The Structure of a Novel: The Secret of Standard Formats

Remember your first day of English 101? If you’re a writer, you probably do. I was very excited to take my first college English course. I had high expectations of what I would learn there. The classic literature I would analyze. The academic research I would conduct. The illuminating in-class discussions we would have. Boy was I ever disappointed.

Freshman English started with the standard three part essay: introduction, main body, and conclusion. Didn’t we get this message in High School?

Of course, there was a reason for reviewing the standard essay. Although, most of us had been taught the method of the three part essay, most of us hadn’t really learned the true purpose of the three part essay. This standard structure is not merely a device intended to help the writer, it’s also a device that helps the reader. Readers have certain expectations. When you fail to meet these expectations the reader may become frustrated or confused. Ultimately, if the reader loses interest, your words serve no purpose.

During my internship at a local newspaper, I discovered that journalism also had its own structure: the inverted pyramid. Like it or not, working journalists follow this format. It’s what the reader demands and what the editor will insist upon. After all, an editor’s obligation is to the reader, not to your fickle muse.

What I’ve learned from these two experiences is the value of a format, and respectively the value of a good outline to help you adhere to that format. So when I started my first novel, I began with an outline. Utilizing the basic Freitag Pyramid from literature class, I created an outline indicating where I felt the story should start, where it should end, and a few plot points leading to the crises. I thought this would be enough.

What I didn’t realize, however, was that contemporary novels, like essays and news articles, have their very own format. I discovered this while reading The Marshall Plan for Novel Writing by Evan Marshall. Although, many books focus on writing technique (characterization, scene, dialogue, conflict, etc.) this is the first book I’ve read that clearly details how a novel should be structured.

Marshall delivers an outline in which the writer breaks down a novel into small sections, utilizing plots and subplots, to ensure sufficient tension throughout. Marshall also indicates the best time to introduce the lead, the opposition, and/or the love interest, not to mention how many points of view your particular novel should have.

Now, I’ve known for a long time that romance novels have a very specific format. In fact, I’ve always been a little envious of that skeleton waiting to be fleshed out. Now I have my own formula. I now know my literary novel should have six different view point characters and contain roughly 116 sections, 70 of which should be dedicated to the lead. I also know when to alternate action and reaction and the difference between a story goal and a section goal.

Oh I know. Discovering that there is a formula for writing is kind of like learning the mechanics behind your favorite magic trick. I admit, I feel a little guilty for exposing it. Well, ok, I’m not really exposing it. After all, the formula is a little too long and complicated to go into here. Let’s just say I’m admitting there is one and pointing you in the direction of the smoke and mirrors.

Don’t feel bad, it still takes great writing to make the formula work. Like the three part essay, the standard novel structure has both a method and a purpose, but you still have to supply the talent. By utilizing a standard structure, however, you create a reader friendly book and increase the chances of publication.