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</style><div role="note" class="hatnote navigation-not-searchable">"Dramatic structure" redirects here. For the 1973 book by Jackson G. Barry, see <a href="Dramatic_Structure%3A_The_Shaping_of_Experience" title="Dramatic Structure: The Shaping of Experience">Dramatic Structure: The Shaping of Experience</a>.</div>

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<p><b>Story structure</b> or <b>narrative structure</b> is the recognizable or comprehensible way in which a <a href="Narrative" title="Narrative">narrative</a>'s different elements are unified, including in a particularly chosen order and sometimes specifically referring to the ordering of the <a href="Plot_(narrative)" title="Plot (narrative)">plot</a>: the narrative series of events, though this can vary based on culture. In a <a href="Play_(theatre)" title="Play (theatre)">play</a> or work of <a href="Theatre" title="Theatre">theatre</a> especially, this can be called <b>dramatic structure</b>, which is presented in audiovisual form. Story structure can vary by culture and by location. The following is an overview of various story structures and components that might be considered.

</p>

<div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2></div>

<p>Story is a sequence of events, which can be true or fictitious, that appear in prose, verse or script, designed to amuse or inform an audience.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Story structure is a way to organize the story's elements into a recognizable sequence. It has been shown to influence how the brain organizes information.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Story structures can vary culture to culture and throughout history. The same named story structure may also change over time as the culture also changes.

</p>

<div class="mw-heading mw-heading2"><h2 id="Variations">Variations</h2></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="List_of_story_structures" title="List of story structures">List of story structures</a></div>

<div class="mw-heading mw-heading3"><h3 id="Three-act_structure">Three-act structure</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Three-act_structure" title="Three-act structure">Three-act structure</a></div>

<p>The three-act structure is a common structure in classical film and other narrative forms in or associated with the <a href="Western_culture" title="Western culture">West</a>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:0_4-0" class="reference"><a href="#cite_note-:0-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p><p>First described in the fourth century A.D. by <a href="Aelius_Donatus" title="Aelius Donatus">Aelius Donatus</a> in his commentary on the works of <a href="Terence" title="Terence">Terence</a>, the form was popularized by <a href="Syd_Field" title="Syd Field">Syd Field</a> in <i><a href="Screenplay_(book)" title="Screenplay (book)">Screenplay: The Foundations of Screenwriting</a>.</i> Based on his recommendation that a play have a "beginning, middle, and end," the structure has been falsely attributed to Aristotle, who in fact argued for a two-act structure consisting of a "complication" and "dénouement" split by a peripeteia.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>

</p><p>The sections are:

</p><p>The <b>first act</b> begins with setup, where all of the main characters and their basic situations are introduced, as well as the setting. It contains the primary level of characterization for both of these (exploring the characters' backgrounds and personalities, the relationships between them, and the dynamics of the world they live in). This setup is often called the exposition.

</p><p>Later in the first act, the <a href="Protagonist" title="Protagonist">protagonist</a> experiences a dynamic event known as the <a href="Inciting_incident" class="mw-redirect" title="Inciting incident">inciting incident</a> (or <a href="Catalyst" class="mw-redirect" title="Catalyst">catalyst</a>). Their initial actions are to deal with this event and attempt to reestablish order.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> These lead to the first <a href="Plot_point" title="Plot point">plot point</a>, where the first act ends and a dramatic question is raised; for example, "Will X disable the bomb?" or "Will Y end up with their love interest?"

</p><p>The <b>second act</b>, or confrontation, is considered to be the bulk of the story. Here, the characters' conflict is most developed (particularly between the protagonist and <a href="Antagonist" title="Antagonist">antagonist</a>) as well as any changes in values and personality one or more characters may undergo (known as character development, or a <a href="Character_arc" title="Character arc">character arc</a>). This leads to the second plot point, where the second act ends and the protagonist returns to their ordinary world.

</p><p>The <b>third act</b>, or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all the elements of the story to come together, leading to the <a href="Climax_(narrative)" title="Climax (narrative)">climax</a>, which is the answer to the dramatic question, being hand in hand with the end of the conflict.

</p>

<div class="mw-heading mw-heading3"><h3 id="Kishōtenketsu">Kishōtenketsu</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Kish%C5%8Dtenketsu" title="Kishōtenketsu">Kishōtenketsu</a></div>

<p>Kishōtenketsu is a structure mainly derived from classic Chinese, Korean, and Japanese narratives.

</p><p>Kishōtenketsu is divided into four sections, which have been defined and used differently by narratives from each of the three cultures where the form is most commonly found. The first section is generally considered an introduction of sorts across all three interpretations, albeit understood by each in a different way. The second may refer to the development, or to a beginning of an action related to self-realization. The third section is based around a turning point, change in direction, reversal, or twist. The fourth and final section concerns itself with a result or conclusion, a consequence thereof, or a 'coming to fruition'.

</p>

<div class="mw-heading mw-heading2"><h2 id="History">History</h2></div>

<p>This covers a loose worldwide history of story structure.

