What’s the story, Rory?

I’ll tell you a story about Johnny McGory.

Will I begin it?

That’s all that’s in it.

Irish nursery rhyme.

What’s the story?

Story trumps all. The toppermost bough of the literary elite tree may disagree and say literature is about language, the perfect sentence, la mot juste. However, for most writers in today’s economic climate – if you don’t have a sound story, you don’t have a publishing deal. Having a well-constructed plot and a good story means you’ll be forgiven all sorts of other failings (blingy adverbs, oddball syntax, clichéd characters). It’s simply today’s reality.

Firstly, in order to have a story, you have to have some sort of conflict. These conflicts usually fall into one or more of the following categories:

man vs. nature

man vs. man

man vs. the environment

man vs. machines/technology

man vs. the supernatural

man vs. self

man vs. god/religion

Examples of good conflict ridden plots can be found everywhere, in the Bible, Greek mythology, Shakespeare, ethnic folk tales and even jokes.


A typical story structure might be plotted thus:

Stasis – the status quo. The reader is introduced to the character and setting.

Disturbance. Something occurs which upsets the normal run of things. For example, a stranger arrives in town.

The main character is affected by the disturbance.

The main character decides on a plan of action to rectify or improve matters.

Obstacles stand in the way of the plan of action succeeding.

Complications occur in the guise of choices/new characters/new ideas/discovery.

These lead to a crisis, when the focus of a play comes together in an unavoidable way.

The crisis usually leads to a climax or the major confrontation.

Finally comes the denouement or resolution which results in a new stasis.

The above will often feature a character development arc whereby the protagonist is changed in a fundamental way by the events.


A good exercise in plotting is to take a book or a film you’ve really enjoyed and try to break it down into a series of plot-steps, like the ones I’ve outlined above. Now, change the setting, the gender of the protagonist, the era, the goal and the type of obstacles that stand in the way. Yet, stay true to the plot template. When you’ve finished you’ll find you have a completely new story. Don’t feel as though you’ve stolen another’s plot. In truth, there are no new plots, each is a retelling of an older version. You’ve simply adapted and updated a classic plot line and in the process have created a unique story.

That’s all that’s in it.



About suehealy

From Ireland, Sue Healy is Literary Manager at the Finborough Theatre, London, a full-time Lecturer in Creative Writing at the University of Lincoln. Her book on theatre literary management is published by Routledge, December 2022. Sue is an award-winning writer for stage, TV, and prose writer. TV Her current project, a 6x60minute TV series, is under option. She is under commission with Lone Wolf Media, producers behind PBS’ “Mercy Street”, to co-write the pilot and treatment for a six-part TV series. Stage Her most recent stage-play, Imaginationship (2018), enjoyed a sold out, extended run at the Finborough and later showed at the Stephen Joseph Theatre in Scarborough. Her previous stage productions include Cow (Etcetera Theatre, 2017) and Brazen (King’s Head Theatre, 2016), funded by Arts Council England. Sue’s short plays have been performed at the Criterion (Criterion New Writing Showcase), Arcola (The Miniaturists) and Hackney Attic (Fizzy Sherbet Shorts). Radio Her radio work includes nine plays broadcast on BBC Radio 4 (Opening Lines winner), WLRfm and KCLR96fm. Prose Sue has won The Molly Keane Award, HISSAC Prize, Escalator Award, Meridian Prize and has been published in nine literary journals and anthologies including: The Moth, Flight, Tainted Innocence, New Writer, Duality, HISSAC, New European Writers. She has been writer-in-residence on Inis Oírr, Aran Islands, and at the Heinrich Boll Cottage on Achill Island. She has also benefitted from annual artist residencies at the Tyrone Guthrie Centre, and at Ginestrelle, Assisi in Italy. An academic with a PhD in modern theatre history, specifically the Royal Court Theatre, Sue has presented her research internationally. She spent eleven years in Budapest, editing Hungary A.M. She has a PhD in modern theatre history (Royal Court Theatre) and is a UEA Creative Writing MA alumnus. View all posts by suehealy

21 responses to “What’s the story, Rory?

