The Difference Between Story Structure And Plot

Gary Smailes | 5 December 2025

Story Structure vs. Plot: Clear Definitions

You hear both words tossed around like twins. They are related, not the same.

Structure is the framework of beats. Inciting incident, first plot point, midpoint, second plot point, climax. These beats steer pacing and set reader expectations. They tell you when pressure should spike and when direction should shift.

Plot is the chain of cause and effect. A character wants something, makes a move, hits resistance, makes a choice, faces a consequence. Events link through “because” and “therefore,” not “and then.”

Structure is a repeatable pattern. You see similar beats across genres and eras. Plot is unique. The specific events on your pages belong only to your story.

Here is the clean split.

• Structure label: Inciting Incident. Plot fill: She is fired for whistleblowing.
• Structure label: Midpoint. Plot fill: He learns his brother funds the rival, which flips his goal from win to expose.
• Structure label: Climax. Plot fill: The verdict turns on a hidden email, and she risks prison to leak it in court.

Why writers mix them up. Structure names moments without details. Plot supplies details without promise of shape. Focus only on structure, and you risk hollow beats. Focus only on plot, and you risk noise without escalation.

Think of structure as timing and contract. Think of plot as decisions and fallout. When they align, readers feel inevitability with surprise.

What structure controls

• Momentum. Early beats pull, middle beats turn, late beats collide.
• Stakes rhythm. Each major beat asks for a higher price.
• Reader expectation. A midpoint signals a game change. A second plot point locks a no-return choice. A climax resolves the core question.

Notice how none of this tells you what happens. It tells you when pressure rises and what kind of turn should occur.

What plot supplies

• Specific goals. “Win the grant before Friday.” “Find the missing kid before the storm hits.”
• Obstacles with force. A gatekeeper blocks access. A friend lies. A rule tightens.
• Choices with teeth. Betray a friend to save a life. Tell the truth and lose the job.
• Consequences that alter the next scene’s start. New information. Lost resources. A deadline moved up.

Plot answers how pressure manifests. Who does what, where, and why it matters on the next page.

More paired examples

Across genres, structure stays stable while plot shifts flavor.

• Romance
  • Structure: Meet-cute disrupts ordinary life.
  • Plot: She spills coffee on a rival architect during a pitch, which forces a joint project.
  • Structure: Midpoint deepens commitment or breaks trust.
  • Plot: A leaked design exposes his secret partner, which wrecks their deal and sparks honesty.
• Thriller
  • Structure: First plot point commits the hero to the case.
  • Plot: A bomb signature matches her late father’s toolbox, which makes withdrawal impossible.
  • Structure: Climax resolves threat and moral question.
  • Plot: She pulls the wrong wire to save a hostage, sacrifices promotion, and stops a second blast.
• Fantasy
  • Structure: Inciting incident knocks the hero off balance.
  • Plot: The village well runs black, and the apprentice’s charm fails in public.
  • Structure: Midpoint reverses belief or plan.
  • Plot: He learns the “cure” feeds the curse, which flips him from healer to saboteur.

See the pattern. Structure states function. Plot delivers a scene.

How they meet on the page

A solid draft marries both on every level. Macro beats create a spine. Scene-by-scene design keeps cause and effect tight.

• At the inciting incident, structure says, life tips. Plot answers with the event which tips it.
• At the midpoint, structure says, a reversal or revelation forces a new tactic. Plot answers with a secret exposed or a defeat taken, which alters goals.
• At the climax, structure says, central question gets answered by a decisive choice. Plot answers with action and cost.

When structure says “turn,” plot supplies the lever.

Quick self-test

Write two one-liners on a sticky note.

• My structure promise is X. List genre, tone, and escalation pattern. Example. “A lean heist thriller, tense and fast, with a midpoint disaster and a moral squeeze in the finale.”
• My plot delivers this promise through Y. List the event chain. Example. “A broke paramedic recruits misfit crews to steal counterfeit meds from a cartel clinic, loses the stash at midpoint during a police raid, then uses an ambulance strike to trap the boss during the final run.”

Hold the two lines side by side. Do the beats you promise match the events you plan? If tone says slow-burn and the event list races from explosion to explosion, adjust one or the other. If the structure calls for a midpoint defeat and your plot shows a victory lap at page 150, swap outcomes or move the reveal.