</p>

<div class="mw-heading mw-heading3"><h3 id="European_and_European_Diaspora">European and European Diaspora</h3></div>

<p>The first known treatise on story structure comes from <a href="Aristotle" title="Aristotle">Aristotle</a>'s <a href="Poetics_(Aristotle)" title="Poetics (Aristotle)">Poetics</a>. He advocated for a continuous two-act plot: δέσις (desis) and λύσις (lysis) which roughly translates to binding and unbinding,<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> that was not centered on "one individual",<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> but where the characters learn a lesson through negative reinforcement. He believed the Chorus was the most important part of the story.<sup id="cite_ref-auto_10-0" class="reference"><a href="#cite_note-auto-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p><p>Later scholars such as Horace in <i><a href="Ars_Poetica_(Horace)" title="Ars Poetica (Horace)">Ars Poetica</a></i> and <a href="Aelius_Donatus" title="Aelius Donatus">Aelius Donatus</a> in <i>Aeli Donati qvod fertvr Commentvm Terenti: Accendvnt Evgravphi Volume 2</i> argued for a five act chorus. Neither specify that five acts should be for the story itself, but for the chorus.

</p><p>Most extant theories of story structure took off in the 19th-20th centuries, the first notable work being <a href="Gustav_Freytag" title="Gustav Freytag">Gustav Freytag</a>'s <i>Die Technik des Dramas</i> which was published in 1863. He outlined the basics for what would later become the foundation for the three– and five–act story structures. He outlined the sections of the story as Introduction, Rise, Climax, Return or Fall, and Catastrophe.

</p><p><a href="Georges_Polti" class="mw-redirect" title="Georges Polti">Georges Polti</a> in <i><a href="The_Thirty-Six_Dramatic_Situations" title="The Thirty-Six Dramatic Situations">The Thirty-Six Dramatic Situations</a></i> (1895) proposed multiple plot forms in lieu of Freytag's single structure, also making a point of discussing material from cultures that Freytag disparaged.

</p><p>This continued into the 19th century when Selden Lincoln Whitcomb wrote <i>A Study of a Novel</i> which examines the basis for <a href="Silas_Marner" title="Silas Marner">Silas Marner's</a> plot structure, where he argues for the Line of Emotion on Page 39. He argues that "The general epistolary structure may be partially represented by a graphic design."<sup id="cite_ref-SeldenWhitcomb_11-0" class="reference"><a href="#cite_note-SeldenWhitcomb-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> For this, he posts a proposed design for Miss. Burney Evelina on page 21.

</p><p>He presupposes that stories might have different shapes for those emotions. This leads to diagramming, later described by Joseph Esenwein, who directly cited him, but argued that the diagram was supposed to be used only for short stories.<sup id="cite_ref-JosephEsenwein_12-0" class="reference"><a href="#cite_note-JosephEsenwein-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> He follows Selden Lincoln Whitcomb's recommendations and says that the parts are incident, emotion, crisis, suspense, climax, dénouement, conclusion.

</p><p>This diagram was copied and explained one for one by <a href="Kenneth_Thorpe_Rowe" title="Kenneth Thorpe Rowe">Kenneth Rowe</a> almost verbatim, in Kenneth Rowe's <i>Write That Play</i>, though no credit was given to Joseph Esenwein. The plot structure was then used by Death of a Salesman author Arthur Miller.

</p><p>However, the coining for "Exposition" as the first part goes to earlier author, Rev. J.K. Brennan, who wrote his essay "The General Design of Plays for the book 'The Delphian Course'" (1912) for the <a href="Delphian_Society" title="Delphian Society">Delphian Society</a>.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Exposition, not Introduction nor "Incident" are used as the first part.

</p><p>This leads to <a href="Percy_Lubbock" title="Percy Lubbock">Percy Lubbock</a> who wrote <i>The Craft of Fiction</i> in 1921. He argued that there were too many story structures in the time period which made it harder to study academically, and thus proposed that conflict should be at the center of all stories, using such works as <i>War and Peace</i> by <a href="Leo_Tolstoy" title="Leo Tolstoy">Leo Tolstoy</a>. He also advocated for <a href="Death_of_the_Author" class="mw-redirect" title="Death of the Author">Death of the Author</a> in his work.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> He made a concentrated effort to look at conflict at the center of stories.

</p><p>Writers such as <a href="E._M._Forster" title="E. M. Forster">E. M. Forster</a> and <a href="Virginia_Woolf" title="Virginia Woolf">Virginia Woolf</a> disagreed with him, the latter of which wrote in November 1923: "This is my prime discovery so far; & the fact that I've been so long finding it, proves, I think, how false Percy Lubbock's doctrine is--that you can do this sort of thing consciously."<sup id="cite_ref-WoolfDiary272_15-0" class="reference"><a href="#cite_note-WoolfDiary272-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> She went back and forth on the work throughout her life.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> She thus wrote some bits on their own treaties.

