One of my favorite studies of Harry Potter is that of the ring composition found both in the individual novels and overall composition. That very composition is what makes Harry Potter such a satisfying story. It’s a large part of the reason Harry Potter is destined to become a classic.
And it’s an integral part of the series many people are completely unaware of.
So what is ring composition?
It’s a well-worn, beautiful, and (frankly) very satisfying way of structuring a story. John Granger, known online as The Hogwarts Professor, has written extensively on it.
Ring Composition is also known as “chiastic structure.” Basically, it’s when writing is structured symmetrically, mirroring itself: ABBA or ABCBA.
Poems can be structured this way. Sentences can be structured this way. (Ask not what your country can do for you — ask what you can do for your country.) Stories of any length and of any form can be structured this way.
In a novel, the basic structure depends on three key scenes: the catalyst, the crux, and the closing.
The catalyst sets the story into the motion.
The crux is the moment when everything changes. (It is not the climax).
The closing, is both the result of the crux and a return to the catalyst.
In Harry Potter, you might recognise this structure:
Voldemort casts a killing curse on Harry and doesn’t die.
Voldemort attempts to come back to power
Voldemort comes back to power.
Harry learns what it will take to remove Voldemort from power.
Voldemort casts a killing curse on Harry and dies.
But all stories should have this structure. A book’s ending should always reference its beginning. It should always be the result of some major turning point along the way. Otherwise, it simply wouldn’t be a very good story.
What’s most satisfying about chiastic structure is not the basic ABA structure, but the mirroring that happens in between these three major story points.
To illustrate what a more complicated ABCDEFGFEDCBA structure looks like, (but not as complicated as Harry Potter’s, which you can see here and here) Susan Raab has put together a fantastic visual of ring composition in Beauty and the Beast (1991), a movie which most agree is almost perfectly structured.
What’s so wonderful about ring composition in this story is that it so clearly illustrates how that one crucial decision of Beast changes everything in the world of the story. Everything from the first half of the story comes back in the second half, effected by Beast’s decision. This gives every plot point more weight because it ties them all to the larger story arc. What’s more, because it’s so self-referential, everything feels tidy and complete. Because everything has some level of importance, the world feels more fully realized and fleshed out. No small detail is left unexplored.
How great would Beauty and the Beast be if Gaston hadn’t proposed to Belle in the opening, but was introduced later on as a hunter who simply wanted to kill a big monster? Or if, after the magnificent opening song, the townspeople had nothing to do with the rest of the movie? Or if Maurice’s invention had never been mentioned again after he left the castle?
Humans are nostalgic beings. We love returning to old things. We don’t want the things we love to be forgotten.
This is true of readers, too.
We love seeing story elements return to us. We love to know that no matter how the story is progressing, those events that occurred as we were falling in love with it are still as important to the story itself as they are to us. There is something inside us all that delights in seeing Harry leave Privet Dr. the same way he got there–in the sidecar of Hagrid’s motorbike. There’s a power to it that would make any other exit from Privet Dr. lesser.
On a less poetic note, readers don’t like to feel as though they’ve wasted their time reading about something, investing in something, that doesn’t feel very important to the story. If Gaston proposed to Belle in Act 1 and did nothing in Act 3, readers might ask “Why was he even in the movie then? Why couldn’t we have spent more time talking about x instead?” Many people do ask similar questions of plot points and characters that are important in one half of a movie or book, but don’t feature in the rest of it.
Now, ring composition is odiously difficult to write, but even if you can’t make your story a perfect mirror of itself, don’t let story elements leave quietly. Let things echo where you can–small moments, big moments, decisions, characters, places, jokes.
It’s the simplest way of building a story structure that will satisfy its readers.
If there’s no place for something to echo, if an element drops out of the story half-way through, or appears in the last act, and you simply can’t see any other way around it, you may want to ask yourself if it’s truly important enough to earn its place in your story.
Further reading:
If you’d like to learn more about ring theory, I’d recommend listening to the Mugglenet Academia episode on it: x
You can also read more about symmetry in HP here: x
And more about ring structure in Lolita and Star Wars here: x and x
And about why story endings and beginnings should be linked here: x
"As human beings, all of us have a wound, a point of deep pain, and whether we are aware of this point or not, many of the decisions we make in life arise from this wound. What we think of as choices are, many a time, reactions. And if it is true in life, it is perhaps even truer in fiction. What is destiny if not a long string of choices, a reaction to the things that have happened to us? Destiny in life becomes plot in fiction."
