Larry Brooks’ Story Structure

The Larry Brooks story structure is one that I have used several times and find to be very useful when planning a novel. It is a structure that I will detail here in depth because – to me – it seems to be one of the more effective methods of outlining a novel.

Brooks is a writing coach, author, and speaker known for his expertise in the craft of storytelling. He is the author of several books on writing, including Story Engineering: Mastering the 6 Core Competencies of Successful Writing; Story Physics: Harnessing the Underlying Forces of Storytelling; and Great Stories Don’t Write Themselves: Criteria-Driven Strategies for More Effective Fiction. Brooks is also the founder of Storyfix.com, a website dedicated to helping writers develop their storytelling skills. Brooks’ approach to writing emphasizes the importance of structure, character development, and genre expectations. He believes that successful stories must meet certain criteria, and that writers who understand these criteria can create stories that are more engaging, satisfying, and marketable.

According to Brooks, the story structure is the backbone of your story. An effective story structure, as described by Brooks, might follow this outline:

The hook (0-25%)

In novel writing, a “hook” refers to a technique used by writers to grab the reader’s attention and draw them into the story from the very beginning. A hook is usually found at the opening of a book and serves to create intrigue or suspense that makes the reader want to continue reading. Hooks can take many forms, but they are often a type of statement or situation that creates an emotional response in the reader, such as curiosity, shock, or empathy. Some common types of hooks include starting the story with a dramatic event, a powerful image, a memorable quote, or an unusual setting. For example, the opening line of your novel might read something like this:

The day the aliens arrived, my mother was having a nervous breakdown.

In this case, the hook immediately establishes a sense of intrigue and raises questions in the reader’s mind. Who are the aliens? Why is the protagonist’s mother having a nervous breakdown? How are these two things related? The hook invites the reader to continue reading to find out the answers to these questions.

In addition to hooking the reader, the first 25% of your novel should introduce the story’s protagonist, establish the stakes (and sometimes demons,) and provide foreshadowing to what may be to come throughout the rest of the story. You might also use this opportunity set up an inciting incident that will drive the plot through the rest of your story. Everything that happens in your opening sequence should lead directly to the first plot point.

The first plot point (25%)

The first plot point in a novel is a major turning point that usually occurs around a quarter of the way into the story. It’s a moment that sets the plot in motion and establishes the main conflict that the protagonist will face throughout the rest of the novel. In most cases, the first plot point is where the protagonist is presented with a challenge or a problem that they can no longer ignore. This challenge is usually related to the story’s central conflict and represents the point of no return for the protagonist.

Winston’s decision to start a secret relationship with Julia sets in motion a chain of events that will lead him to question everything he once believed in and will ultimately put his life in danger. The affair becomes the driving force behind the rest of the novel, as Winston and Julia become more deeply embroiled in their rebellion against the Party and the consequences of their actions become increasingly dire

In this example, the first plot point marks the moment when the protagonist takes action that sets the rest of the story in motion and establishes the main conflict that he will face throughout the rest of the novel. In short, the first plot point is a major turning point that sets the plot in motion and establishes the main conflict of the story.

The first pinch point (25-50%)

The first pinch point in a novel is a plot point that typically leads up to the midpoint of the story. It is a moment of increased tension or conflict that reminds the reader of the story’s central conflict and raises the stakes for the protagonist. At this time, you will begin to illustrate your protagonist’s response to the situation at hand. The protagonist may begin to act in a variety of ways, including retreating from the problem to regroup or making a doomed fight back. At this point, the opposition or antagonistic force will reassert its dominance. Even if the protagonist fights back, they can’t win just yet. If they did, your story would have to end here!

The first pinch point usually comes after the protagonist has made some progress in their journey, but before they have fully committed to the final push toward their goal. It serves as a reminder of the obstacles and challenges that still stand in the way of the protagonist and helps to increase the sense of urgency and tension in the story.

Up until this point, Nick has been trying to clear his name and find his missing wife, but the arrest marks a turning point in the story. From this point on, the tension and conflict in the story escalate as Nick must fight to prove his innocence and uncover the truth behind his wife’s disappearance.

In short, the first pinch point in Gone Girl occurs when the protagonist is faced with a significant setback that increases the tension and reminds the reader of the story’s central conflict.

The midpoint (50%)

The midpoint of a novel is a plot point that occurs approximately halfway through the story. It is a turning point that divides the story into two halves and often marks a significant shift in the plot or character development.

The midpoint is usually a moment of realization or decision for the protagonist, where they must confront the central conflict of the story in a new way. It is a critical moment where the protagonist gains new information, changes direction, or takes decisive action that propels them toward the final resolution of the story.

