overlaylink

Powerful Plots: 3 Expert Tricks for Building a Story Arc

April 24, 2019 | 6 min read

Authors are often divided over the issue of whether to plan out a whole novel in detail or just start writing - but one thing that all writers agree on is the need for a powerful story arc. Your story arc is what gives your novel structure and makes it satisfying for your readers. Without it, you have a story that meanders around, getting nowhere, and it doesn’t matter how beautiful your prose is - without a story arc, you’ll leave your readers woefully dissatisfied.

The Ingredients of a Story Arc

If you consult a dictionary for a definition of a story arc, you’ll see something like this: “(in a novel, play or movie) the development or resolution of the narrative or principal theme” (Oxford English Dictionary).

As something that develops and then resolves, the story arc has a shape to it - and the things that give it its shape are rising and falling emotion and tension, and character development. When these ingredients are used effectively, you have a powerful story arc that keeps your readers hooked - which is what every author (should) want.

As far back as Aristotle (4th Century BCE), the great writers have understood that the formula for an effective story arc involves a beginning, a middle and an end.

  • The beginning sets the scene and introduces the characters and theme of the novel.
  • The middle builds the tension and increases the emotional investment from the reader.
  • Finally, the end provides a resolution. It doesn’t have to be a complete resolution (although some readers prefer that), but there does need to be some kind of resolution.

Expert Advice on Creating a Powerful Story Arc

1. Build Your Story Arc with the ‘5 Ws’

Every writer should be familiar with the 5 Ws - Who, What, Where, When and Why - but you may not have realized how much power they can wield when you’re building your story arc. To get the most out of the 5 Ws, you need to ask yourself a set of questions that will guide the way that your plot develops:

  • Who Questions:
    • Who are your protagonists and how might they grow or diminish to create tension
    • Who are your antagonists and how will their development impact on the narrative and your protagonists?
    • Who in your cast of characters do you want your readers to sympathize with most - and how might subverting this create tension in your story arc?
  • What Questions:
    • What motivates your characters, and how might these motivations be challenged in the course of your story?
    • What impact might misguided motivations have on your character - and how can this be used to create tension?
  • Where Questions:
    • Where does your story take place, and how might unexpected changes in setting cause difficulties for your characters and build the tension in your story?
  • When Questions:
    • When in your story’s timeline would it be most effective to raise the tension?
    • When might your readers be least likely to expect something to occur that can build emotion and tension?
  • Why Questions:
    • Why will your readers be emotionally invested in your story - and how can you subvert this as part of your story arc?

2. Don’t Be Afraid to Break from Tradition

There are, of course, different types of story arc - and while the rise-then-fall formula is one of the most popular formulas in use, there are also a number of archetypal plot arcs that have been successfully used by writers over the centuries. In fact, using an archetypal story arc can give your novel’s plot a lot more power since it breaks from what many readers come to expect.

If you want to try using an archetypal story arc, you have five different options to choose from - according to researchers from the University of Vermont and the University of Adelaide. These have been classified into types of narrative:

  1. Rags to riches (rise)
  2. Riches to rags (fall)
  3. Man in a hole (fall then rise)
  4. Cinderella (rise then fall then rise)
  5. Oedipus (fall then rise then fall)

A lot of these story arcs are based on taking your readers on an emotional journey. Rags to riches stories, for example, gain reader investment by creating a character that can be sympathized with and create a positive emotional journey of escaping hardship, which resolves with a typical happy ending. These types of stories are really popular - because they create a sense of hope and fairness.

However, rags to riches stories have been so overused that readers are now demanding more, and the Oedipus type of story arc is the one that readers seem to reach for the most, closely followed by Man in a Hole story arcs.

It can be helpful to create a visual representation of the different types of archetypal story arcs to help you plan these developments into your plot. For example, a visual representation story arcs in the study mentioned above looks like this:

Story Arc

(Top Row, left to right: Rags to riches; Man in a hole; Cinderella

Bottom Row, left to right: Riches to rags; (Icarus - the traditional rise-then-fall); Oedipus

(Credit: Reagan et. al/ University of Vermont)

With a visual representation of your story arc, it’s easy to plot on the main events in your story and uncover more opportunities for creating high emotional stakes. If you’re not one for detailed plot outlines, a visual story arc allows you to keep your writing following the story arc without having to plan out every chapter or scene.