— Anosh Irani, from “Notes on Craft” published in Granta (via pigmenting)
Hi! How do I describe feelings? My character is, for example, confused, but I don't want to just say 'he is confused.' I want to describe it and make the reader feel as if they feel the same level of perplexity the character is feeling.
You can illustrate a character’s feelings using a combination of the following:
1) Facial Expressions - Every emotion has facial expressions that, when combined with other factors, help to illustrate what is being felt. Confusion, for example, can be indicated by: frowning, scowling, knitted brows, pursing lips or twisting mouth.
2) Body Language - Every emotion also has body language that, when combined with other factors, helps to illustrate what’s being felt. Confusion, for example, can be indicated by: head scratching, rubbing chin/jaw, tilting head, flinching head, running hands through hair, rubbing forehead, blinking.
3) Internal Sensations - Every emotion also has internal sensations that go along with them. When the narrator has access to the mind of the person experiencing the emotion, these can be used in combination with other factors to help illustrate the emotion. A person who is confused might feel: overheated, tightening of chest, stomach flutters, breath caught in chest.
4) Mental Responses - Every emotion has mental responses that go along with them. When the narrator has access to the mind of the person experiencing the emotion, these can be used in combination with other factors to help illustrate the emotion. A person who is confused might have the following mental responses: inability to think (thoughts freeze), trouble responding, racing thoughts, the feeling that the world has turned upside down.
5) Internal Monologue - When a character is feeling a certain emotion, it can often be addressed through what the character is thinking in that moment. If the narrator has access to the character’s mind, the emotion they’re feeling can be illustrated by what those thoughts are. A character who’s confused might have questions and may even attempt to self-answer those questions, they might review what was said as if they didn’t hear it right, they might question the validity of whatever has confused them, they might review a situation to determine whether they’re right to be confused or to find a satisfying answer.
6) Dialogue - Another way to address what a character is thinking as a result of an emotion is to have them express those thoughts verbally with another character. So, everything from “internal monologue” but spoken out loud to another character. A confused character might ask questions, review what was said, ask for proof or explanation, or might express disbelief or possibly argue.
Remember, it’s important to use a combination of the above factors to help clarify the emotion your character is feeling. If you have difficulty describing emotions, I strongly recommend investing in The Emotion Thesaurus by Angela Ackerman and Becca Puglisi. It’s a very handy reference that comes in handy even for the most seasoned writers. :)
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Have a question? My inbox is always open, but make sure to check my FAQand post master listsfirst to see if I’ve already answered a similar question. :)
Brainstorm a table of contents with as much detail as possible (with chapters, sections and even paragraphs and sub-paragraphs - see How to Write a Thesis’ own table of contents as an example at the end of this document) (if the first drafted table of contents is good enough, it will not be necessary to start the writing from the beginning).
Do a first draft of the introduction.
Note-taking and research
Use Google Scholar to make sure you do not miss important sources.
Keep the table of contents in mind when researching and take notes of which sources could go where.
While note-taking, differentiate which parts could be used as quotations from the ones that are simply important for the argument.
Eco underlines the importance of what he calls reading sheets, which can be understood as your notes on your readings. According to him, these should contain:
information about the author if he is not a well-known figure;
a brief (or long) summary;
they should mostly consist of quotations (accompanied by all the corresponding page numbers)
any commentaries you might want to add;
an indication of which part (or parts) of your table of contents the information mentioned belongs to.
Keep reading sheets on primary sources (which should be the longest) separate from those on secondary sources (which should only be 1-2 pages long).
In the end, re-read the notes and color-code all the different parts according to where they would fit in your table of contents.
Writing and editing
A good place to start would be by redrafting the introduction.
Define every key/technical term used/mentioned unless indisputably obvious.
General writing tips:
keep sentences short;
do not be afraid to repeat the subject twice (ex: Roberta went to the shop (…) Roberta bought carrots and tomatoes);
avoid excessive details;
avoid subordinate clauses (orações subordinadas);
avoid vague language;
avoid unnecessary adjectives;
avoid the passive voice.
While drafting, write everything that comes to mind. Leave the editing for the end.
Use your tutor as a Guinea pig. Make them read your first chapters (and, progressively, all the rest) well before delivery is due.
Ask for as much feedback as possible. Ask colleagues, friends and/or family to read your work. They will provide you with more diversified feedback, as well as allowing you to know if your writing is clear to anyone.
Stop playing ‘solitary genius’.
Don’t insist on starting with the first chapter. Start with what you know best and feel more comfortable writing about, then fill in the gaps.
Leave time for editing and try to take at least a one or two days long break in between writing and editing.