A tiny exercise

Make two columns.

• Left column. List your structural beats in order. Inciting incident. First plot point. Midpoint. Second plot point. Climax.
• Right column. Fill each slot with a single event in clear language. Who acts, where, what changes, and why the next scene starts hotter.

Read down the right column alone. Does each event trigger the next through consequence? If you see “and then” twice in a row, add a decision or loss which forces a pivot.

Common mix-ups and fixes

• Mistaking theme for structure. “Story about forgiveness” is theme. Structure needs beats. Fix. State which beat introduces the moral question and which beat answers it.
• Confusing location with plot. “They go to Paris” is setting. Plot needs cause and effect. Fix. “They go to Paris to bribe a customs officer, which backfires when the officer arrests the fixer.”
• Treating beats as boxes to tick. “I have a midpoint.” Sure, but did pressure flip tactics? Fix. Write the new tactic under the midpoint event. If none, engineer a reveal or a defeat.

Keep the pair in view as you plan or revise. Structure gives you a promise to the reader. Plot fulfills it with scenes only you would write.

How Structure Shapes Plot (and Vice Versa)

Structure tells you when pressure should rise. Plot shows how that pressure hits your characters. They lean on each other. Ignore one, the other wobbles.

Causality over chronology

Chronology stacks scenes. Causality links them. Readers follow links.

Try a simple chain.

• Setup. Lena exposes a billing scam at the clinic.
• Therefore security flags her access and locks her out.
• But her mother’s prescription is trapped in the system, so she breaks back in.
• Therefore a guard spots her and calls the police.
• But the guard is her ex, who delays the call for ten minutes, forcing a choice.

Notice the rhythm. Therefore means consequence. But means reversal. Both are structural demands at turning points. Each major beat asks for a new tactic, not a repeat of the old one. If your midpoint does not force a change in plan, you do not have a midpoint, you have more pages.

Quick fix. Find any two scenes that read “and then.” Insert a cost or a reveal so the second scene exists because of the first, or in spite of it.

The stakes ladder

Structure escalates risk at planned moments. Early beats threaten comfort. The midpoint threatens identity or goal. Late beats threaten relationships, freedom, or life.

Plot raises the personal cost in concrete steps.

• Early. Lose access to the clinic database. Mild pain, easy to hide.
• First plot point. Fired with cause, health insurance gone. Harder to hide.
• Midpoint. Mother’s condition worsens. The system you exposed hurts your family. Goal flips from expose to obtain treatment.
• Second plot point. Arrest warrant issued. No-return choice, run or face trial.
• Climax. Choose between testifying and endangering your mother, or staying silent and letting the fraud continue.

Do not inflate by volume. Inflate by price. Each step narrows options and bites deeper.

Character arc integration

Structure times the internal shifts. Refusal near the start. Commitment at the first plot point. Crisis of belief near the end.

Plot supplies the scenes that trigger those shifts.

• Refusal. After the first whistleblow, Lena tells herself to stay quiet. Scene. She signs an NDA to keep her mother on a trial drug. Action, not a mood.
• Commitment. First plot point. She leaks a spreadsheet to a reporter and burns her badge. That is a decision that changes the story’s direction.
• Dark night. After the midpoint disaster, she believes she did more harm than good. Scene. She watches her mother’s symptoms spike because she lost access.
• Renewal. She reframes the goal. Not take down the clinic, get treatment for the patients, then testify.

Do not write “she feels lost” as a beat. Write the event that makes loss unavoidable.

Scene architecture

Macro beats hold the body up. Micro structure keeps blood moving. A strong scene has a goal, conflict, and outcome. Then a brief sequel, reaction, dilemma, decision, to aim the next scene.

Example.

• Goal. Scout the records room to pull one file.
• Conflict. New keypad installed, a coworker hovers, the clock ticks.
• Outcome. She grabs the wrong file, is forced to hide in a supply closet, and drops her phone.

Sequel.

• Reaction. Panic, then anger.
• Dilemma. Leave without evidence and keep her mother safe, or return and risk arrest.
• Decision. Return at night with the ex-guard’s badge.

Now the next scene starts hotter. That is structure doing its job through plot.

Theme delivery

Structure positions the argument. Opening raises the question. Midpoint tests the claim. Climax answers it through a choice.