3. Exploit the Power of Sub-Arcs

Depending on the length of your story or novel, building sub-arcs, or lesser arcs into your story can be really effective. These sub-arcs can be in addition to, or as part of, your main story arc. For example, if you’re opting for a traditional rise-then-fall story arc, you could have a sub-arc that is based around a different theme in your story that follows more of a rise-then-fall-then-rise or fall-then-rise-then-fall format.

Using sub-arcs helps you to build a stronger dramatic structure into your story and is really effective in keeping your readers on the edge of their seats as they read. There are a lot of benefits to using sub-arcs in your stories, too. For example:

  • You can create different types of tension at different points in the story - for example when the tension is lessening in your main story arc, you could build tension in a sub-arc to maintain your readers’ engagement.
  • You have more opportunities to develop your characters and make your readers more invested in them.
  • You can create multiple situations where it seems like your characters have everything to lose - which creates even more dramatic tension.

When you’re using sub-arcs, creating a visual outline of your novel is pretty crucial. Building sub-arcs into your story can be complex, so it’s important that you’re able to see where you are in both the main story arc and your sub arcs - or you could end up with a mess instead of a defined arc. It’s these kinds of muddled middles that put readers off and leave them frustrated - so don’t skip creating a visual outline of your arc and sub-arcs.

Plotting your arcs and sub-arcs on graph paper or using an app on your computer or phone can be done relatively quickly - and as your story develops it’s easy to make adjustments and add more details onto your diagram as you go along. This way, you’ll avoid the problem of adding too many sub-arcs or too many points of tension and keep a clear dramatic structure in your story.

There are plenty of story arc templates you can download online, like this one:

 Story Arc Template

(Credit:https://www.timvandevall.com/templates/plot-diagram-graphic-organizers/)

Wielding the Power of Story Arcs

Whatever type of fiction you write, whether it’s science fiction, literary fiction, crime and thrillers, horror or anything else, you need to start plotting using story arcs. Your readers will thank you for it - and your readership will grow, too.

Story arcs are a simple tool that can make the difference between a good story and a great story. Many authors who don’t like to plot their novels in advance see story arcs as restricting their creativity - but in fact, story arcs can fuel your creativity, allowing you to visually see more opportunities for developing characters and building tension.

You don’t have to do a detailed outline to use story arcs, and you’re sure to find that rather than being restrictive, story arcs give you the structure that you need to unleash your creative juices onto the page.

 


 

About the author:

Ariella is an experienced copywriter, editor, and digital marketing consultant. Driven by a passion for writing and content creation she takes pride in producing articles that deliver the latest information in an engaging manner and marketing campaigns that deliver exceptional results. Ariella has a BA (Hons) in English Language and Creative Writing (First), an MA in Theology and Ministry, and is a published author of three novels and a bestselling non-fiction book. A creative at heart, Ariella has 14 years’ industry experience and always aims to keep abreast of current trends and developments. She lives in the UK with her three beagles Zeke, Hope, and Sandy, who always make life interesting.

 

August 26, 2026 5 min read

Freewriter Mike Somerby left a lucrative marketing career in e-commerce to start a print-only literary magazine by and for Montanans. Yes, you read that right.

We sat down with Mike to find out how ... and why.

Mike Somerby identifies as a writer — with some reservation.

"I think all who write are 'writers,'" he says, "even if the writing itself amounts to a simple letter to a friend or a personal journal entry."

We couldn't agree more. And we're thrilled that this particular writer writes his essays on Freewrite. Maybe that's why we felt comfortable asking him:

What inspires a professional brand marketer to leave his 9-5 and jump feet-first into the literary world of Bozeman, Montana?

Luckily, he was happy to tell us.

AC: Before we get into the lit mag, it actually isn't your first foray into the literary community, right?

MS: For about ten years — the lion's share of my professional chapter — I worked, in some capacity, as a brand marketer. Last spring, while enduring a particularly grueling stint as CMO for a Montanan e-commerce brand (yes, those exist), I found myself revisited by the remarks of an old journalism school professor: from his perspective, journalism students who apply their storytelling talents toward PR and marketing have crossed over to "the dark side."

While I find this a touch heavy-handed, I get the point, and I believe his notion resurfaced to meet the moment: we live in a world sorely hurting for analog (human) creativity and high-quality longform.

So I quit, traveled west with my dog in a 1986 U-Haul I'd converted into a camper, and plotted.