Do not forget to fill in the gaps. When you revisit your writing, go through it with all these writing tips in mind as well as a conscience of what your most common mistakes are.
Use Hemingway in the final editing phase.
Quotations and footnotes
Since there are two kinds of sources (primary and secondary), there are also two kinds of quotations: either we quote a text which we will interpret, or we quote a text which supports your interpretation.
Some quotation rules to know:
“Quote the object of your interpretive analysis with reasonable abundance.”
“Quote the critical literature only when its authority corroborates or confirms your statements. (…) when quoting or citing critical [aka secondary] literature, be sure that it says something new, or that it confirms authoritatively what you have said.”
“If you don’t want readers to presume that you share the opinion of the quoted author, you must include your own critical remarks before or after the passage.”
“Make sure that the author and the source of your quote are clearly identifiable.”
“When a quote does not exceed two or three lines, you can insert it into the body of the text enclosed in quotation marks. (…) When the quote is longer, it is better to set it off as a block quotation. In this case the quotation marks are not necessary, because it is clear that all set-off passages are quotes, and we must commit to a different system for our observations. (Any secondary developments [like the quote’s reference] should appear in a note.) (…) This method is quite convenient because it immediately reveals the quoted texts; it allows the reader to skip them if he is skimming, to linger if he is more interested in the quoted texts than in our commentary, and finally, to find them immediately when need be.”
Some footnote rules to know:
“Use notes to add additional supporting bibliographical references on a topic you discuss in the text. For example, ‘on this topic see also so-and-so.’”
“Use notes to introduce a supporting quote that would have interrupted the text. If you make a statement in the text and then continue directly to the next statement for fluidity, a superscript note reference after the first statement can refer the reader to a note in which a well-known authority backs up your assertion.”
“Use notes to expand on statements you have made in the text. Use notes to free your text from observations that, however important, are peripheral to your argument or do nothing more than repeat from a different point of view what you have essentially already said.”
“Use notes to correct statements in the text. You may be sure of your statements, but you should also be conscious that someone may disagree, or you may believe that, from a certain point of view, it would be possible to object to your statement. Inserting a partially restrictive note will then prove not only your academic honesty but also your critical spirit.”
“Use notes to provide a translation of a quote, or to provide the quote in the original language.”
Make your hero act on their deepfelt emotions. This not only adds meaning to their actions, but also helps communicate to readers your hero’s core emotional struggle.
2. Actions trigger consequences.
When your hero acts, give their actions consequences that affect the plot, themselves, and/or the surrounding characters. For example, driven by curiosity, maybe your hero opens Pandora’s box; maybe they act recklessly and someone dies; or maybe they stand up for what they believe in, but at great personal cost. Consequences raise the stakes and empower your hero with agency.
3. Consequences compel change.
Use the consequences of your hero’s actions to create a crucible of growth — challenges and situations that force them to take the next step on their character journey. That step may be forward, or backward, and it may be large or small; but something inside them changes.
4. Change influences emotions.
When a character goes through a change, even a small one, allow it to affect them emotionally. Maybe they feel increasingly frustrated or guilty. Maybe they’re afraid, having just taken another step closer to abandoning their old way of seeing the world. Or maybe they finally feel peace.
Regardless of the form it takes, remember to reflect your hero’s change in their emotions. Then let their emotions drive action, to trigger consequences, which will compel further change.
Lather. Rinse. Repeat.
And there you have it! That’s how you write a character-driven plot.
So what do you say?
Give the wheel a spin.
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Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.
Hello dark academia lovers! I’m starting a new series on my instagram about writing tips from the masters and I picked Hemingway! If you’d like to see more of this, please check my instagram here: @labohemejulia. Thank you :)
hii! lately i've been having trouble with describing my characters emotions and feelings (basically the show not tell thing, i feel?) and i don't know how i can improve this, though i've tried many things already... i'm just not satisfied with how i do it... i dont know if it helps, but i write from third person pov focusing on one character's pov especifically
Learning to describe emotions (rather than label them) is one of the early challenges many writers face in improving their writing skills. So, trust me, you’re in good company. It’s something a lot of newer writers (and even some more seasoned ones) struggle with. Fortunately, there are a lot of things that can help.
1) Labeling vs Describing
First and foremost, it helps to understand the difference between labeling an emotion and describing one.
Emotion labels are words like happy, sad, scared, worried, elated, horrified, angry, embarrassed, etc.
