoid it?
• How big of a role does fear play in their day-to-day activities?
• Does your character think they’re intelligent or dumb? How would they define these words?
• Does your character prefer to leap into action or stay back and think?
• What are your characters’ regrets?
• If your plot is a fantasy epic, your characters may have lofty, larger-than-life ambitions like finding a magic amulet or gaining special powers. For a more subtle drama, their wishes may be smaller: love, getting into the right college, reuniting with family, etc.

• For example, if you have an uncle who’s a hypochondriac and a friend who wants to be a stuntman, you could combine these to create a character who loves stunts but is afraid of the toll it takes on their body.
• Keep a journal to write down what people in your life say. In art and life, people’s dialogue often reflects who they are.

• Set up a need, as well as a want. Ideally, your character will have a clear goal as well as a lesson they must learn to live a better life. It’s more realistic and satisfying if a character doesn’t necessarily get what they want, but, as the Rolling Stones sing, gets what they need.
• Create irreversible consequences. Every decision your character makes should set off a new chain of events. Results can be good or bad, but no choices happen in a vacuum; they should make an impact in some way.
• Let the character show their strengths and overcome weaknesses. Giving your characters skills that they can apply on their journey allows them to be more directly involved in the story.
• Create a dark night of the soul. At one point in the story, your character should feel like all is lost. This surrender offers them a new perspective that they can use to re-evaluate their goals.

• Mirror subplot: A smaller-scale conflict that mirrors the main conflict which helps teach the character how to resolve the core issue.
• Contrasting subplot: A secondary character facing similar circumstances and dilemmas as the main character, but making different decisions that have a polar opposite (and often less effective) outcome.
• Complicating subplot: A secondary character making things worse for the main character. These subplots often appear right around the middle of the story to raise the stakes once the character feels comfortable.
• Romantic subplot: A relationship that often complicates or adds risk to the main plot.

• For example, in Die Hard, John McClane must overcome his fear of heights and save his relationship, or else the terrorists will succeed and harm innocent people.
• Your “or else” doesn’t always have to be life or death. The stakes just have to feel heavy for your character. For example, in Up , if Carl doesn’t fly his house away, he’ll be fine physically (and go to a nice retirement home). However, he’ll feel like he disappointed Ellie, his late wife.
• Adding a ticking clock is a great way to make your “or else” more clear and specific. Give a set time frame that your character has to complete their goal, and clarify what will happen if they fail to meet this deadline.

• Chekov's Gun: An object appearing to be insignificant later resolves the conflict.
• Flashback: A recount of events that happened before the current story, which fills in crucial backstory.
• MacGuffin: An object or goal that the protagonist is motivated to pursue which makes their life more difficult.
• Deux Ex Machina: A resolution that appears to come out of the blue.
• Dramatic Irony: A situation where the audience knows something the character doesn’t (that often leads to the character’s downfall).

• In addition, pace your story so it gets more compelling as it goes along. Don’t overload your story’s beginning with tension; distribute action and conflict equally throughout the piece. The more your narrative builds, the more invested your audience will be!

• Remember: your plot is allowed to change. It’s not finalized until the very end. Thanks Helpful 0 Not Helpful 0
• Never, ever, ever, scrap an idea just because it looks silly. One person's goofy idea is the other one's brilliant masterpiece. Thanks Helpful 0 Not Helpful 0

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• ↑ Lucy V. Hay. Professional Writer. Expert Interview. 16 July 2019.
• ↑ Lydia Stevens. Author & Developmental Editor. Expert Interview. 1 September 2021.
• ↑ https://writingcenter.unc.edu/tips-and-tools/brainstorming/
• ↑ https://www.booksoarus.com/6-ways-write-effective-exposition-examples/
• ↑ https://lewisu.edu/writingcenter/pdf/narrative-elements-1.pdf
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/creative_writing/creative_nonfiction/index.html
• ↑ https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/3-what-are-the-mechanics-of-story-and-plot/
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/creative_writing/fiction_writing_basics/index.html
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/creative_writing/characters_and_fiction_writing/writing_compelling_characters.html
• ↑ https://www.nownovel.com/blog/detailed-character-arc-template/
• ↑ https://storybilder.com/blog/types-subplots
• ↑ https://www.writersdigest.com/write-better-fiction/how-to-raise-the-stakes-in-your-first-50-pages-of-your-novel

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