No tension means no story. For example:
Does this qualify as a story? I’d say yes. Sure, it’s simple, but the one essential ingredient is there. Stories don’t have to be as complicated as intergalactic political drama; they just need one thing: tension (or friction). Whether you’re a meticulous plotter or a casual pantser, tension is the one thing that brings everyone together across the entire storytelling spectrum.
As someone who’s spent more hours than I care to admit hunched over a keyboard, writing five books, including my debut novel Glitches of Gods, I’ve developed a bit of an interest in story structures. For Glitches of Gods, I leaned heavily on Blake Snyder’s “15 beats” described in his book Save the Cat. This method handed me a roadmap with all the critical checkpoints, which was a godsend for a rookie novelist like me. But now that I’ve got one novel under my belt, I’m hungry to explore the labyrinth of other structures. And trust me, there are many!
On my recent two-month Caribbean adventure, I indulged in the three R’s: relaxation, recreation, and relentless procrastination. The latter involved diving deep into the world of narrative frameworks. I spent hours compiling, color-coding, and eventually creating a poster-sized guide to 15 of the most renowned story structures. It was like arranging the pieces of a puzzle, only far more satisfying because, unlike my itinerary across the Caribbean, I could make sure everything fit nicely.
(Poster-sized high-resolution downloads in RGB and CMYK are available for paid subscribers at Substack.)
Before some of you get all riled up, I must apologize to Kurt Vonnegut’s fans, as I didn’t see how I could include his eight story patterns in this diagram. And Kim Hudson’s “Virgin’s Promise” (included in an earlier version) was sidelined in favor of John Truby’s “22 Steps” because, let’s face it, Truby’s method is far better known.
As you scan the diagram, you’ll encounter terms like Inciting Incident, The Road of Trials, Confrontation, Turning Point, Progressive Complications, The Wrong Goal, Main Culmination, All Is Lost, and The Resurrection. You’ll notice that the unifying force behind each beat, plot point, and narrative twist is tension (or friction). Something is off. And that keeps our interest until the tension is resolved.
So here I am, back on the plane, tapping this out as I head home after my two-month escapade. My friends are already bugging me to spill all the details. But what they really want is a story. And while my vacation didn’t strictly follow any of the 15 standard structures, it was far from routine. Something was off. There was plenty of tension. And that, my friends, is the seed of any good narrative. Without tension (or friction), there’s no story—just a string of events nobody cares about.
With my vacation in the rearview mirror and procrastination firmly under control (or so I tell myself), it’s time to dive into novel number two. This time, I might mix and match different story structures. Why stick to one blueprint when I can concoct a unique recipe, blending the best parts of several models?
When you tell a story, whether you plot every twist or wing it from start to finish, remember: the story structures are a distillation of the best storytelling practices honed over centuries. Ignore them at your peril. But no matter how you approach your tale, never forget the one thing you can’t afford to leave out: tension.
No tension, no story.
P.S. I started a Substack version of this same newsletter. It will have exactly the same content + exclusive downloads. Check it out: substack.jurgenappelo.com