Plot dramatizes the argument so you never have to lecture your reader.

• Theme. Integrity has a cost, but hiding has a higher one.
• Opening. Lena witnesses a fake charge and looks away.
• Midpoint. Her silence harms a patient she knows.
• Climax. She testifies, knowing the plea deal evaporates.

Theme sits in the decision, not in a speech.

A guided “therefore/but” test

Grab your scene list. Write a short clause between each pair.

• If the link reads “therefore,” good. You are riding consequence.
• If the link reads “but,” also good. You are turning the direction.
• If the link reads “and then,” pause.

When you hit “and then” twice in a row, add one of these.

• A cost that removes an option. Lost ally. Burned resource. Deadline pulled forward.
• A reveal that flips understanding. The helper works for the rival. The cure fuels the disease.
• A choice that trades one value for another. Save the job or save the child.

Then adjust the later scene so it answers the new condition. Do not tape a twist on top. Build the hinge that swings you into it.

Two quick walk-throughs

Romance.

• Inciting incident. Meet-cute at a zoning hearing.
• Therefore they have to share a proposal deck to save both projects.
• But his signature feature blocks her community garden.
• Midpoint. A leak paints her as the saboteur, and she lies to protect a donor.
• Second plot point. He learns the lie, pulls the plug, and leaves town.
• Climax. She goes public, loses funding, and asks him to return with a joint plan that serves both.

Thriller.

• Inciting incident. A courier dies on the subway, phone in hand.
• Therefore the hero opens the phone, finds a countdown tied to city cameras.
• But the code pings an address that belongs to her agency.
• Midpoint. She proves the mole is her handler, loses backup, and goes rogue.
• Second plot point. The handler frames her for a bombing, and she is locked out of every system.
• Climax. She lures the handler with fake intel, risks a child’s life to stop the detonation, and makes the arrest on live feeds.

In both, structure pushes timing and escalation. Plot does the dirty work.

Final check

Pick one beat, any beat. Ask two questions.

• What new tactic does this beat force?
• What cost carries into the next scene?

If you cannot answer, your structure is speaking and your plot is not listening. Give the beat an event with consequence. Then let the next event answer it with a therefore or a but. Keep that loop alive, and readers will keep turning pages.

Common Structure Models and When to Use Them

Structure models are tools, not cages. Pick one to set timing and pressure. Your plot does the heavy lifting.

Three-Act Structure

Simple spine. Beginning, middle, end. Clear turns at major beats.

• Act One. Ordinary life, then a shove. A choice closes a door.
• Act Two. Rising pressure, midpoint reversal, fresh strategy.
• Act Three. Final plan, showdown, new normal.

When to use. Any genre with clear external goals. Romance, mystery, family drama, fantasy quest.

Mini example. A chef loses a lease. Decision. Enter a televised contest. Midpoint. Partner betrays the team, so a new plan forms. Final. Cook-off against the rival, plus a choice between fame and a neighborhood kitchen.

Try this. Write four questions.

• What upsets ordinary life?
• Which choice closes the door behind your lead?
• What truth flips the mission at midpoint?
• What final choice ends the core problem?

Answer with events, not vibes.

Hero’s Journey

Focus on identity and change. A person leaves one self behind and returns with a new one. Classic adventure rhythm.

Common beats. Ordinary world. Call. Refusal. Mentor. Threshold. Trials. Approach. Ordeal. Reward. Road back. Resurrection. Return.

When to use. Fantasy, sci-fi, adventure, coming-of-age, any story where inner growth sits beside outer struggle.

Mini example. A shy apprentice healer sees a plague spread. Refusal. Stay in the village. Mentor offers a kit and a map. Trials teach medicine and courage. Ordeal. Save a stranger by risking exposure. Return. Healer arrives home, no longer a helper, now a leader.

Try this. Name the lie your hero believes. Name the truth learned by the end. Aim each beat at that shift.

Save the Cat!

Beat-specific guidance and market-aware pacing. Fifteen named beats with time targets.

Highlights. Opening Image. Theme Stated. Set-Up. Catalyst. Debate. Break into Two. B Story. Fun and Games. Midpoint. Bad Guys Close In. All Is Lost. Dark Night of the Soul. Break into Three. Finale. Final Image.

