I’ll admit it: my title is pretty sensationalist. But I can’t bring enough attention to this issue. When we’re hired to do content editing, 95% of the manuscripts we look at need significant work in this area. Before we look at their work, most writers have already wasted countless hours – likely hundreds of hours in the case of novels – writing in the wrong direction. We correct their course so they can get results much faster, but it usually requires a large revision to their manuscripts.

What’s the problem? Most writers don’t understand what their story is about.

I know – it sounds too easy and simple. Of course you know what your story is about; it’s about a badass space pirate who fights in a civil war or a young farm worker who discovers magic. But while those things are in the story, they may not be what the whole story is about.

Every story needs one plot arc that it’s focused on. This is the glue that holds the story together; everything else is secondary. Nowadays at Mythcreants we call this plot arc the throughline, because it should be present throughout the story, from the opening scene to the resolution. But in most cases, manuscripts either don’t have a sufficient throughline or the throughline they have isn’t what the storyteller wanted to write.

Signs Your Story Doesn’t Have It

If so many stories lack a strong throughline without writers noticing, how can you tell if your story is one of them? We’ve seen many signs of trouble over and over again. I’ll list the most common for you.

  • You don’t know how to start or end your story. Your throughline binds the story together from start to finish. If you are having trouble figuring out how to get your story going or what your ending should be, it’s likely because you don’t know your throughline.
  • The opening conflict doesn’t match the climactic conflict. If your throughline is in order, your protagonist should encounter a problem in the beginning and then finally overcome that same problem at the climax. If your protagonist struggles with something entirely different at the beginning of the story than what they deal with in the climax, you’ve probably got a throughline issue.
  • A side character has the most compelling problem. The main character needs to face a compelling problem and solve it. If the most urgent problems in the story revolve around a side character, it will damage the throughline.
  • A side character has the biggest role at the climax. Your main character should be at the plot’s center from start to finish. If a side character swoops in at the most pivotal moment of the story and saves the day, you’ve got a problem.
  • Your main character is not your favorite character. Time and time again, writers decide one person is their main character, but then fall in love with a side character. Then these writers start making the story more and more about their favorite character instead of the main character. As a result, the story loses focus.

A well-planned throughline can technically include more than one main character, but in practice, multiple protagonists almost always pull the plot in different directions.

What Happens to Stories Without It

The throughline is the core of the story. Without an obvious throughline, your narrative is just a list of things that happen. That has severe consequences.

  • Boring tangents. A throughline defines a story, telling storytellers which events are part of the story and which are scenic side trips. Without knowing their throughline, storytellers can’t distinguish between story and tangent. They end up writing huge swaths of material that will bore readers until their editor tells them to cut it.
  • Excess complexity. Throughlines help storytellers prioritize. Without that, storytellers add everything they think is cool, wherever they can stuff it in. They end up with an over-burdened story that has too much going on, making it slow and confusing.
  • Low tension. Your throughline is the foundation of your plot. If you don’t have a strong throughline, you won’t be able to plot effectively. Plot is responsible for making stories feel gripping and, to a large extent, entertaining.
  • Dissatisfaction. Making your audience feel satisfied is the other big thing your plot is for. Without a strong throughline that matches your beginning with your end, it’s difficult to create a satisfying finish.

If the throughline of a manuscript isn’t strong, that’s the first thing we focus on in editing. Strengthening the throughline will make the biggest difference to your story. What’s more, working on anything else could be a waste of time until you know what will fit into your throughline.

Finding Your Direction

Sometimes correcting a missing or broken throughline is a simple matter of realizing the problem and making a few corrections. However, having a strong throughline often means making tough choices. If you’re torn between different choices for your central conflict and main character, here are some exercises that can help.

  1. Rank your characters. Put all your characters in a list, and rank them from your most to least favorite. Then ask yourself: if you could only keep three characters in your story, which would you keep? A good main character is someone you don’t want to part with.
  2. Look for character arcs. Take your three characters from the previous exercise. How do things change for them between the start and the end of the story? Do they have a different status than before? Do they have different beliefs? Have they learned any lessons? Characters with lots of change also make good main characters.
  3. Identify character problems. List all the problems your three favorite characters have. Maybe one of them is on the run from a creditor, or another is a sailor with a severe phobia of drowning. Which character has problems that feel urgent? Which problems are you the most interested in writing about? That will help you center the plot around them.
  4. Examine the villains. Find all of the antagonists in your story. An antagonist could be a specific villain, a government conspiracy, a monster, a struggle against starvation, or anything else that gets in the protagonist’s way. Of these villains, which feels the most threatening? Which ones could your favorite character reasonably struggle against and defeat in this story? A threatening antagonist that’s too difficult to defeat is a good candidate for the series’ climax, should you write any sequels.
  5. Find your themes. List some conceptual themes present in your story. This might be “making hard choices to survive” or “full automated luxury gay space communism.” Put down any ideas you want to explore in your story. Once again, rank them. If you had to keep just one, what would it be? Is that a theme your favorite characters can participate in?

Look for a confluence of the characters you love, the themes you want to cover, and the problems your protagonists should struggle with. Usually, whatever you’re most excited about is the best thing for you to focus on. Occasionally, we have to tell writers that they are 90% of the way to completing a story they didn’t want to write and 30% of the way toward completing the story they wanted. If you’re excited about things that barely appear in your tale, it might be easier to write a different story about them.

Learn More About Throughlines

We’ve written about them before, but our changing terminology and our large archive can make things hard to find. Here are some links to help you understand throughlines and how to implement them in your stories.

  • How to Turn Your Concept Into a Story: Instead of realizing 200 pages in that you have to redo half your draft, it’s better to think about your throughline as soon as you start thinking about your story. Turning a concept into a story is very tricky, and this article is here to help you start out strong.
  • Setting Your Story’s Direction: This three-part series is all about what expectations your audience will have and how to satisfy them. In particular, the middle article, Establishing and Satisfying Plot Threads, is there to help you identify your throughline and weave it with other plot arcs.
  • Six Novels With Weak Throughlines and Five Novels With Strong Throughlines will provide in-depth examples of throughlines done wrong and right.
  • If you’re still not sure what to do, hire us to give you a boost. Sure, it costs money, but getting a professional assessment and clear directions on your story will save you lots of time and heartache. With professional guidance, you could finish your novel years earlier than you would otherwise.

I’m sorry to say that most fiction courses don’t provide the information that writers need to know. Throughlines should be the first thing that every storyteller learns. Instead, most writers find out about them the hard way.

P.S. Our bills are paid by our wonderful patrons. Could you chip in?

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