Still others found that it sapped their enthusiasm for the book—once they knew all the particulars of the plot, they lost interest in actually writing it.

The external goal should provide an opportunity, eventually, somewhere along the path of the book, for your character to recognize her internal flaw. It should be a desire that forces her to confront her weakness, and to decide whether or not she’ll embark on a journey to overcome that weakness and emerge with hero status.

The ally is the one who has the power to force the main character onto his correct path.

They’re vying to determine the main character’s fate—whether he remains cursed or not. The external goal is control over the main character’s reality.

is—if I don’t feel invested in your central character, the plot just won’t excite me.

Story itself is a particular thing—a very specific something that we recognize by instinct.

Showing the reader a clear view of flaw or theme right up front, in the first few pages of your book, sets a strong subconscious hook.

In the overall story, your character has his external goal. In this chapter, he has a more immediate, less motivating, but still important goal. He believes (and maybe he’s right) that by achieving his in-chapter goal, he’ll get one step closer to achieving his external goal. In each scene within each chapter, he has an even more immediate, but sti

The very best yardstick for determining a main character is the presence of a serious flaw. Does this character have an inner problem that’s impacting his life or the lives of the people he loves? Then he’s in need of a hero’s journey: let’s give him an outline!