The 8 Points of Progress

In a lecture series on Youtube, #1 New York Times best-selling author Brandon Sanderson talks about the three P’s of plot structure: Promise. Progress. Payoff. 

Promises are particularly important in the beginning of the story, as they draw in the audience. 

Progress keeps the audience invested, particularly through the middle of the story. If there is no sense of progress, then the reader feels as if the plot isn’t going anywhere. 

Payoff is what fulfills the promises of progress. It rewards the audience for sticking around, and if done properly, creates a feeling of satisfaction at the end of the story. 

While all three can be tricky in their own right, many writers struggle to create a proper sense of progress, which can lead to saggy middles. 

Luckily, Dramatica Theory breaks plot down into eight story points that essentially encapsulate progress.

If you apply them to your stories, your writing will always have progression through the middle.

1. Goal – Every story has a goal. It may be a goal of aspiration, such as becoming a top chef. Or it may be a goal of thwarting something, such as stopping a murderer. Whatever the case, a story’s goal is what enables us to measure progress. If there is no goal, then what one does, doesn’t really matter. We have no orientation or purpose, so there is no sense of moving forward or backward. The goal allows progress to happen. 

2. Requirements – In order to achieve the goal, something is required. This can be broken down into two variations. In one, the characters must follow an order of steps, like following a set of directions. In the other, the characters must do or obtain things in any order, like a shopping list. The characters in Jumanji, for example,have the goal to restore the world to normal. The requirement is to win the game. But they must do this in a proper order–they can’t skip turns.

3. Consequences – Consequences are what happen if a goal isn’t achieved or hasn’t yet been achieved. In some stories, the protagonist is trying to prevent the consequences, but in others, the protagonist is trying to stop the consequences that are already happening. Consequences might be thought of as overall stakes. In Ralph Breaks the Internet, if Ralph and Vanellope don’t buy a new steering wheel for Sugar Rush, then its characters will be homeless. 

4. Forewarnings – Forewarnings convey that the consequences are getting closer, becoming worse, or becoming permanent (depending on the story). If a dam is in danger of breaking, then a forwarning may be a crack that shoots out water. In Back to the Future, Marty’s family slowly disappearing from a photograph works as a forewarning. 

5. Dividends – Characters will likely receive small rewards for little successes along the journey to the goal. These are dividends. For example, on her journey to fight in the war in her father’s place, Mulan is rewarded honor and a place in the military when she is able to retrieve an arrow from a wooden post that none of the men could get down.

6. Costs – Just as the journey may include dividends, it also entails costs. These have negative impacts on the protagonist’s well-being. In order to win The Hunger Games, for example, one must be willing to kill others, which also includes psychological trauma. In order for Frodo to get to Mount Doom to destroy the Ring, he must suffer a loss of innocence. This is a cost. 

7. Prerequisites – There are often certain essentials one must have, to pursue the goal at all. These are prerequisites. Prerequisites on their own don’t bring the goal closer. This is why they aren’t requirements. In Interstellar, a spaceship, equipment, and astronauts are needed to travel space to find a new home (goal). But simply having those things doesn’t necessarily mean the characters are closer to discovering a liveable planet. 

8. Preconditions – Preconditions do not directly relate to the goal. They are “non-essential constraints or costs placed on the characters in exchange for the help of someone who controls essential prerequisites.” In Karate Kid, a prerequisite is that the protagonist must receive extra lessons from a master, but the master adds the precondition of doing chores. One does not technically need to do chores to do karate.

Some of these points are more direct–like requirements–while others are more indirect–like preconditions. The direct points will usually be more intense than the indirect. As you apply these elements to your stories, you’ll create a sense of progress–especially through the middle, which will help make any story more satisfying. 

September C. Fawkes

Resident Writing Coach

September C. Fawkes has worked as an assistant to a New York Times bestselling author and writing instructor, and now does freelance editing at She has published poetry, short fiction, and nonfiction articles, and her award-winning writing tips have appeared in classrooms, conferences, and on Grammar Girl. Visit her at for more writing tips, and find her on
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This entry was posted in Action Scenes, Characters, Conflict, Endings, Middles, Motivation, Openings, Pacing, Plotting, Resident Writing Coach, Story Structure, Uncategorized, Writing Craft, Writing Lessons. Bookmark the permalink.
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[…] reader in your story world, and how an opening scene works in novels. September C. Fawkes lists 8 points of progress to strengthen your story’s middle, and Katharine Grubb has tips for writing strong rising action […]

24 days ago

Another great resource to pull out if you are stuck in your story. You might be need a bit more of one of these elements to get things moving again. Thank you for your article.

September C. Fawkes
23 days ago
Reply to  Tina

Yes, these things can be useful that way. You’re welcome 🙂

Patricia A Wallace
Patricia A Wallace
24 days ago

Good material to add to my information on plot and structure as well as character arc in storytelling.

September C. Fawkes
24 days ago

Hi Patricia,
Glad it was helpful! Dramatica has certainly helped me out with these eight points. Happy to share.

Ingmar Albizu
25 days ago

September, as an author who struggles writing the middle of my stories, this post was very helpful.
When you think about costs, consequences, preconditions, dividends, and requirements the story’s progression becomes organic and the payoff satisfies the reader.
Thanks for sharing this.

September C. Fawkes
24 days ago
Reply to  Ingmar Albizu

That’s great to hear. For me, it does help make some of those abstract plot elements a little more concrete. When you have these things in place, you’ll be able to give your middle a sense of progression (something I wish I’d understood in my “young writer” years). Hope those middles work out for you!

Jennifer Lane
25 days ago

Excellent post! I like the breakdown of conflict into smaller parts.

September C. Fawkes
24 days ago
Reply to  Jennifer Lane

Thanks! It certainly can be useful!

Last edited 24 days ago by September C. Fawkes