</p><p><a href="Gertrude_Stein" title="Gertrude Stein">Gertrude Stein</a> also later contributed to the general feel of stories by promoting <a href="Stream_of_consciousness_(narrative_mode)" class="mw-redirect" title="Stream of consciousness (narrative mode)">stream-of-consciousness</a> and supported much of <a href="Literary_Modernism" class="mw-redirect" title="Literary Modernism">Literary Modernism</a> and looking at writing as a look into psychology.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup>

</p><p>This was furthered by <a href="Lajos_Egri" title="Lajos Egri">Lajos Egri</a> who advocated for using psychology to build characters in The Art of Dramatic Writing, published 1946. He also examines character through the lens of physiology, sociology and psychology.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup>

</p><p>However, there was a rise in structuralism in the mid-to-late 20th century with such thinkers as

<a href="Roland_Barthes" title="Roland Barthes">Roland Barthes</a>, <a href="Vladimir_Propp" title="Vladimir Propp">Vladimir Propp</a>, <a href="Joseph_Campbell" title="Joseph Campbell">Joseph Campbell</a>, and <a href="Northrop_Frye" title="Northrop Frye">Northrop Frye</a>, who often tried to find a unifying idea for story structure and how to academically study it. For example, Joseph Campbell tried to find one unifying story structure for myth, Roland Barthes further argued for the Death of the Author theory and Propp tried to find a story structure for Russian folktales.

</p><p>In Northrop Frye's <i><a href="Anatomy_of_Criticism" title="Anatomy of Criticism">Anatomy of Criticism</a></i>, he deals extensively with what he calls myths of spring, summer, fall, and winter:<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li>Spring myths are <a href="Comedy" title="Comedy">comedies</a>, that is, stories that lead from bad situations to happy endings. <a href="Shakespeare" class="mw-redirect" title="Shakespeare">Shakespeare</a>'s <i><a href="Twelfth_Night" title="Twelfth Night">Twelfth Night</a></i> is such a story.</li>

<li>Summer myths are similarly <a href="Utopia" title="Utopia">utopian</a> <a href="Fantasy" title="Fantasy">fantasies</a> such as <a href="Dante_Alighieri" title="Dante Alighieri">Dante</a>'s <i><a href="Paradiso_(Dante)" title="Paradiso (Dante)">Paradiso</a></i>.</li>

<li>Fall myths are <a href="Tragedies" class="mw-redirect" title="Tragedies">tragedies</a> that lead from ideal situations to disaster. Compare <i><a href="Hamlet" title="Hamlet">Hamlet</a>, <a href="Othello" title="Othello">Othello</a></i>, and <i><a href="King_Lear" title="King Lear">King Lear</a></i> and the movie <i><a href="Legends_of_the_Fall" title="Legends of the Fall">Legends of the Fall</a></i>.</li>

<li>Winter myths are <a href="Dystopia" title="Dystopia">dystopias</a>; for example, <a href="George_Orwell" title="George Orwell">George Orwell</a>'s <i><a href="Nineteen_Eighty-Four" title="Nineteen Eighty-Four">1984</a></i>, <a href="Aldous_Huxley" title="Aldous Huxley">Aldous Huxley</a>'s <i><a href="Brave_New_World" title="Brave New World">Brave New World</a></i>, and <a href="Ayn_Rand" title="Ayn Rand">Ayn Rand</a>'s novella <i><a href="Anthem_(novella)" title="Anthem (novella)">Anthem</a></i>.</li></ul>

<p>In Frye's <i>Great Code</i>, he offers two narrative structures for plots:<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li>A U-shaped structure, that is, a story that begins with a state of equilibrium that descends to disaster and then upward to a new stable condition. This is the shape of a comedy.</li>

<li>An inverted U-shape structure, that is, a story in which the protagonist rises to prominence and descends to disaster. This is the shape of tragedy.</li></ul>

<p>Lajos Egri is then credited in Syd Field's last edition of <i>The Foundations of a Screenwriting</i> published in 1979. The book argued for three acts, not five, and had no peak in the final diagram.

</p><p>This idea of a universal story structure fell out of favor with <a href="Poststructuralism" class="mw-redirect" title="Poststructuralism">poststructuralism</a>. Theorists such as <a href="Michel_Foucault" title="Michel Foucault">Michel Foucault</a> and <a href="Jacques_Derrida" title="Jacques Derrida">Jacques Derrida</a> asserted that such universally shared, deep structures were logically impossible.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup>

</p><p>At the same time that Literary <a href="Structuralists" class="mw-redirect" title="Structuralists">Structuralists</a> rose with story structure, there were also <a href="Postmodernism" title="Postmodernism">Postmodernism</a> and <a href="Post-postmodernism" title="Post-postmodernism">Post-postmodernism</a>, which often argued about the nature of stories and what, if existing, story structures could be. Some authors, such as <a href="John_Gardner_(American_writer)" title="John Gardner (American writer)">John Gardner</a>, advocated for the use of both, such as in <i>The Art of Fiction</i> (1983).

