Structuring Your Story as a New Writer
If you’re a new(ish) writer, it’s easy to fall into one of two traps:
Writing pages of worldbuilding and background that never make it into the story.
Or jumping straight into scenes without knowing where the story is headed.
Both leave you stuck. You don’t really need a ten-volume worldbuilding encyclopedia, and you definitely don’t need to sit around waiting for lightning-bolt inspiration The trick is starting with the things that actually matter.
So, what should always come first?
The Core Question
Every story is really about one thing: What is the main character trying to figure out, face, or change?
For example, in The Namesake by Jhumpa Lahiri, Gogol struggles to reconcile his identity as the child of immigrants. This question becomes the anchor.
Whenever you feel tempted to add details, ask: Does this move my character closer to or further from that core?
The Internal Conflict
Readers don’t just want to see what your character does, they want to see why these actions matter, and what’s happening inside of the person they’re reading about.
Internal conflict = the tension between what your character wants and what they fear.
For example, in The Bell Jar by Sylvia Plath, Esther wants freedom but fears losing herself in the process.
If you know what’s the internal struggle of your main character, you won’t over-explain worldbuilding. You’ll filter every scene through your character’s emotional lens.
The External Conflict
This is the tangible plot problem: the obstacle forcing the character to act.
For example, in Never Let Me Go by Kazuo Ishiguro, the external reality of being clones with limited lifespan strengthens the characters’ inner conflicts revolved around love and belonging.
That’s what keeps the story moving. It’s the stage where the internal conflict plays out.
Turning Points
In my experience, new authors often get tangled up trying to find the “perfect formula” for their story, and that’s usually where they stall. I suggest you think in terms of shifts: moments when something changes, and the story can’t simply return to the way things were.
These turning points serve as signposts on a road trip, so you don’t circle the same block with pages of description or filler scenes.
Worldbuilding Comes Last
I know how tempting it is to pour energy into maps, histories, and systems. But readers need a story that’s moving forward. Try to focus on building only what your characters directly touch.
If your character never leaves their village, don’t write ten pages on the empire’s economy.
The Takeaway
When in doubt, I suggest you strip things down to this flow:
Core Question → Internal Conflict → External Conflict → Turning Points → Essential Worldbuilding
Get this framework right, and you’ll save yourself hours of overexplaining while still writing a story that feels full and alive.
And if you’d like a second pair of eyes, that’s exactly what I do as a developmental editor.
Marie Cela is a developmental editor who loves helping writers turn good stories into unforgettable ones. With a background in screenwriting and literary psychology, she brings both rigor and creativity to her work, digging deep into character arcs, themes, and structure while keeping the author’s own vision at the center.
She especially enjoys working with character-driven fiction and historical settings. Marie believes editing is all about collaboration and giving writers the confidence to tell the stories only they can tell.