Step one: I founded Pulphead, a lounge (named after John Jeremiah Sullivan’s seminal 2011 essay collection) where Bozeman writers commune and grind out their prose until 2 a.m. Entry is a flat $5, which comes with unlimited drip coffee and tea.

Step two: leverage the Pulphead regulars and its online following to secure contributors for my new literary magazine, ANEMONE. Thus far, everything is going to plan.

We live in a world sorely hurting for analog (human) creativity and high-quality longform.

AC: Why do you think it's so important to create and preserve these spaces for authentic writing?

MS: Writing is a solitary act. Nonetheless, younger generations, in particular, struggle to forge IRL community in the way older generations might understand as an ordinary facet of being human.

By building a space that is as homey as it is supportive of their literary interests, we’re not only helping these individuals find their birds of a feather, but also providing them with a dojo that mandates setting aside blocks of time away from phones, home lives, and the other distractions. Win-win?

Incidentally, Livingston boasts the highest per-capita concentration of professional writers anywhere in the country. Couple this with another statistic — that Montana has more bookstores per capita than any other state — and it becomes clear southwest Montana is as fertile a place as any to invest in literature and its related industries.


AC: That's so interesting. What have you learned from being in community with creatives in Bozeman?

MS: In terms of writing, I've learned plenty. What has excited me most, however, is what I’ve learned from a small group of Indigenous women who come to the shop to write poetry and make beaded clothing in the traditions of their respective tribes (most notably, Crow, Cheyenne, Shoshone).

This is a group I’d otherwise have limited opportunity to engage with outside of Pulphead, and learning about their traditions, beliefs, hopes — even a little vocabulary — through firsthand conversation has proved incredibly edifying.

AC: And you mentioned you've seen Freewrites pop up in Pulphead. You use one, right?

MS: Yes. About seven years ago, not long after moving to Montana from New York, I purchased an Olivetti Lettera 32 typewriter from eBay. It appeared that a romanticizing of my newfound remoteness had rekindled my interest in writing.

I loved the mechanical feel and distraction-free interface, but the inability to edit line by line proved a notable annoyance for a mind habituated to modern computers. A few years down the road, some digging for alternatives led me to a blog post about smart/electronic typewriters. Voilà.

I purchased a Freewrite Gen3 Smart Typewriter, and I've been hooked ever since.

AC: That's awesome. So tell us about ANEMONE. What is it?

MS: ANEMONE is a print-only magazine (printed in a traditional broadsheet newspaper format). As for for theme, broadly, the world as told by Montanans. Short fiction, creative nonfiction, poetry, reportage, photography, and visiual illustrations comprise the submission categories.

AC: Print-only!

MS: Print is only dying because we let it.

AC: Is there a story about the name?

MS: Most people know the word anemone to describe a family of flowers — a 200-plus-species family of buttercups, comprising varieties both wild and domesticated. Dubbed “windflowers,” their delicate petals are said to blow open in the breeze; the ancient Greek word anemos means “wind.” I was drawn to the metaphorical value of beauty and how it can be revealed to us through an invisible force.

To add another layer, when I was a boy my father and I would spend weekends at the beaches north of San Francisco, where I was born and raised until I was seven. We would study the massive turqoise, kelly green, and purple sea anemones clinging to rocks left exposed by the receding Pacific tides (as to why, I can't say, outside of them looking funny, almost alien). A good memory.

Finally, “Anemone” is the name of an exquisite song by The Brian Jonestown Massacre, an irreverent and controversial rock band led by Anton Newcombe, an obsessive creative who rejects the surrender of culture and art to commercial interests. The track has a hold on me. It's like a portal to another era.

AC: Why do you think this sort of analog creativity is important?

MS:  I'm told the unending deluge of digital interface is leaving humans less and less capable of “deep work.” Will we ever know the difference?

Will we recognize what a society incapable of deep work looks like compared with those that came before it? Or will the transition manifest as a gradual degradation of quality, much as Coca-Cola was slowly, but surely, divorced from real sugar, such that to taste what Coke used to be like, one must order a Mexican Coke, still made with real cane sugar?

For me, analog perspective (and any creativity wrung from it) is rooted in continuity, tangibility, lived experience, slowness, spatial relation, nuance, emphasis on process, and grace for imperfection — antithetical to one of replicability, speed, binary outcomes, predictability, and optimization.

