Mastering Story Structure Part III: Refining & Revising
- Fiction Yogi
- Apr 1
- 9 min read
In this article we'll consider:
Mastering pace to keep readers engaged
Creating tension and suspense
Non-linear storytelling
Weaving theme into structure
Refining in revisions
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In parts I and II of the three-part Mastering Story Structure series, we discussed the skeleton of your story's framework, and how to add depth to it through character arcs, plot development, and the emotional X-factor. In this final part, we'll take a look at some fundamental techniques for refining and enhancing your story, as well as how to approach revisions.
Mastering pace: keeping readers engaged
Pacing is the rhythm of your story – the speed at which your narrative unfolds. A well-paced story ensures your readers remain engaged without feeling rushed or bogged down. Even in genres that are typically fast-paced, such as action thrillers, there needs to be a balance so readers don't become overwhelmed or exhausted.
Varying pace for maximum impact
Fast pace: Use in action sequences, climaxes, or high-stakes moments. Keep sentences short and direct, limit exposition, and use active verbs.
Example: "She ran. The footsteps pounded louder behind her. A sharp turn; she barely made it."
Or use longer sentences with little to no punctuation so that the effect is breathless.
Example: “Her calves screamed in pain and chest seized with tightness but she kept on running, couldn’t stop, not when the footsteps behind her pounded in time with her own and she knew just one hesitation was all it would take for him to catch her and end this for good.”
Slow pace: Use for post-action sequences (a breather after the drama), deep character moments, world-building, or suspense. Allow for longer descriptions, introspection and reflection.
Example: "He traced the rim of his coffee cup, staring at the empty seat across from him, remembering how it had all begun and berating himself for letting it get this far."
Techniques for controlling pace
Sentence structure: Short, choppy sentences can be used to suggest tension – both in dialogue and narrative; while longer, punctuated sentences can be used for calmer or less dramatic scenes.
Chapter length: Shorter chapters create momentum, which can keep readers from setting the book down; while longer chapters allow for greater detail and depth. There are no rules in fiction writing, but often we see consistent chapter lengths throughout a book, rather than a broad variation. In which case, choose your style, and the impact it could have on your story, before you begin.
Scene breaks: If you are not using short chapters but still want to create momentum, then scene breaks have a similar effect. Short scenes, with breaks in between, can create a sense of urgency or anticipation - and unlike with chapter length, scene length is often more flexible, short or long as needed.
Delayed information: Keep readers curious, and unable to put the book down, by withholding key details until the right moment. In Markus Zusak's Bridge of Clay, Zusak repeatedly uses a technique of jumping back and forth along the story's timeline – teasing details, then flashing back to narrate the events that led up to that moment. Readers are compelled to read on, but without frustration, as answers to the questions posed are continually being revealed.
Tell, don't show: No, I haven't made a mistake; yes, you were taught correctly: the most engaging narrative is that which shows rather than tells. However, there's a place in every narrative for telling instead of showing – such as to move the plot or characters along quickly, e.g. a train journey, or to avoid repeating what's already been said. For more examples, see Tell, Don't Show: When to summarize in fiction.
Creating tension and suspense
Whether you’re writing thriller, fantasy, or romance, tension keeps readers turning pages. Even in non-action genres such as contemporary fiction, suspense – or at the very least curiosity – is crucial for engagement.
Types of tension
Character conflict: Internal, e.g. self-doubt, moral dilemmas; or external, e.g. rivalries, betrayals.
Unanswered questions: As with delayed information, readers crave resolution when there are unanswered questions. This could be one overarching question, the answer to which your entire story hangs upon: Will they or won't they? Who murdered the president? And/or it could be a series of questions and answers, leading your readers through the narrative: Who left the letter? What’s behind the locked door?
A sense of unease: Have readers know something the character doesn’t (dramatic irony); or, through careful word choice and subtle clue-dropping, have them second-guessing what might be about to happen next.
Cliffhangers: Ending chapters or scenes with an unanswered question or shocking reveal is a surefire way to stop readers from setting your book down. However, avoid overusing them or you may exhaust readers; and also avoid forcing them, which may make them implausible.
Cliffhangers can be big or small, relating to plot or character, so use them wisely according to where they appear in the story's framework; for instance, bigger cliffhangers may come at important turning points, such as when one act leads into another, or a plot point shifts the direction of the story.
Non-Linear Storytelling
A story doesn’t always have to unfold chronologically. Non-linear structures can create mystery, deepen themes, and challenge reader perceptions.
Common non-linear techniques
In medias res: Open your story midway through a crucial scene in the story's plot or an important question raised, delaying exposition until later via flashback, dialogue, or reflection. E.g. Saving Private Ryan, which, following a present-day scene in the Normandy War Cemetery, launches into an epic depiction of the chaos and carnage of the Omaha Beach landings, D-Day, WWII.
Flashbacks & flash-forwards: Use to reveal key backstory, or foreshadow future events. E.g. Inception, which uses both of these techniques within its exploration of the dream world, revealing character, building suspense, and toying with the concept of reality as we know it.
Multiple timelines: Use to weave together past and present, e.g. Titanic; show different perspectives, e.g. Gone Girl; or depict alternate realities, e.g. Donnie Darko.
Reverse chronology: Begin with the climax (the end result), then unravel how things got there. E.g. Memento.
Making non-linear narratives work
Keep transitions clear – avoid confusing the reader.
Ensure each shift in time has purpose and builds emotional or narrative depth. It's about layering the story, but in a way that still makes sense to the reader.
Maintain logical cause-and-effect connections, even when jumping around in time.
Weaving theme into your structure
Themes add depth, making stories resonate beyond the surface plot. Well-integrated themes give meaning to the character’s journey and create lasting impact.
