7 Story Structures that are Overused

Summary

This video explores eight overused story structures in writing, highlighting common pitfalls and offering guidance for authors. From clichéd 'it was all just a dream' endings and static bar scenes, to unchanging heroes, single-location narratives, nonhuman POV twists, wish-fulfillment protagonists, author characters, and amnesia plot devices, the speaker explains why these tropes often fail to engage readers. Exceptions are noted, emphasizing subtle character development, tension, and originality. Delivered in a witty, conversational style, the video encourages writers to be aware of these common patterns, experiment thoughtfully, and strive for fresh, compelling storytelling while avoiding predictable clichés.

Takeaways

• 😀 Be cautious of overused story structures that can create narrative pitfalls, making them harder to execute well.
• 😀 Avoid using the 'it was all just a dream' trope, especially at the beginning of your story, as it weakens reader trust and eliminates stakes.
• 😀 Bar scenes, while not inherently bad, are overused in stories and often lack action, leading to boredom. Consider other locations with more dynamic movement and conflict.
• 😀 Characters should ideally undergo some form of change or growth, especially in novels or trilogies. A stagnant character arc often weakens the story.
• 😀 Episodic fiction or detective series can have characters that remain relatively unchanged, but most stories benefit from subtle character growth.
• 😀 Be wary of a story that takes place in a single location with no movement. This can work if there's constant conflict and tension, like in plays or specific novels.
• 😀 The nonhuman POV twist, where the narrator turns out to be an animal or non-human, is often seen as a cheap trick if it isn't earned and well-executed.
• 😀 Thinly disguised wish-fulfillment characters (like a self-insert protagonist with unrealistically ideal traits) can be fun but may feel like the author is using the book for personal therapy.
• 😀 Main characters who are authors have been done to death, especially if the author writes about their own profession. Consider other unique occupations for your character.
• 😀 Amnesia as a plot device is overused and often manipulative. If you use it, make sure to bring an original angle to the story to avoid it feeling like a lazy plot device.

Q & A

What is the main purpose of the video described in the transcript?

The video aims to highlight story structures that are overused in writing, explain why they can be problematic, and offer advice to authors on how to avoid common pitfalls while crafting their novels.

Why does the speaker caution against using 'it was all just a dream' in stories?

The speaker cautions against this because it undermines the reader's trust, removes stakes from the story, and is particularly problematic at the beginning of a story. Dreams should either provide insight into a character's unconscious or serve as a prophecy to avoid being a cheap trick.

What issues does the speaker identify with bar scenes in stories?

Bar scenes often become overused and can lead to stories that are all dialogue with no action. While bars can work, the speaker suggests considering more original locations where characters can move and interact, maintaining reader engagement.

How does the speaker suggest handling character change in stories?

Generally, stories benefit from a character arc where the hero changes from the beginning to the end. Subtle changes are acceptable, but the character should grow in some way. Exceptions exist for episodic fiction or series where characters remain mostly the same.

What is meant by a 'bathtub story,' and why is it considered risky?

A 'bathtub story' is one where a character remains in a single location for the entire story. It is risky because it can bore readers due to lack of movement and scenery changes, requiring strong conflict and tension to succeed.

What caution does the speaker give regarding nonhuman POV twists?

The speaker warns against misleading readers by pretending the narrator is human and then revealing they are an animal. While stories with animal characters are fine, the twist should feel earned rather than cheap, avoiding manipulation of the reader.

Why are thinly disguised wish fulfillments potentially problematic in stories?

They can come across as author fantasies rather than engaging narratives, making the story feel cringy or self-indulgent. While some wish fulfillment can be fun, excessive use risks alienating readers.

What advice does the speaker give about using author characters as protagonists?

Using an author as the main character is overused, requiring more effort to make it fresh. Exceptions exist if the story revolves around authorship, but authors should consider creating characters with more original professions.

Why is amnesia considered an overused plot device, and how should it be handled?

Amnesia is overused because it allows writers to cheaply manipulate plot or resolve conflicts without proper planning. To work, it must be approached with a fresh, original angle rather than as a convenient plot fix.

What general principle does the speaker emphasize about breaking these overused story structures?

The speaker encourages authors to be aware of these pitfalls but acknowledges that creative rebels can break rules. However, attempting to break all of these conventions at once is overly ambitious and can backfire.

How does the speaker differentiate between an 'earned surprise' and a 'cheap surprise' in storytelling?

An earned surprise is one where the reader feels it makes sense in hindsight and was foreshadowed, while a cheap surprise manipulates the reader unexpectedly, often breaking trust or logic within the story.

What exceptions does the speaker note for characters who do not undergo significant change?

Exceptions include episodic fiction like detective series or episodic television shows, where characters such as Sherlock Holmes remain largely unchanged across stories but may show subtle, meaningful growth in specific situations.