</p><p>Ideas of this got shared over the next few decades, which lead to writers such as <a href="Blake_Snyder" title="Blake Snyder">Blake Snyder</a>, who in <a href="Save_the_Cat" class="mw-redirect" title="Save the Cat">Save the Cat</a> contributed language such as "Story Beats".

</p><p>However, other story structures became more widely known in the 2010s-2020s, when European and European diaspora writers became aware of story structures such as kishotenketsu, which was said to be used in films such as <a href="Everything_Everywhere_All_at_Once" title="Everything Everywhere All at Once">Everything Everywhere All at Once</a>.

</p>

<div class="mw-heading mw-heading2"><h2 id="Categories">Categories</h2></div>

<p>Most forms of narrative fall under two main categories: linear narrative and nonlinear narrative.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Other forms also include interactive narration, and interactive narrative.

</p>

<ul><li>Linear narrative is the most common form of narration, where events are largely portrayed in a chronological order telling the events in the order in which they occurred.</li>

<li><a href="Nonlinear_narrative" title="Nonlinear narrative">Nonlinear narrative</a>, disjointed narrative, or disrupted narrative, is a narrative technique where events are portrayed out of chronological order or in other ways where the narrative does not follow the direct causality pattern.</li>

<li><a href="Interactive_narration" class="mw-redirect" title="Interactive narration">Interactive narration</a> refers to a work where the linear narrative is driven by, rather than influenced by, the user's interaction.</li>

<li><a href="Interactive_narrative" class="mw-redirect" title="Interactive narrative">Interactive narrative</a> is a form of fiction in which users are able to make <i>choices</i> that influence the narrative (for example, through alternative plots or resulting in alternative endings) through their actions.</li></ul>

<div class="mw-heading mw-heading3"><h3 id="Linear_narrative">Linear narrative</h3></div>

<p><a href="Flashback_(narrative)" title="Flashback (narrative)">Flashbacks</a>, often confused with true narratives, are not strictly linear, but the concept relies upon a fundamentally linear understanding of the narrative. An example would be <i><a href="Citizen_Kane" title="Citizen Kane">Citizen Kane</a></i> by <a href="Orson_Welles" title="Orson Welles">Orson Welles</a>. Although some films appear to open (very briefly) with the ending, flashback movies almost immediately jump back to the very beginning of the story to proceed linearly from there. Usually the film will proceed past the supposed "ending" shown at the beginning of the movie.

</p>

<div class="mw-heading mw-heading3"><h3 id="Nonlinear_narrative">Nonlinear narrative</h3></div>

<p>Cinema can only provide the illusion through broken narrative, a famous example of this being the 1994 film <i><a href="Pulp_Fiction" title="Pulp Fiction">Pulp Fiction</a></i>. The film is ostensibly three short stories, which, upon closer inspection, are actually three sections of one story with the <a href="Chronology" title="Chronology">chronology</a> broken up; <a href="Quentin_Tarantino" title="Quentin Tarantino">Quentin Tarantino</a> constructs the narrative without resorting to classic "flashback" techniques.

</p><p>An even more ambitious attempt at constructing a film based on non-linear narrative is <a href="Alain_Resnais" title="Alain Resnais">Alain Resnais</a>'s 1993 French film <i><a href="Smoking/No_Smoking" title="Smoking/No Smoking">Smoking/No Smoking</a></i>. The plot contains parallel developments, playing on the idea of what might have happened had the characters made different choices.

</p><p>Outside of film, some novels also present their narrative in a non-linear fashion. Creative writing professor Jane Alison describes nonlinear narrative "patterns" such as spirals, waves, and meanders in her 2019 book <i>Meander, Spiral, Explode: Design and Pattern in Narrative</i>.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> The chapters of <a href="Chitra_Banerjee_Divakaruni" title="Chitra Banerjee Divakaruni">Chitra Banerjee Divakaruni</a>'s novel Before We Visit the Goddess are not arranged based on the linear sequence of events, but rather in a way that fulfills certain literary techniques. This allows the characters in the novel to have a believable life timeline while still employing the techniques that make a story enjoyable.

</p>

<div class="mw-heading mw-heading3"><h3 id="Interactive_narration">Interactive narration</h3></div>

<p>In works of interactive narration there is only one narrative, but the method of delivery requires the user to actively work to gain the next piece of the narrative, or have to piece the parts of narrative that they have together in order to form a coherent narrative.

</p><p>This is the narrative approach of some modern video games. A player will be required to reach an objective, complete a task, solve a puzzle, or finish a level before the narrative continues.

</p>

<div class="mw-heading mw-heading3"><h3 id="Interactive_narrative">Interactive narrative</h3></div>

<p>An interactive narrative is one which is composed with a branching structure where a single starting point may lead to multiple developments and outcomes. The principle of all such games is that, at each step of the narrative, the user makes choices that advance the story, leading to a new series of choices. Authoring non-linear narrative or dialogue thus implies imagining an indefinite number of parallel stories.

