# Story Structures Reference

Synthesized structural frameworks for mapping plot and narrative architecture. These complement Storr's character-driven approach with mechanical scaffolding.

## Save the Cat Beat Sheet (Blake Snyder)

15 beats that provide structural scaffolding for any story. Percentages indicate where each beat typically falls.

| # | Beat | % | Purpose | Layer Impact |
|---|------|---|---------|-------------|
| 1 | **Opening Image** | 0-1% | "Before" snapshot | World, Character |
| 2 | **Theme Stated** | 5% | Someone (not protagonist) hints at the lesson | Meaning |
| 3 | **Setup** | 1-10% | Establish world, characters, sacred flaw | All 7 layers |
| 4 | **Catalyst** | 10% | Inciting incident disrupts normalcy | Plot, Character |
| 5 | **Debate** | 10-20% | Character resists the call (flaw defense) | Character, Mystery |
| 6 | **Break Into Two** | 20% | Character commits to new approach | Plot, Character |
| 7 | **B Story** | 22% | New relationship that teaches the theme | Relationships, Meaning |
| 8 | **Fun and Games** | 20-50% | Promise of the premise fulfilled | Plot, World, Prose |
| 9 | **Midpoint** | 50% | False victory or false defeat; stakes rise | Plot, Mystery |
| 10 | **Bad Guys Close In** | 50-75% | Internal and external pressure intensifies | Character, Relationships |
| 11 | **All Is Lost** | 75% | Lowest point — flaw fully exposed | Character, Meaning |
| 12 | **Dark Night of Soul** | 75-80% | Forced to confront the sacred flaw | Character, Meaning |
| 13 | **Break Into Three** | 80% | Synthesis — want and need align | Character, Meaning |
| 14 | **Finale** | 80-99% | Transformation tested through action | All 7 layers |
| 15 | **Final Image** | 99-100% | "After" snapshot — change visible | World, Character |

### Applying Save the Cat to WriteStory

Use these beats as the **Plot layer** skeleton. Then fill in what each beat means for EVERY other layer at that point in the story.

---

## Dramatica Theory (Phillips & Huntley)

The most sophisticated multi-layer framework. Dramatica's four throughlines map directly to our layer architecture.

### Four Throughlines

| Throughline | Description | Maps to Layer |
|------------|-------------|---------------|
| **Objective Story (OS)** | The "big picture" conflict involving all characters | Plot + World |
| **Main Character (MC)** | Personal perspective and internal conflict | Character Change |
| **Influence Character (IC)** | Alternate perspective challenging the MC's worldview | Relationships |
| **Relationship Story (RS)** | Evolving tension between MC and IC | Relationships + Meaning |

### Key Dramatica Concepts

**Story Mind:** Every complete story functions as a single mind working through a problem. The four throughlines are like four perspectives examining the same issue.

**Character Elements:** Characters are built from combinations of Motivation, Methodology, Evaluation, and Purpose elements. This creates systematic character differentiation.

**Storyweaving:** The order in which throughline information is revealed to the reader. This maps to our **Mystery layer** — information management.

**Application:** Use Dramatica throughlines to ensure your story examines its central problem from multiple angles. If you only have Objective Story (plot) and Main Character (internal), add an Influence Character throughline and a Relationship throughline.

---

## Story Grid (Shawn Coyne)

### Five Commandments of Storytelling

Every unit of story (scene, act, book) contains these five elements:

| Commandment | What It Is | Application |
|-------------|-----------|-------------|
| **Inciting Incident** | Upsets the balance | Must target the sacred flaw (causal/coincidental) |
| **Progressive Complications** | Turning points that raise stakes | Each should reveal new layer information |
| **Crisis** | Forced choice between two bad options (or two good) | The "best bad choice" or "irreconcilable goods" |
| **Climax** | The decision made and action taken | Must test/reveal the sacred flaw |
| **Resolution** | New equilibrium after the climax | Sets up next unit's inciting incident |

### Genre Conventions and Obligatory Scenes

Story Grid emphasizes that every genre has **conventions** (setup expectations) and **obligatory scenes** (payoff expectations). Failing to include them disappoints readers.

