Building A House of Cards: Story Without Structure
Why Every Story Needs A Plan (Even for Pantsers)
Lately I’ve been noticing another issue in my queries that I’d like to discuss. The voice is strong. The characters are compelling. The dialogue flows. Things are happening, but they don’t mean anything. It’s like watching someone walk in a circle with style and flair—they look good, but they’re not going anywhere.
Despite the solid writing and interesting content, one key component is missing. Structure. All the clever lines and vivid scenes in the world won’t save a story that’s just spinning its wheels.
At first things look fine, but then I realize there’s a lot of information that isn’t pushing the story forward. I call this “story for story’s sake”.
This article is for both fiction and non-fiction writers, because no matter what kind of story you're telling, structure is what gives it purpose.
“But I’m a Pantser…”
I’m aware not every writer outlines or plans turning points in advance. That’s fine. Discovery writing can be a powerful and creative process.
But even if you don’t plan structure, your story still needs it.
It’s not about adhering to rigid rules or stifling creativity. It’s about forward momentum—that feeling of rising stakes, emotional investment, and narrative progress. It’s the invisible spine that supports your story; and without it, even beautiful writing collapses under its own weight.
Structure Creates Meaning (and Keeps Pacing on Track)
The most common feedback I give—whether it’s on a collection of scenes or the story as a whole—is some version of: “This didn’t feel like it was going anywhere.” or “All that info was interesting, but technically unproductive.”
Despite learning all kinds of things about the characters, including their day at work, what they had for dinner, that fight over whose turn it was to walk the dog, what they wore—those high heels were stylish, but so hard to walk in! The reader learns nothing useful that moves the story forward. Basically, the story wanders instead of builds.
Do this enough times, and you bog down the pacing. Not to mention the reader will grow bored of wading through a lot of info that has no real payoff.
Structure isn’t just about what happens next—it’s about why it matters.
What’s at stake for the character?
How are their decisions shaping events?
Is there a clear shift or turning point that gives the story new urgency?
Are the consequences intensifying?
Whether it’s a thriller or a rom-com, without those questions being answered—either intentionally or instinctively—a story can feel static, even when things are technically “happening”.
Signs You’re Writing “Story for Story’s Sake”
Some of you may have received feedback where an agent said they loved your voice, writing and/or the premise, but there wasn’t “enough story.” They’re not saying “this doesn’t have dragons or plot twists.”
Here’s a few examples of issues I encounter—from new and seasoned writers—when structure isn’t doing its job:
🔸 Passive Protagonist/No Agency
Your main character observes, experiences, and reacts to events, but rarely initiates meaningful action. Basically, things are happening to them. They're being driven by the plot rather than driving it.
🔸 Static Scenes
Each chapter or scene might be well-written, but the narrative state remains essentially unchanged. Nothing consequential shifts. One thing happens. Then another. Then something else. But nothing builds, it’s like we’re just going through the motions with the character.
🔸 Plot Without Stakes
Characters make choices, but there’s no consequences or they don’t escalate. Emotional investment is low because the story isn’t pushing them (or us) anywhere deeper. Characters sidestep confrontations. Hard choices are postponed or avoided altogether.
🔸 Backstory Overload
The narrative frequently retreats into history, memory, or background information rather than pushing forward.
Without structure, scenes are just things that happen. With it, those same events take on weight. They matter. It’s what turns a well-written idea into a compelling novel.
🔸Let’s Recap
Strong writing or a cool idea can’t carry the weight alone. Without structure, there’s nothing to hold the tension. No way to signal progress. No narrative thread pulling us forward. We want stories that build, shift, and transform. That’s what makes us turn the page.
A strong premise is rooted in stakes, escalation, and change.
Structure is how you shape that premise into something with momentum.
Whether you outline obsessively or not at all, readers still crave turning points that build and resolve tension.
Structure doesn’t box you in—it gives your story somewhere to go.
📌 Actionable Exercises
How to diagnose and fix "story for story’s sake":
The "Cause and Effect?" Test
For each scene in your manuscript, ask:
Is this scene informed by the previous one in a way that makes sense?
What important info is learned or what changes as a result of this scene?
Why should the reader care about what happens here?
What important point are they taking away from this scene?
If I removed this scene entirely, would the story still make sense?
If you can't provide strong answers, the scene likely needs revision or removal. Remember each scene should hinge on the one before and inform the one after—cause and effect.
🌟 Tip: Don’t rationalize the scene sequence – “But here’s where they find out Sally has powers” and in the next scene “Here’s where they find out why Brad doesn’t like dogs”…
📌 Beyond the First 10 Pages
Ensuring your first pages meet all the usual requirements that keep the agent reading (see link below) review your next 30 pages with these questions:
🔸 What specific, external problem has been introduced?
Does the story establish a tangible conflict or challenge that drives the plot forward?
🔸 What important choices has the protagonist made?
Are their decisions actively shaping the narrative, rather than simply reacting to events?
🔸 What new questions or issues arise to propel the story forward?
Are there unanswered questions, stakes, or mysteries that build momentum and keep readers engaged?
🔸 Is the story compelling enough for the reader to care about what happens next?
Does your opening hook the reader emotionally and invest them in the outcome?
If these elements are missing, your story needs strengthening.
Further Reading & Helpful Tools:
The Science of Rejection – How Agents Decide in the First Ten Pages
The Science of Rejection Part 2 – Beyond the First Ten Pages
📢 If you’re struggling with how to shape your story idea into something that actually works, you’re not alone. I’m working on a few things to help writers do just that.
For now, grab the free Launch Kit to get a head start. It’s packed with tools to help you assess your first pages, develop stronger scenes, and figure out what your story needs next.
Thanks Renee. I see the same with short stories. No structure. And the ending? It's like the author just stopped writing : )
Oh, so true! The first story I’ve ever written was like this: more events than in Iliad, zero substance.
I love structure. Some people say it’s the death of creativity but I think it’s the opposite. Only when you know certain storytelling rules you can consciously and creatively derive from them to creative something unique but still appealing to the reader.