</p><p>In a <a href="Gamebook" title="Gamebook">gamebook</a>, readers are told to turn to a certain page according to the choice they wish to make to continue the story. Typically, the choice will be an action rather than dialogue. For example, the hero hears a noise in another room and must decide to open the door and investigate, run away, or call for help. This kind of interactive experience of a story is possible with video games and books (where the reader is free to turn the pages) but less adapted to other forms of entertainment. Improvisational theatre is similarly open-ended, but of course cannot be said to be authored.

</p>

<div class="mw-heading mw-heading2"><h2 id="Graphic_narrative">Graphic narrative</h2></div>

<p>A simple graphic narrative, such as in comics, has four stages: an introduction of the characters and a description of a situation; the introduction of a problem, unexpected opportunity, or other complication into the situation; a resolution in the form of a partial or complete response to the problem by one or more of the characters; and the denouement, the aftermath of the response that makes clear the success, partial success, non-success, or uncertain success of the response. This fourth stage may also show how the original situation has changed due to what has taken place in the Complication and Resolution stages of the narrative.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup>

</p><p>In a simple narrative, the four stages appear in order. That is, the sequence of the telling or presentation follows the chronology of the told. In a more complex story, the order of the telling may vary. For instance, such a story may begin with the Denouement and then present the Situation, Complication, and Resolution in a flashback. But this is not the case with a simple narrative.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li><a href="The_Hero_with_a_Thousand_Faces" title="The Hero with a Thousand Faces">The Hero with a Thousand Faces</a></li>

<li><a href="List_of_story_structures" title="List of story structures">List of story structures</a></li>

<li><a href="Narratology" title="Narratology">Narratology</a></li>

<li><a href="Narreme" title="Narreme">Narreme</a> as the basic unit of narrative structure</li>

<li><a href="Non-narrative_film" title="Non-narrative film">Non-narrative film</a></li>

<li><a href="Three-act_structure#Structure" title="Three-act structure">Rising action</a></li>

<li><a href="Rule_of_three_(writing)" title="Rule of three (writing)">Rule of three (writing)</a></li>

<li><a href="Screenwriting" title="Screenwriting">Screenwriting</a></li>

<li><a href="Suspense" title="Suspense">Suspense</a></li>

<li><a href="The_Writer's_Journey%3A_Mythic_Structure_for_Writers" title="The Writer's Journey: Mythic Structure for Writers">The Writer's Journey: Mythic Structure for Writers</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><div id="Narrative321" style="font-size:114%;margin:0 4em"><a href="Narrative" title="Narrative">Narrative</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Character_(arts)" title="Character (arts)">Character</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Antagonist" title="Antagonist">Antagonist</a></li>

<li><a href="Archenemy" title="Archenemy">Archenemy</a></li>

<li><a href="Character_arc" title="Character arc">Character arc</a></li>

<li><a href="Character_flaw" title="Character flaw">Character flaw</a></li>

<li><a href="Characterization" title="Characterization">Characterization</a></li>

<li><a href="Confidant" title="Confidant">Confidant</a></li>

<li><a href="Deuteragonist" title="Deuteragonist">Deuteragonist</a></li>

<li><a href="False_protagonist" title="False protagonist">False protagonist</a></li>

<li><a href="Focal_character" title="Focal character">Focal character</a></li>

<li><a href="Gothic_double" title="Gothic double">Gothic double</a></li>

<li><i><a href="Hamartia" title="Hamartia">Hamartia</a></i></li>

<li><a href="Byronic_hero" title="Byronic hero">Byronic</a></li>

<li><a href="Tragic_hero" title="Tragic hero">Tragic</a></li></ul></li>

<li><a href="Narration" title="Narration">Narrator</a></li>

<li><a href="Protagonist" title="Protagonist">Protagonist</a></li>

<li><a href="Stock_character" title="Stock character">Stock character</a></li>

<li><a href="Straight_man" title="Straight man">Straight man</a></li>

<li><a href="Supporting_character" title="Supporting character">Supporting character</a></li>

<li><a href="Title_character" title="Title character">Title character</a></li>

<li><a href="Tritagonist" title="Tritagonist">Tritagonist</a></li>

<li><a href="Villain" title="Villain">Villain</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Plot_(narrative)" title="Plot (narrative)">Plot</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Action_(narrative)" title="Action (narrative)">Action</a></li>

<li><a href="Backstory" title="Backstory">Backstory</a>

<ul><li><a href="Origin_story" title="Origin story">Origin story</a></li></ul></li>

<li><a href="Chekhov's_gun" title="Chekhov's gun">Chekhov's gun</a></li>

<li><a href="Clich%C3%A9" title="Cliché">Cliché</a></li>

<li><a href="Cliffhanger" title="Cliffhanger">Cliffhanger</a></li>

<li><a href="Conflict_(narrative)" title="Conflict (narrative)">Conflict</a></li>

<li><i><a href="Deus_ex_machina" title="Deus ex machina">Deus ex machina</a></i></li>