When to use. You want training wheels for pacing, plus concrete prompts. Great for commercial genres.

Mini example. Cozy mystery. Opening Image. Baker posts a new menu. Catalyst. Health inspector drops dead. Debate. Bake sale or sleuthing. Break into Two. Go undercover at the farmer’s market. Fun and Games. Clues, quirky locals, rising mischief. Midpoint. Ally reveals a motive. All Is Lost. Bakery closure notice. Finale. Trap the killer at the county fair.

Try this. Copy the fifteen beat names down a page. Write one sentence event beside each. Keep verbs concrete.

Fichtean Curve

Crisis-driven design. Short setup, then a line of complications, each worse than the last. Release at the end.

When to use. Thrillers, survival stories, page-turners. Readers expect relentless pressure.

Mini example. A mountain guide leads a team across a glacier. First crisis. A crevasse swallows a rope. Next crisis. Radio dies. Next crisis. A storm shifts path markers. Each turn cuts options. Final crisis. Guide anchors a line with a choice between two lives. Resolution follows fast.

Try this. List six crises, each removing a resource. Food. Fuel. Trust. Time. Shelter. Backup.

Kishōtenketsu

Four parts from East Asian tradition. Ki, intro. Shō, development. Ten, twist. Ketsu, reconciliation. Conflict does not drive change. Contrast does.

When to use. Literary stories, slice-of-life, fables, some speculative work. Also good for short pieces where tension comes from surprise and reflection.

Mini example. A gardener tends a quiet park. Development. Small moments with regular visitors. Twist. A new sign reveals a demolition date. Reconciliation. Community gathers, not to fight, but to hold a final picnic, which reframes the park as memory, not loss.

Try this. Write four cards. 1, context. 2, echo or variation. 3, twist from a different axis. 4, link back, forming a new picture.

Series and Serial Arcs

Multiple books or episodes. Each installment needs a full plot. A larger spine holds season stakes.

Tools. Nested climaxes. Rolling revelations. Escalating antagonism. Rotating spotlights for a cast.

When to use. Mystery series, fantasy sagas, romance series, procedural TV, audio drama.

Mini example. Detective series. Book one solves a museum heist. Book two solves a hostage case. Across both, a shadow syndicate grows from rumor to threat. Season climax. A personal betrayal ties every case together.

Try this. Draw two rows. Top row, season beats. Bottom row, book or episode beats. For each release, connect at least one event to the season row, so progress never stalls.

How to pick and translate

Pick one model for this draft. Preference matters less than consistency. Translate beats into plain questions.

• What knocks life off balance?
• Which decision closes the way back?
• Where does pressure spike and force a new plan?
• What truth redefines the goal at midpoint?
• Where do losses converge?
• What final choice proves the theme?

Fill answers with plot events. Date, place, action, consequence. Then run a quick audit. Read down the list with a therefore or a but between entries. Hearing two and thens in a row signals weak linkage. Add a cost, a reveal, or a reversal, then link again.

Structure sets the appointments. Plot shows who walks in, what happens in the room, and what follows out the door. Pick a calendar. Then fill every slot with cause and consequence.

Plotting with Structure: A Practical Workflow

Structure sets appointments. Plot shows up with trouble. Use this workflow to line up both, then write with fewer detours.

Premise → spine

Start with four anchors on one page.

• Protagonist goal. Name a clear finish line.
• Antagonistic force. Name the person, system, storm, or secret pushing back.
• Stakes. Name what breaks or thrives if success arrives or failure lands.
• Failure state. Name the worst-case ending.

Mini example. A street violinist wants legal guardianship of a younger brother. Antagonistic force, a polished relative with money, plus a strict caseworker. Stakes, housing, family unity, dignity. Failure state, separation and foster placement.

Test for heat. Read each line and ask, so what. If an answer feels mild, raise the cost.

Beat sheet → scene list

Pick a structure model. List the beats in order. Now assign one concrete event to each beat. No vibes. No abstractions. Verbs first.

Using the violinist example.

