You're welcome, Chris. Sounds like you're a life-long learner. Good on you! And good luck with your writing projects!

Thanks, Denise. Bitchy heroines are the worst sort of stereotype, aren't they?

Thanks for not making being bitchy a characteristic for a female protagonist.

Great way to meld the two methods, Linda! Sounds like you and I work in a similar way. I like the structure not only as a starting point, but as a guidepost along the way. Like you, I don't slavishly follow it if during the writing a better idea comes along. Good luck with your writing!

Thank you for your detailed response, Jerold. Basically, the 5 plot and the 7 plot structures break the story into smaller movements. But it's too much to discuss in the comment section. I will consider covering that in my July post. If you can't wait until then, the Masterclass has a decent explanation of 5 Act structure and the 7 act one.

Whenever I read thoughtful articles like this, I automatically evaluate how I’ve handled, or not quite handled, such methods in my own work. In this case, the “something doesn’t feel right” has been a recent concern of mine, regarding my main protagonist. The events and challenges in book two of my SciFi series are clearly beyond just her (anyone’s) experience and skills alone. So, much of the subplots play out against the wits and actions of an ensemble cast of friends and foes. So, she appears more as a background presence, digesting issues and leading from behind.

Unfortunately, of late, I fear I’d left her too much in the background, although as the story reaches its climax, I show her moving back to the forefront in a more active leadership role. Nevertheless, I feel I must show more of her handling the other challenges thrown on her plate (as result of earlier decisions she’d made, especially in book one).

Of grave necessity, I had to switch from pantser to plotter when writing this book. The complexity of its near future geopolitical setting meant lots of research to adequately mirror reality and stay believable.

It would be great if you could elucidate about five part and seven part structures, though. I’ve faithfully stuck, I think, to the three part structure, trying to deliver multiple climaxes (no puns, please) toward the end of part two. However, these suggest there might be a more nuanced approach toward staging such big, revealing moments. I’d be interested in fine tuning delivery of my final reveals (twists and surprises).