  • Running in Mommyland

    That’s brilliant! I so appreciate your posts!

  • ifiwerebraveblog

    I love this exercise. Thanks for sharing it.

  • sfbell09

    Well put! Your post is a very clear and concise examination of what I work on, making sure that the story is the thing. This is another great post that I am sure I will refer back to frequently.

  • Diego Serrano

    Thanks Sue,
    I always enjoy your posts. It’s like being back in school.

  • jmmcdowell

    Anthropologists and other scientists once thought that making tools was what set humans apart from all other animals. Then we realized apes and other animals make simple tools. But when you look at the importance (and similarity) of story telling cross-culturally, maybe it is one of the fundamental elements that makes us human.

  • ottabelle

    As I read this I realized I was able to pinpoint scenes in my story where some of these things happened. It was kind of fun to break it down that way, and to watch my story play out like a movie. (Especially imagining the final scene that I haven’t written yet.)

    Another great post!

  • Eliza

    Yes! That’s gold!! Thanks for sharing, I will definitely think about these tips 🙂

  • brightontop

    thanks for sharing, nice!

  • Robyn (@robynlburgess)

    This post is great! I will definitely give that exercise a try! Thanks for posting!

  • williamgeldart

    Great stuff and thanks for the ‘follow’. Harlan Coben is just one example of an author who expertly follows your tips above. It’s that ‘classical Hollywood narrative’ construct: conflict and resolution. It has its literary detractors but like you say, it appeals to publishers.

  • bardessdmdenton

    Very interesting, Sue. Good points here.

    As you mentioned there are no new plots…but what can make any story fresh is the way the particular writer tells it.

    Of course I am a manipulator–of sorts–of words. But, believe me, I love a good story too!

    Thanks for sharing.

  • Marvin the Martian

    Yes indeed. Many an author of potboilers has made a good living recycling the same old plots over and over. The genre of Westerns wouldn’t even exist without that. Or Romance novels.

  • scillagrace

    Having recently completed a continuing ed. course on Memoir Writing, I went over your story points and realized, “Hey, that’s the story of my life.” Well, anyone’s life, really. So, in a way, my life plot has already been written, but the characters, situations, goal and era are unique. Hey, and I know how it ends! (*Spoiler alert*) I die, and that’s my new stasis! Okay, seriously, thanks for the outline. It’s clear, concise, and it works. That’s helpful because I sometimes feel like I’m writing random scenes with no idea how it will fall together.

  • artfulhelix

    This post is awesome. I didn’t make much of an outline, I just wrote down my idea, some simple plans, and began. I know I have done well so far, the three people that critique my work are mostly positive. I knew I would have to fix some, its my first draft. I think this will help a lot. Thank you for the post.

  • kylebarton

    I think most people want books that read like movies these days. With online communication and social media tempering our minds for short bursts of information, it’s no wonder that writing has changed so drastically from the great classics of the early 20th century. Proust for example defies plot. What is Remembrance of Things Past about? His transcontinental sentences endlessly cross character sketches, cultural descriptions, and social critiques. It’s like plot is what is happening on the train, but Proust is looking out the window. Sometimes plot interrupts his gaze but mostly his eye is on the passing scenery that he has become detached from.

  • Frank

    My grandmother from Ireland, born about 1900, used to tell another version of that story.
    “I’ll tell you the story of Johnny McGory (or McGlory?), and now my story’s begun. I’ll tell you another about his fat brother, and now my story is done.”

  • Emma-Jane

    I’ve actually written a book based on the story about Johnny Magory!
    I’d love if you could review it?

  • DebunkerOfCassidy

    Bet you don’t know what a johnny-maggory is! It’s an old dialect term for a rose-hip, from the Irish mogóir, with the same meaning. See, there’s always more to the story than we think …! 🙂

  • bookaholic333

    Yes amazing how a good storyteller gets remembered down generations too. My Scottish Great Grandfather used to entertain the bairns with Johnny Mcglory and The Wee Wee Man

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