• Hook. Violin case fills with coins while a tow truck drags away a van-home.
• Inciting Incident. A neighbor calls social services after a noise complaint.
• First Plot Point. Court date set, rival relative petitions for guardianship.
• First Pinch. Brother misses school, caseworker warns of removal.
• Midpoint. Brother confesses a request for placement, believing life would improve.
• Second Pinch. Van impounded again, all belongings boxed by a landlord.
• Second Plot Point. Violinist signs a lease with money borrowed from a shady lender, locking into risk.
• Climax. Court hearing, testimony about daily care, a surprise statement from a teacher, and a choice to expose the lender and risk eviction or stay silent.

Now inflate those anchors into a scene list. For each beat, draft the scene goal, location, participants, and outcome that alters the next setup.

Milestone engineering

Treat three moments as engineering problems.

• Midpoint. Drop a truth or a defeat that flips the approach. The violinist learns about the brother’s quiet request. Old plan, look stable and responsible. New plan, rebuild trust and show daily care in public view.
• Second Plot Point. Force a one-way door. The lease binds the violinist to a payment schedule. No retreat without public failure.
• Climax. Stage a decision only the protagonist can make. Expose the lender and risk housing, or hide the debt and risk losing guardianship on credibility grounds.

Write those three first. Everything else should aim toward, or fall out of, those anchors.

Conflict engine

Scenes need fuel. Use a simple loop.

• Goal. What does the lead pursue in the scene.
• Opposition. Who or what stands in the way, with teeth, not scenery.
• Outcome. Win, lose, or twist, plus a change to the next scene’s starting state.

Add a sequel loop to keep emotion and motive on the page.

• Reaction. How the lead feels about the outcome.
• Dilemma. Two bad options.
• Decision. A new objective.

Micro example. Scene. Violinist tries to book a library recital to show stability. Opposition, a policy against buskers. Outcome, a rejection slips across a counter. Reaction, humiliation and anger. Dilemma, lie about credentials or find a sponsor. Decision, ask the music teacher for help, which sets up a future ally and a later price.

If a scene does not change the next scene’s starting conditions, fold it into another scene or cut the dead weight.

Pacing tools

Pacing grows from change, compression, and variety.

• Compress time near climaxes. Fewer days, more moments. Let scenes snap together like tiles.
• Shorter scenes for urgency. Keep paragraphs tight. Fewer stage directions, more choices.
• Alternate external pressure with internal processing. A chase, then a corner to think. A public fight, then a quiet decision.

Quick drill. Print your last fifty pages. With a pencil, mark scene lengths. If the last quarter averages longer than the first quarter, trim or split. Pressure usually reads faster when scenes shrink.

Discovery writing option

Prefer drafting without a map. Great. Draft a full pass. Then reverse-outline.

• Write a one-line summary for every scene on index cards or a document.
• Label each with a beat guess. Hook, catalyst, pinch, midpoint, and so on.
• Note goal, opposition, and outcome for each scene.
• Read down the list with therefore or but between cards. Replace any and then chain with a consequence or reversal.
• Shift scenes to fit a structure model. Cut repeats. Add missing steps.

Voice stays fresh. Structure firms up after the fun.

Build a one-page plot spine

Use eight beats. One sheet. No fluff. Attach one event to each.

• Hook. Show a status quo with tension baked in.
• Inciting Incident. A new force thumbs the scale.
• First Plot Point. A choice commits the lead to a path.
• First Pinch. Pressure pokes the wound, a reminder of stakes or antagonist strength.
• Midpoint. Truth or defeat flips the plan.
• Second Pinch. Pressure strips a resource, time, money, trust, safety.
• Second Plot Point. No-return commitment before the endgame.
• Climax. A choice that proves theme and causes the outcome.

Fill with your plot, not placeholders. Date, place, action, consequence. If a line reads like a feeling, rewrite to a deed.

A short worked spine

Returning to the violinist.

• Hook. Street performance draws a crowd while a tow truck hauls away shelter.
• Inciting Incident. Social services opens a case after a complaint.
• First Plot Point. Court date set, rival relative files for guardianship.
• First Pinch. Brother misses school, warning delivered by the caseworker.
• Midpoint. Brother admits asking for placement. Trust shatters.
• Second Pinch. Van impounded again, belongings stored, practice space gone.
• Second Plot Point. Lease signed with loan shark money, bonding the outcome to debt.
• Climax. Courtroom showdown. Teacher vouches for daily care. Violinist reveals the loan, risks eviction, and wins on honesty plus a new support plan.

