On a theoretical level, art often comes down to patterns. As readers and even writers we are not always conscious of these patterns, but whenever we are able to recognize that a story works—or does not work—usually what we are responding to is the comparative effectiveness of certain underlying patterns. This is perhaps nowhere more obvious than in story structure.
A few weeks ago, in response to a query from a reader, I posted about “The Crucial Link Between Your Story’s Inciting Event and Climactic Moment,” in which I talked about how story structure can be viewed not just as an “arc” but in fact as a full circle. All of the major structural beats in the first half of a story can be seen as corresponding in important ways to their “partners” in the second half of the story.
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