<li><a href="Dialogue_in_writing" title="Dialogue in writing">Dialogue</a></li>

<li><a href="Dramatic_structure" class="mw-redirect" title="Dramatic structure">Dramatic structure</a></li>

<li><a href="Eucatastrophe" title="Eucatastrophe">Eucatastrophe</a></li>

<li><a href="Foreshadowing" title="Foreshadowing">Foreshadowing</a></li>

<li><a href="Flashback_(narrative)" title="Flashback (narrative)">Flashback</a></li>

<li><a href="Flashforward" title="Flashforward">Flashforward</a></li>

<li><a href="Frame_story" title="Frame story">Frame story</a></li>

<li><i><a href="In_medias_res" title="In medias res">In medias res</a></i></li>

<li><i><a href="Kish%C5%8Dtenketsu" title="Kishōtenketsu">Kishōtenketsu</a></i></li>

<li><a href="MacGuffin" title="MacGuffin">MacGuffin</a></li>

<li><a href="Plot_device" title="Plot device">Plot device</a></li>

<li><a href="Plot_twist" title="Plot twist">Plot twist</a></li>

<li><a href="Poetic_justice" title="Poetic justice">Poetic justice</a></li>

<li><a href="Red_herring" title="Red herring">Red herring</a></li>

<li><a href="Reveal_(narrative)" title="Reveal (narrative)">Reveal</a></li>

<li><a href="Self-insertion" title="Self-insertion">Self-insertion</a></li>

<li><a href="Shaggy_dog_story" title="Shaggy dog story">Shaggy dog story</a></li>

<li><a href="Stereotype" title="Stereotype">Stereotype</a></li>

<li><a href="Story_arc" title="Story arc">Story arc</a></li>

<li><a href="Story_within_a_story" title="Story within a story">Story within a story</a></li>

<li><a href="Subplot" title="Subplot">Subplot</a></li>

<li><a href="Suspense" title="Suspense">Suspense</a></li>

<li><a href="Trope_(literature)" title="Trope (literature)">Trope</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Setting_(narrative)" title="Setting (narrative)">Setting</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Alternate_history" title="Alternate history">Alternate history</a></li>

<li><a href="Backstory" title="Backstory">Backstory</a></li>

<li><a href="Crossover_(fiction)" title="Crossover (fiction)">Crossover</a></li>

<li><a href="Dream_world_(plot_device)" title="Dream world (plot device)">Dreamworld</a></li>

<li><a href="Dystopia" title="Dystopia">Dystopia</a></li>

<li><a href="Fictional_location" title="Fictional location">Fictional location</a>

<li><a href="Fictional_country" title="Fictional country">country</a></li>

<li><a href="Fictional_universe" title="Fictional universe">universe</a>

<ul><li><a href="Parallel_universes_in_fiction" title="Parallel universes in fiction">parallel</a></li></ul></li></ul></li>

<li><a href="Utopia" title="Utopia">Utopia</a></li>

<li><a href="Worldbuilding" title="Worldbuilding">Worldbuilding</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Theme_(narrative)" title="Theme (narrative)">Theme</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Irony" title="Irony">Irony</a></li>

<li><a href="Leitmotif" title="Leitmotif">Leitmotif</a></li>

<li><a href="Metaphor" title="Metaphor">Metaphor</a></li>

<li><a href="Moral" title="Moral">Moral</a></li>

<li><a href="Moral_development" title="Moral development">Moral development</a></li>

<li><a href="Motif_(narrative)" title="Motif (narrative)">Motif</a>

<ul><li><a href="Deal_with_the_Devil" title="Deal with the Devil">Deal with the Devil</a></li>

<li><a href="Good_and_evil" title="Good and evil">Conflict between good and evil</a></li></ul></li>

<li><a href="Self-fulfilling_prophecy" title="Self-fulfilling prophecy">Self-fulfilling prophecy</a></li>

<li><a href="Time_travel" title="Time travel">Time travel</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Writing_style" title="Writing style">Style</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Allegory" title="Allegory">Allegory</a></li>

<li><a href="Bathos" title="Bathos">Bathos</a></li>

<li><a href="Comic_relief" title="Comic relief">Comic relief</a></li>

<li><a href="Diction" title="Diction">Diction</a></li>

<li><a href="Figure_of_speech" title="Figure of speech">Figure of speech</a></li>

<li><a href="Imagery" title="Imagery">Imagery</a></li>

<li><a href="Narration" title="Narration">Narration</a></li>

<li><a href="List_of_narrative_techniques" title="List of narrative techniques">Narrative techniques</a>

<li><a href="Stylistic_device" title="Stylistic device">Stylistic device</a></li>

<li><a href="Suspension_of_disbelief" title="Suspension of disbelief">Suspension of disbelief</a></li>

<li><a href="Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Dramatic_structure" class="mw-redirect" title="Dramatic structure">Structure</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Dramatic_structure" class="mw-redirect" title="Dramatic structure">Act structure</a></li>

<li><a href="Three-act_structure" title="Three-act structure">Three-act structure</a></li></ul></li>