**Application:** When building the Story Bible, identify the story's primary genre and ensure all conventions and obligatory scenes are mapped as milestones.

### Genre Matrix

| Genre | Core Value | Key Convention | Obligatory Scene |
|-------|-----------|---------------|-----------------|
| **Action** | Life/Death | Hero at mercy of villain | Hero's sacrifice |
| **Horror** | Life/Death (Fate) | Monster has power | Victim at mercy of monster |
| **Thriller** | Life/Death (Damnation) | MacGuffin | Hero at mercy of villain |
| **Crime** | Justice/Injustice | Red herrings, investigation | Exposure of criminal |
| **Love** | Love/Hate | Love triangle, helpers | Confession of love |
| **Performance** | Respect/Shame | Mentor, training | Big event/performance |
| **Status** | Success/Failure | Rival, ticking clock | Status reversal |
| **Worldview** | Sophistication/Naivete | Mentor, eye-opening | Revelation/epiphany |
| **Morality** | Selfishness/Altruism | Temptation, ghost | Self-sacrifice |
| **Society** | Freedom/Subjugation | Social problem, activist | Revolution/exposure |

---

## Sanderson's Framework

### Three Pillars

1. **Setting** — The world and its rules
2. **Plot** — The events and their causal chain
3. **Characters** — The people and their arcs

A great novel forms at the intersection of strong ideas in all three. One exceptional pillar can carry weak others, but two strong pillars creates something memorable.

### Promises, Progress, Payoff

| Element | Description | Application |
|---------|-------------|-------------|
| **Promise** | What the story tells the reader to expect | Opening tone, genre signals, early mysteries |
| **Progress** | Showing movement toward or away from the promise | Each scene should progress at least one promise |
| **Payoff** | Delivering on the promise in a satisfying way | Foreshadowed elements must resolve |

**The Promise Contract:** Every promise made to the reader (explicitly or implicitly) must be paid off. Unfulfilled promises feel like plot holes. Fulfilled promises you forgot you made feel like genius.

### Sanderson's Laws of Magic

1. **An author's ability to solve conflict with magic is directly proportional to how well the reader understands said magic.** (Hard magic vs. soft magic)
2. **Limitations > Powers.** What characters CAN'T do creates more story than what they CAN do.
3. **Expand what you have before adding something new.** Explore existing systems deeply before introducing new ones.

---

## The Hero's Journey (Campbell/Vogler)

A more mythic framework that maps well to the Character Change layer.

| Stage | Description | Storr Connection |
|-------|-------------|-----------------|
| Ordinary World | Hero in normal environment | Sacred flaw is comfortable here |
| Call to Adventure | Something disrupts normalcy | Unexpected change targets flaw |
| Refusal of the Call | Hero resists | Flaw defense mechanism |
| Meeting the Mentor | Wisdom/tools provided | Influence character introduced |
| Crossing the Threshold | Entering the new world | Break Into Two |
| Tests, Allies, Enemies | Learning the new world's rules | Fun and Games |
| Approach to Inmost Cave | Preparing for the ordeal | Bad Guys Close In |
| The Ordeal | Death and rebirth | All Is Lost / Dark Night |
| The Reward | Seizing the prize | Break Into Three |
| The Road Back | Returning with knowledge | Finale |
| Resurrection | Final test of transformation | Climax |
| Return with Elixir | Changed hero in changed world | Final Image |

---

## Synthesis: How These Frameworks Work Together

| Framework | Primary Use | What It Adds |
|-----------|------------|-------------|
| **Save the Cat** | Plot structure skeleton | Where beats fall, pacing |
| **Dramatica** | Multi-perspective completeness | Ensures all angles examined |
| **Story Grid** | Scene-level craft | Every scene works mechanically |
| **Sanderson** | Promise management | Reader expectations tracked |
| **Hero's Journey** | Mythic resonance | Archetypal emotional beats |
| **Storr** | Character psychology | WHY the structure works on the brain |

Use Save the Cat for macro structure, Story Grid for micro structure, Storr for character depth, Dramatica for perspective completeness, Sanderson for promise tracking, and Hero's Journey for mythic resonance.