I prefer the former, and I suspect those who prefer the latter don't read or write much — life is a beautiful, taxing mess, and good writers find merit in this duality.

For me, analog perspective (and any creativity wrung from it) is rooted in continuity, tangibility, lived experience, slowness, spatial relation, nuance, emphasis on process, and grace for imperfection — antithetical to one of replicability, speed, binary outcomes, predictability, and optimization.

AC: Who is invited to submit to ANEMONE?

MS: We do limit submissions to Montanans, past and present, though we will feature writers from other states should the content of their writing bear an obvious relation to Montana — a requirement not imposed on Montanan writers.

All information regarding submissions can be found at www.anemonereview.com, along with all other facets of the magazine.

August 26, 2026 1 min read

Love the Freewrite 500? Here are 3 more writing contests for competitive short fiction writers.

1) Writers' Hour Magazine Prompts

The London Writer's Salon (a global writing group — no London residence necessary!) regularly host a writing contest via their Writers' Hour Magazine. Want to know a secret? Their September theme is all about freewriting.

Join them for a free workshop, Introduction to Freewriting, on Thursday, September 3, and get all the details about the contest.

The winner of the contest will win something Freewrite-shaped. 👀

2) NYC Midnight Challenges

This organization (again, no affiliation with NYC necessary) regularly hosts short story contests. Their next challenge is all about writing a rhyming story.

Learn more and register here.

Note: NYC Midnight writing contests generally have a fee to enter.

3) Henshaw Press Short Story Competition

This short story competition is open to anyone over age 16. And the best part? There is a cash prize, and profits go to charity.

Learn more here.

July 30, 2026 2 min read

PRESENTED IN COLLABORATION WITH

Calling all micro-fiction storytellers! 🏁

For the second year in a row, Freewrite is teaming up with Grant Faulkner, co-founder of the Flash Fiction Institute and author of The Art of Brevity, to bring you the fastest, most adrenaline-pumping writing event of the year.

Whether you're a seasoned writer or a creative rookie, the Freewrite 500 is your chance to rev up your imagination, write a 500-word story, and win big.

You do not need to own a Freewrite to participate.

[REGISTRATION CLOSED]

 

How It Works

🎟️ Fill out the form above to secure your spot. It's totally free. (You must register to participate.)

📖 Watch the free mini flash fiction lesson by Grant Faulkner, which includes the announcement of the prompt for the contest. WATCH IT HERE.

📝 You'll have the weekend to finish and submit your 500-word storybased on the prompt by end of day on Monday, August 17. Entries must be 500 words or less. The entry form is plain text. Any necessary formatting should be noted in [brackets]. [SUBMISSIONS CLOSED]

✏️ Our judging panel, led by Faulkner and made up of writers from the Freewrite team and the Flash Fiction Institute, will judge each piece based on: length (500 words), relevance to the prompt, and creativity.

🥇 NEW THIS YEAR: The panel will select three finalists, and then announce one grand prize winner.

All work must be submitted by 11:59 p.m. ET on Monday, August 17, 2026.

The Prize Pack

One winner will receive:

  • Publication on the Freewrite blog and Flash Fiction Institute blog
  • 1 Freewrite Traveler
  • 1 hour-long one-on-one coaching session with Grant Faulkner
  • 1 free Flash Gym session with the Flash Fiction Institute
  • 1 Words Are Hard prompt deck
  • A paperback copy of Set Your Story Free, the ultimate guide to freewriting
  • A digital copy of the opening chapter of Grant Faulkner's book, The Art of Brevity

Second and third place writers will each receive:

  • Publication on the Freewrite blog and Flash Fiction Institute blog
  • 1 Freewrite Alpha
  • 1 free Flash Gym session with the Flash Fiction Institute
  • Words Are Hard prompt deck
  • A paperback copy of Set Your Story Free, the ultimate guide to freewriting
  • A digital copy of the opening chapter of Grant Faulkner's book, The Art of Brevity

The Schedule

  • Thursday, Aug 13: Lesson & prompt announcement
  • Monday, Aug 17: Submissions deadline
  • Monday, Aug 31: Finalists announced
  • Monday, September 7: Grand prize winner announced

Questions? You can reach us at hello@getfreewrite.com.

Write on.

The Freewrite 500 Pit Crew 🏁 

Full contest terms and conditions