Every one of those emotions has specific facial expressions, body language, and internal cues that go along with them. If I realize my best friend has a crush on my next door neighbor, and when I call her out on it she’s embarrassed, I’ll probably be able to tell that just by looking at her. Any one or combination of the following might happen: blushing, hives, nervous giggling, wide eyes, shaking head no, waving it off, hiding face in hands, hysterical laughter, biting bottom lip, not willing to make eye contact, etc. These visual cues will let me know she’s embarrassed. Likewise, she’ll know she’s embarrassed because of the things she’s feeling physically, like her cheeks burning, nervous energy, inability to stop giggling, butterflies in the stomach, watering eyes, etc.
So, the key to describing emotions, rather than labeling them, is to think about the cues that indicate what someone is feeling, and describe those rather than labeling the emotion. For example:
Terrance got down on one knee and Aisha was super happy!
“Super happy” is a label. What visual cues might we see that indicate Aisha’s super happiness?
Terrance got down on one knee and Aisha’s jaw dropped, her eyes widening as everything sunk in. She gasped and brought her hand to her mouth as she burst into tears, but her twinkling eyes reflected her smiling face before she revealed it to Terrance. “Oh my God, T! Yes! Of course I will marry you!”
See the difference?
I strongly encourage you to get a copy of The Emotion Thesaurus by Angela Ackerman and Becca Puglisi, as this provides all of the external and internal cues common to a huge variety of emotion labels and is a super handy reference for any writer’s desk.
2) When to Show Emotions (And When Not To)
Remember, fiction is made up of three elements: narrative exposition (explaining information or internal monologue), action (describing things that are happening), and dialogue (characters having conversations.)
The main point when you will show emotions rather than label them is during action, which is when something is happening, like Terrance proposing to Aisha. This is a moment the reader is watching unfold, so you want the visceral impact of the description rather than the blunt and weak label.
You may also sometimes show emotions when characters are recalling something that happened, specifically when that recall is being used to show the reader something that happened outside the events of the story, like in the past or between chapters. Here again, the moment is technically meant to be unfolding for the reader, so it helps to have the impact of description.
However, sometimes a character is recalling or thinking about something that happened that the reader already saw unfold. This could be happening internally, as in they’re thinking about it, or it could be happening externally, in dialogue with another character. This is a point where it might be better to label rather than describe. For instance, if your character is sitting in a coffee shop and another friend arrives, and that friend sits down and says, “OMG, did you hear Terrance proposed to Aisha?” If your character happened to be there when it happened, it might be weird for her to answer, “Yes! I was there! Her jaw dropped, her eyes widened as everything sunk in. She gasped and brought her hand to her mouth, bursting into tears…” That’s just not really the way people talk. In this case, it would make more sense for your character to say, “Yes! I was there! She cried but she was super happy!”
On the flipside, let’s say the reader didn’t see the actual proposal unfold. Terrance is sitting in a coffee shop when his friend arrives and asks, “How did it go with Aisha? What did she do when you proposed?” He could certainly answer, “She cried. She was super happy…” but it also might make sense for him to say, “Her jaw dropped and she burst into tears, but she was smiling so big, and she said yes!” Not quite as much description since it’s dialogue, but since the reader didn’t actually see it unfold, it’s more than just a label to give the moment a bit more impact.
3) Treat Emotion Labels As Alarm Bells
Try to think of emotion labels as alarm bells. When you see them in your writing or are tempted to use one, stop and consider whether it’s best to label or describe, according to what you learned in #2. When it’s a situation where you should be describing, consider what those cues would be (or look them up in The Emotion Thesaurus) and formulate a description rather than relying on a label.
I hope that helps! <3
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Have a question? My inbox is always open, but make sure to check my FAQand post master listsfirst to see if I’ve already answered a similar question. :)
I think it’s worthy that I note that this post is about a single story being told from multiple, interchangeable points of view rather than covering the subject of individual points of view such as first person, third person, etc. I’ve gotten a lot of questions about this over the years so I’ve made this as comprehensive and detailed as possible.
PLEASE REBLOG | Tumblr suppresses posts with links :/
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Make Each Voice Distinct
The most difficult part of writing from multiple points of view is the attention to detail it requires to make each character’s voice distinct and interesting to read. Your best tools in this are vocabulary and the character’s personal, unique thought process. What’s the first thing they consider when they feel the key emotions? What do they notice when they first meet someone or visit a new location? What are their personal priorities and how does this impact the way they interpret each event in their life? Even when you’re writing from third person, their thought process determines what they do next, so it’s imperative that you know your main characters really well.
** It also helps to get into character when you sit down to write a particular scene featuring a character’s point of view.