The midpoint is significant because it represents a major shift in Starr’s character development and her relationship with the world around her. It also raises the stakes for the rest of the novel, as Starr becomes more involved in the fight for justice and must confront the consequences of her actions.

In short, the midpoint of The Hate U Give is a critical plot point that occurs around the halfway point of the story. It marks a significant turning point in the plot and character development and raises the stakes for the rest of the novel. It is a turning point where the protagonist gains new information or takes decisive action and marks a significant shift in the story’s plot or character development.

The second pinch point (50-75%)

The second pinch point in a novel is a plot point that typically occurs around three-quarters of the way through the story. It is a moment of increased tension and conflict that serves as a reminder of the story’s central conflict and raises the stakes for the final act of the story.

The second pinch point serves as a reminder of the central conflict of the story – the tension between conformity and individuality, as embodied by the wealthy and orderly Richardson family and the free-spirited and non-conformist Mia and Pearl – and raises the stakes for the final act of the story.

The discovery of Mia’s secret past also marks a turning point in the story, as it exposes the fault lines in the relationships between the characters and sets the stage for the final act of the novel. This creates a sense of urgency for the characters to confront their own identities and choices and for the conflicts between them to reach a resolution.

The second pinch point in Little Fires Everywhere is a critical plot point that occurs around three-quarters of the way through the story. It is a moment of increased tension and conflict that serves as a reminder of the central conflict of the story and raises the stakes for the final act. At this point, the protagonist will be proactive and show initiative, but the opposition will continue to push back. The protagonist may obtain new knowledge that changes the game. They will use this new information to attack the problem and overcome their own flaws. But despite their best efforts, the antagonistic force will hit back even harder, which leads us to what is sometimes referred to as the “all hope is lost lull.”

The second plot point (75-100%)

The second plot point in a novel is a critical plot point that occurs toward the end of the story, usually around 90% or more into the book. It is the final major turning point before the climax and resolution of the story. There may be a final injection of new information that will once again change the game. A final piece of the puzzle may fall into place, and the protagonist may come to a conclusion as to what must happen. The protagonist will risk everything in this last attempt to win. The protagonist can no longer remain passive or wait for someone else to come to the rescue.

The second plot point typically involves the protagonist facing their greatest obstacle or challenge yet, and often marks the point of no return for the character. The protagonist must make a crucial decision or take decisive action to overcome this final obstacle and reach the resolution of the story.

The second plot point also serves to tie together the various subplots and storylines of the novel and bring them to a head. It sets the stage for the final confrontation between the protagonist and the antagonist or for the final resolution of the story’s central conflict.

The novel is about the sacrifices of women who put themselves in harm’s way and whose contributions to their country are often forgotten. Frankie’s return home, a time when she struggles to reintegrate into a society that doesn’t see her as a hero, sets the stage for the final conflict in the novel and ultimately leads to the resolution of the story’s central conflict.

The second plot point in a novel is a critical plot point that occurs toward the end of the story. It marks the final major turning point before the climax and resolution of the story and involves the protagonist facing their greatest obstacle or challenge yet. As the plot progresses toward its resolution, no new information or characters should be introduced to the story. The problem will soon be resolved, for better or worse.

The final resolution (100%)

The final resolution of a novel is the point where the main conflict is resolved, and the story draws to what may feel like an inevitable conclusion – or not – depending on the author’s intent. It’s the moment when the protagonist achieves their goal or fails to achieve it, and the loose ends of the story are tied up. The final resolution can take many forms depending on the type of story and the author’s intent. It may involve a dramatic showdown between the protagonist and the antagonist, a moment of self-discovery or realization, or a quiet moment of reflection and acceptance.

In some cases, the resolution may be ambiguous or open-ended, leaving the reader to draw their own conclusions about what happens to the characters after the story ends. Overall, the final resolution is an important element of the novel as it brings the story to a satisfying conclusion and provides a sense of closure for the reader.

This and the other elements of Larry Brooks’ story structure explored here create a story arc that keeps the reader or audience engaged from beginning to end. One of the reasons that I like Brooks’ story structure is that it helps me to see when I need to speed an element along to get to the next one or if I haven’t spent enough time with a particular element. For example, if I am approaching 50,000 words and still haven’t gotten to the first pinch point, then I know that I need to take a second look at my structure (unless I’m writing a 200,000-word novel, which I personally don’t recommend.)

The various types and shapes of story structures reviewed in this post and the posts immediately preceding it are just a few examples of the many different types of story structures that exist. Each structure can be used to create a different effect or emotional journey for the reader, so it’s important for writers to choose the structure that works best for their story and goals. My next post will help you get started on your next step in the novel planning process. Be sure to subscribe to my blog via email (see link at right) to receive updates directly in your inbox!