“Writing is structure,” William Goldman said, but too often aspiring writers plunge into their work without grasping this fundamental principle. Story structure is one of the most important concepts for a writer to understand—and ironically, one of the least frequently taught. In this book, New York Times-bestselling author William Bernhardt explains the elements that make stories work, using examples spanning from Gilgamesh to The Hunger Games. In each chapter, he introduces essential concepts in a direct and easily comprehended manner. Most importantly, Bernhardt demonstrates how you can apply these ideas to improve your own writing.

All fiction is character-driven, according to William Bernhardt, despite what you might have heard elsewhere. If your characters don’t interest readers, even the most exciting plots will fail. “Action is character,” Aristotle wrote, but what does that mean, and how can you use that fundamental principle to create dynamic fiction that will captivate readers? This book explains the relationship between character and plot, and how the perfect melding of the two produces a mesmerizing story. Using examples spanning from The Odyssey to The Da Vinci Code, Bernhardt discusses the art of character creation in a direct and easily comprehended manner.

Even the most unique and interesting characters will not engage readers if their journey—the plot—fails. In this book, bestselling author William Bernhardt reveals the secrets that will keep readers riveted to the page. He explains the importance of matching character to plot and the key distinction between surprise and coincidence. Bernhardt discusses how to enrich your story by layering three levels of conflict and, in the final chapter, analyzes the primary plot structures that have delighted readers since the first story was told.

In recent years there has been a renewed interest in correspondence both as a literary genre and as cultural practice, and several studies have appeared, mainly spanning the centuries between Early and Late Modern times. However, it is between the eighteenth and nineteenth centuries that the roots of contemporary usage begin to evolve, thanks to the circulation of new educational materials and more widespread schooling practices.

Since the 1980s, Roger D. Sell’s literary criticism has striven to take account of the (often conflicting) approaches available without compromising the human importance of the literary work: either in terms of its creation or its reception. Sell’s theory of literature draws strength from the interface between literary studies and linguistics and is grounded on the argument that literary making is a primary communicational act between human beings. Other critics have found Sell’s work inspirational.