<li><a href="Freytag's_Pyramid" class="mw-redirect" title="Freytag's Pyramid">Freytag's Pyramid</a>

<ul><li><a href="Exposition_(narrative)" title="Exposition (narrative)">Exposition</a>/<a href="Protasis" title="Protasis">Protasis</a></li>

<li><a href="Epitasis" title="Epitasis">Rising action/Epitasis</a></li>

<li><a href="Climax_(narrative)" title="Climax (narrative)">Climax</a>/<a href="Peripeteia" title="Peripeteia">Peripeteia</a></li>

<li><a href="Catastasis" title="Catastasis">Falling action/Catastasis</a></li>

<li><a href="Catastrophe_(drama)" title="Catastrophe (drama)">Denouement/Catastrophe</a></li></ul></li>

<li><a href="Narrative_structure" class="mw-redirect" title="Narrative structure">Linear narrative</a></li>

<li><a href="Nonlinear_narrative" title="Nonlinear narrative">Nonlinear narrative</a>

<ul><li><a href="List_of_nonlinear_narrative_films" title="List of nonlinear narrative films">films</a></li>

<li><a href="List_of_nonlinear_narrative_television_series" title="List of nonlinear narrative television series">television series</a></li></ul></li>

<li><a href="Premise_(narrative)" title="Premise (narrative)">Premise</a></li>

<li><a href="Types_of_fiction_with_multiple_endings" title="Types of fiction with multiple endings">Types of fiction with multiple endings</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="List_of_narrative_forms" title="List of narrative forms">Form</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Drama" title="Drama">Drama</a></li>

<li><i><a href="Fabliau" title="Fabliau">Fabliau</a></i></li>

<li><a href="Flash_fiction" title="Flash fiction">Flash fiction</a></li>

<li><a href="Folklore" title="Folklore">Folklore</a>

<ul><li><a href="Fable" title="Fable">Fable</a></li>

<li><a href="Fairy_tale" title="Fairy tale">Fairy tale</a></li>

<li><a href="Legend" title="Legend">Legend</a></li>

<li><a href="Gamebook" title="Gamebook">Gamebook</a></li>

<li><a href="Narrative_art" title="Narrative art">Narrative art</a></li>

<li><a href="Narrative_poetry" title="Narrative poetry">Narrative poetry</a>

<ul><li><a href="Epic_poetry" title="Epic poetry">Epic poetry</a></li></ul></li>

<li><a href="Novel" title="Novel">Novel</a></li>

<li><a href="Novella" title="Novella">Novella</a></li>

<li><a href="Parable" title="Parable">Parable</a></li>

<li><a href="Short_story" title="Short story">Short story</a></li>

<li><a href="Vignette_(literature)" title="Vignette (literature)">Vignette</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Literary_genre" title="Literary genre">Genre</a><br>(<a href="List_of_writing_genres" title="List of writing genres">List</a>)</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Fiction" title="Fiction">Fiction</a>

<ul><li><a href="Action_fiction" title="Action fiction">Action fiction</a></li>

<li><a href="Adventure_fiction" title="Adventure fiction">Adventure</a></li>

<li><a href="Comic_novel" title="Comic novel">Comic</a></li>

<li><a href="Crime_fiction" title="Crime fiction">Crime</a></li>

<li><a href="Epistolary_novel" title="Epistolary novel">Epistolary</a></li>

<li><a href="Ergodic_literature" title="Ergodic literature">Ergodic</a></li>

<li><a href="Erotic_literature" title="Erotic literature">Erotic</a></li>

<li><a href="Historical_fiction" title="Historical fiction">Historical</a>

<ul><li><a href="Western_fiction" title="Western fiction">Western</a></li></ul></li>

<li><a href="Mystery_fiction" title="Mystery fiction">Mystery</a></li>

<li><a href="Nautical_fiction" title="Nautical fiction">Nautical</a></li>

<li><a href="Paranoid_fiction" title="Paranoid fiction">Paranoid</a></li>

<li><a href="Philosophical_fiction" title="Philosophical fiction">Philosophical</a></li>

<li><a href="Picaresque_novel" title="Picaresque novel">Picaresque</a></li>

<li><a href="Political_fiction" title="Political fiction">Political</a></li>

<li><a href="Pop_culture_fiction" title="Pop culture fiction">Pop culture</a></li>

<li><a href="Psychological_fiction" title="Psychological fiction">Psychological</a></li>

<li><a href="Inspirational_fiction" title="Inspirational fiction">Religious</a></li>

<li><a href="Rogue_literature" title="Rogue literature">Rogue</a></li>

<li><a href="Romance_novel" title="Romance novel">Romance</a>

<ul><li><a href="Chivalric_romance" title="Chivalric romance">Chivalric</a></li>

<li><a href="Romance_(prose_fiction)" title="Romance (prose fiction)">Prose</a></li></ul></li>

<li><a href="Satire" title="Satire">Satire</a></li>

<li><a href="Speculative_fiction" title="Speculative fiction">Speculative fiction</a>