How to identify your core themes
You may or may not know your story's theme when you write your first draft, and that's fine, you can pay closer attention to it during the revision stages. The chances are you will have written the theme without realizing it, however, and when you stand back and look at your story, it'll become clear.
Ask yourself: What is my story really about?
For example:
Is it about redemption (The Kite Runner)?
Is it about the cost of power (Macbeth)?
Is it about self-discovery (Jane Eyre)?
Is it about societal oppression (1984)?
Is it about losing sight of what matters (It's A Wonderful Life)?
The list is endless, and there are no rules – your themes may speak to global issues, or simply to universal human experiences such as love and loss.
How to weave themes naturally
Through character arcs: The protagonist’s growth will generally reflect the theme. E.g. Ebenezer Scrooge's journey from miser to generous man mirrors the theme of redemption.
Through dialogue and opposition: Your protagonist won't always be able to see the clearer picture, but other characters will, and this can be an opportunity to signal the main theme. For example, a character may be so caught up in grief after the death of his wife, he refuses to listen when others tell him he's neglecting his children.
Or, external opposition to the protagonist may bring their morals and values more fully to the forefront, thus highlighting the story's themes, e.g. Katniss Everdeen's fierce loyalty to the protection of her family, in The Hunger Games, which leads her involuntarily into her country's struggle for control and abuse of power.
Through symbolism: Objects, colours, phrases, or settings can represent deeper meanings associated with your theme. E.g. Colin Walsh's Kala uses several echoing techniques, including Polaroid photographs, to give the coming-of-age narrative an ethereal, fading, and ungraspable quality.
Through repetition: Repetition, when executed carefully, can reinforce key ideas relating to theme. E.g. Tom in The Talented Mr Ripley repeatedly convinces himself of his goodness and other people's blame, thus building on the themes of identity and obsession. I talk more on this and symbolism in How to Use Repetition as a Literary Device.
Refining your structure in revisions
Your first draft is just the beginning. Think of it as the testing ground – where you're getting the bare bones of the story out of your head and on paper/screen to see what shape it might take. The subsequent drafts are where the real work happens – where you start building on the foundations, trying different things, and making connections that enhance your story.
The Editing Process: Step-by-Step
You can learn more about self-editing in Finding Balance: How to start editing and when to stop; and also download the Fiction Yogi Self-Editing Printable Checklist. But here are some of the revision passes you may wish to undertake when refining your story:
Structural pass: To ensure the core story beats of your framework flow smoothly, and align with your character arcs.
Pacing pass: Cut slow sections, tighten dialogue, pay close attention to word choice and impact, refine action sequences.
Emotional depth pass: Note if your character emotions and reactions are sufficient or if they could be deepened. Again, pay attention to word choice – can you say the same thing in a more original or unexpected way? Does the narrative tone mirror the emotions you wish to evoke?
Theme pass: Identify what your core themes are, then find suitable moments and ways to strengthen their resonance, via plot and character.
Final polish pass: Check grammar, sentence flow and effectiveness, and overall readability. Try reading on different devices, and have sufficient breaks in between each pass so you can more easily spot where your narrative may trip readers up or just could be more effective.
Common pitfalls to avoid
Info dumps: Backstory, character description, and world-building details can all be threaded into the narrative at apt points, to be unveiled naturally. Resist the first instinct to inform your readers of everything about your story's world as soon as possible.
More exposition is required in certain genres than others, such as fantasy, but even then the details can be woven into the story rather than just unloaded. Story first – give readers something to be curious about.
Overwriting: In a similar vein, it's easy to overwrite on a first draft, giving more details (or scenes) than the story needs. In revision, look for where the pace slows, where you've repeated something unnecessarily, or overexplained – then cut ruthlessly.
New writers especially don't always trust they're getting the message across clearly enough, so they tend to go into detail. But readers get greater enjoyment reading between the lines and making the connections for themselves, rather than being handheld through the story. So first homework for new writers is: trust yourself and trust your readers.
Weak middle acts: Beginnings and endings can sometimes more or less write themselves, but the middle is where things get tricky, often going off the boil. If you're following your story's framework (as we talked about in Story Structure Part I), you will hopefully be able to avoid the "saggy middle", but all the same, when revising, pay attention to your plot and subplots – if they're engaging, and if the stakes rise sufficiently.
Inconsistent character arcs: Whether your character arcs are positive, negative, or flat (as we discussed in Story Structure Part II), ensure they progress logically and consistently over the length of your narrative, tying in with plot and theme.
Finally...
Mastering storytelling techniques takes time and practice, but the results are worth it, in that they will elevate your writing and enhance your stories exponentially. By refining your story's structure, you transform a simple narrative into a memorable and immersive reading experience.
So where to from here? For starting new drafts, begin with your story's framework and some idea of character arc and plot development. Avoid fretting at this stage; just get the bones of the story in place, seeing where it leads you. Once you have a complete first draft, you have something to work with.
Your narrative timeline may (or may not) be linear, but the production of it certainly won't be. Start analyzing: where you can deepen tension and stoke reader curiosity; in what ways you can manipulate pacing to fit each scene; and where and how you can enhance thematic depth.
Structure is core to your story. But the best stories don’t just follow a structure – they breathe with life, emotion, and meaning. It's why we love to read, and why we're compelled to create.
Further reading...
"Building a Theme through Character Arcs", Jami Gold
"When a Story is Best Told Backwards", Samantha Harvey, Lit Hub
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Tina Williams of Fiction Yogi is a copyeditor and proofreader who works with writers at all stages, giving them the tools to improve their manuscript and level up their writing so they can meet their publishing goals.
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