The Story Pattern has its origins in my own struggle to craft fiction, and the number one difficulty I ran into: beginning to write in the white heat of inspiration, spurred on by some great character, scene, or bit of dialogue, but eventually getting to the point where I didn’t know what happens next. A void or a brick wall. Typing sputters out, the characters standing there looking up at me like “And?” To avoid my story ideas running out of steam, or the related problem of the steam not being very steamy (“no dramatic action!” said the editors), I created the Story Pattern through trial and error, as a way to codify the plot moves or beats that all stories contain. This lead me to discover the Three C’s and develop the Worksheet as a practical means to organize (and inspire) creativity.
In the classroom I introduce the Story Pattern very early, after talking to students about the dozen-plus stories that I have started but never finished because I did not have an adequate plan. They seem surprised when a teacher admits failure and very interested in the personal story of how I resolved that problem. This allows the SP to seem not a formula to inhibit creativity, but a solution to a problem they and probably every fiction writer has. It’s an answer, not a command. The value of the Story Pattern, I explain to them, is that it gives you the confidence of knowing that your idea is complete, and it gives you a reliable guide as you draft. For the fiction teacher, it provides a simple, clear way to explain how stories work and an interesting in-class or homework assignment that students will find helpful.
Briefly, all stories consist of the Three C’s, or Character, Conflict, and Change: a person wants/needs something, but encounters problems in getting it. She tries to solve them, succeeds or fails, and because of that success or failure becomes a different, more complex person. Following the pattern explained below and filling out the worksheet below results in a workable plot outline.
Character in a Situation has an Intention, encounters a Complication, faces a Problem, tries a Solution, the Complication-Problem-Solution pattern repeats X number of times, with the Stakes gradually increasing, encounters Biggest Complication, which leads to Biggest Problem, gets forced into a Choice/Sacrifice, then Resolution of Intention.
The Character, also called the Protagonist or Protag, is the main actor in a story and probably its Point-of-View character, whether First or Third Person.
Situation refers to the world and/or circumstances of Protag. Where, when and what.
Intention refers to Protag’s wants or needs, her mission or quest. In a short story, this is usually a single and simple desire.
Complication refers to a hindrance, problem, roadblock, calamity or some opposition that gets in the way of Protag fulfilling her Intention.
Problem refers to the situation created by the Complication: Protag must find a way around the roadblock, and tries to solve it according to her world and resources.
Solution refers to Protag’s action taken to solve her Problem and continue progressing towards her Intention. Usually only partly successful, can and often does lead to further Complications.
Stakes refers to what stands to be gained or lost by Protag.
Biggest Complication and Biggest Problem refer to the climax or point of greatest stakes and danger for the Protag and her Intention. The point beyond which everything is different and the Protag is significantly and maybe permanently changed.
Choice/Sacrifice refers to the fact that there is no flawless victory. Protag must make a difficult choice or give up something important to solve her Biggest Problem.
Resolution refers to the settling of accounts for Protag: does she accomplish her Intention, and how is she different for the experience?
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Gary Charles Wilkens is the author of The Red Light Was My Mind, which won the 2006 Texas Review Breakthrough Poetry Prize. His poems have appeared in Moon City Review and Passages North, his fiction in Drunk Monkeys and Foliate Oak Literary Magazine. He’s an associate professor of English at Norfolk State University.