<ul><li><a href="Fantasy" title="Fantasy">Fantasy</a></li>

<li><a href="Gothic_fiction" title="Gothic fiction">Gothic</a>

<ul><li><a href="Southern_Gothic" title="Southern Gothic">Southern</a></li></ul></li>

<li><a href="Horror_fiction" title="Horror fiction">Horror</a></li>

<li><a href="Magic_realism" class="mw-redirect" title="Magic realism">Magic realism</a></li>

<li><a href="Science_fiction" title="Science fiction">Science</a>

<li><a href="Utopian_and_dystopian_fiction" title="Utopian and dystopian fiction">Utopian and dystopian</a></li>

<li><a href="List_of_underwater_science_fiction_works" title="List of underwater science fiction works">Underwater</a></li></ul></li>

<li><a href="Superhero_fiction" title="Superhero fiction">Superhero</a></li></ul></li>

<li><a href="Theological_fiction" title="Theological fiction">Theological</a></li>

<li><a href="Thriller_(genre)" title="Thriller (genre)">Thriller</a></li>

<li><a href="Urban_fiction" title="Urban fiction">Urban</a></li></ul></li>

<li><a href="Nonfiction" class="mw-redirect" title="Nonfiction">Nonfiction</a>

<ul><li><a href="Autobiography" title="Autobiography">Autobiography</a></li>

<li><a href="Biography" title="Biography">Biography</a></li>

<li><a href="Non-fiction_novel" title="Non-fiction novel">Novel</a></li>

<li><a href="Creative_nonfiction" title="Creative nonfiction">Creative</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Narration" title="Narration">Narration</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Diegesis" title="Diegesis">Diegesis</a></li>

<li><a href="First-person_narrative" title="First-person narrative">First-person</a></li>

<li><a href="Second-person_narrative" class="mw-redirect" title="Second-person narrative">Second-person</a></li>

<li><a href="Third-person_narrative" class="mw-redirect" title="Third-person narrative">Third-person</a>

<ul><li><a href="Third-person_omniscient_narrative" class="mw-redirect" title="Third-person omniscient narrative">Third-person omniscient narrative</a></li>

<li><a href="Narration#Subjective_or_objective" title="Narration">Subjectivity</a></li>

<li><a href="Unreliable_narrator" title="Unreliable narrator">Unreliable narrator</a></li></ul></li>

<li><a href="Multiperspectivity" title="Multiperspectivity">Multiple narrators</a></li>

<li><a href="Stream_of_consciousness" title="Stream of consciousness">Stream of consciousness</a></li>

<li><a href="Stream_of_unconsciousness" title="Stream of unconsciousness">Stream of unconsciousness</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Grammatical_tense" title="Grammatical tense">Tense</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Present_tense" title="Present tense">Present</a></li>

<li><a href="Future_tense" title="Future tense">Future</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Dominant_narrative" title="Dominant narrative">Dominant narrative</a></li>

<li><a href="Fiction_writing" title="Fiction writing">Fiction writing</a>

<ul><li><a href="Continuity_(fiction)" title="Continuity (fiction)">Continuity</a>

<ul><li><a href="Canon_(fiction)" title="Canon (fiction)">Canon</a></li>

<li><a href="Reboot_(fiction)" title="Reboot (fiction)">Reboot</a></li>

<li><a href="Retroactive_continuity" title="Retroactive continuity">Retcon</a></li></ul></li>

<li><a href="Parallel_novel" title="Parallel novel">Parallel novel</a></li>

<li><a href="Prequel" title="Prequel">Prequel</a> / <a href="Sequel" title="Sequel">Sequel</a></li></ul></li>

<li><a href="Genre" title="Genre">Genre</a>

<li><a href="Literary_criticism" title="Literary criticism">Literary science</a></li>

<li><a href="Literary_theory" title="Literary theory">Literary theory</a></li>

<li><a href="Narrative_identity" title="Narrative identity">Narrative identity</a></li>

<li><a href="Narrative_paradigm" title="Narrative paradigm">Narrative paradigm</a></li>

<li><a href="Narrative_therapy" title="Narrative therapy">Narrative therapy</a></li>

<li><a href="Narratology" title="Narratology">Narratology</a>

<ul><li><a href="Metafiction" title="Metafiction">Metafiction</a></li></ul></li>

<li><a href="Political_narrative" title="Political narrative">Political narrative</a></li>

<li><a href="Rhetoric" title="Rhetoric">Rhetoric</a>

<ul><li><a href="Glossary_of_rhetorical_terms" title="Glossary of rhetorical terms">Glossary</a></li></ul></li>

<li><a href="Screenwriting" title="Screenwriting">Screenwriting</a></li>

<li>Series of works</li>

<li><a href="Storytelling" title="Storytelling">Storytelling</a></li>

<li><a href="Tellability" title="Tellability">Tellability</a></li>

<li><a href="Verisimilitude_(fiction)" title="Verisimilitude (fiction)">Verisimilitude</a></li></ul>

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