Tape this spine above your desk. Read before each writing session. Ask what changes next, then write only the scene that moves the spine forward.

Structure supports momentum. Plot delivers cause and effect. Keep both in view, and pages will pull readers through without strain.

Diagnostic Checklist: Structure Problem or Plot Problem?

When pages feel off, label the problem before you fix it. Is the frame weak, or are the events soft. Use the guide below, then run the quick test at the end.

Sagging middle

• Structure issue. No midpoint reversal. Read the middle fifth of your draft. Look for a truth or defeat which flips tactics. No flip, no engine.
• Plot issue. Obstacles repeat or reveal nothing new. Scenes fight the same fight with fresh wallpaper.

Fix it:

• Design a midpoint which changes the plan. Truth, trap, or loss works.
• Build an escalation ladder. Each scene removes a resource, raises a cost, or exposes new information.

Mini example:

• Before. A detective interviews more neighbors. Pages pass. No change.
• After. Midpoint, the partner planted evidence. New plan, protect the case by risking the badge.

Flat climax

• Structure issue. Stakes fail to converge. Threads wrap elsewhere, or the big choice sits offstage.
• Plot issue. Outcome flows from luck or a helper. The lead’s action does not cause the result.

Fix it:

• Aim every live thread at one arena, one deadline, one win condition.
• Rewrite the last move as a decision only the lead would make. Success or failure flows from that choice.

Mini example:

• Before. A storm knocks out the villain, then police arrive.
• After. The hero triggers the floodgate, saves two by dooming one plan, and owns the cost.

Episodic feel

• Structure issue. Turning points do not force new direction. The plan after a beat looks like the plan before it.
• Plot issue. Scenes line up with “and then” instead of “therefore” or “but.”

Fix it:

• Rebuild the First Plot Point, Midpoint, and Second Plot Point so strategy shifts each time.
• Run the therefore or but test down your scene list. Replace any “and then” run with a consequence or reversal.

Mini example:

• Before. Treasure hunt. Clue, then clue, then clue.
• After. Each clue gives a win, then removes a tool. The map piece helps, the rival steals the boat.

Coincidence reliance

• Structure note. One lucky break at the start, fine. Later turning points powered by luck weaken drive.
• Plot issue. Missing setup or thin motive makes paid-off events feel random.

Fix it:

• Convert luck into choice. Place the object, but force a price to seize it.
• Lay setup early. A skill, a promise, a small scene which teaches the rule that pays off later.

Mini example:

• Before. A witness bumps into the hero in the finale.
• After. Early scene, the hero tutors the witness in English. Finale, a call from that student tips the balance.

Pacing whiplash

• Structure issue. Beats mistimed. A long Act One, a sprint to the end, or a midpoint shoved to page 80 of a 300-page book.
• Plot issue. Scene goals reset without consequence. Progress stalls, then surges without a clear cause.

Fix it:

• Check beat placement. As a rough guide for novels, First Plot Point near 25 percent, Midpoint near 50, Second Plot Point near 75. Adjust with intent, not drift.
• Enforce carryover. Losses stay lost. Promises shape next choices. Each outcome changes the next starting state.

Mini exercise:

• Mark your beats on sticky notes. Place them on a wall by page number. If the gaps look lopsided, compress or expand sequences to balance pressure.

Subplot drift

• Structure issue. A subplot never touches the climax. It fades before the end or wraps in a side room.
• Plot issue. Scenes repeat the same conflict without a new angle.

Fix it:

• Thread the subplot into the endgame. Give it a job in the final arena, even a small one.
• Give each subplot scene a fresh function. New cost, new clue, or a reversal which hits the main line.

Mini example:

• Before. A friend’s business woes appear in three scenes, then vanish.
• After. The business loan backs the hero’s plan, which forces a choice in the final scene.

Actionable test to cut or integrate

• Pick any event. Remove it. Ask, does the ending still happen. If yes, either tie a clear consequence from that event to a later beat or cut the event.
• If you keep it, add a visible cost, a decision, or a clue which moves the spine.

Quick demo:

• Draft event. A chase through a market. Fun, no fallout.
• Keep option. During the chase, the hero drops the only gun. Later, no firearm shifts tactics in the finale.
• Cut option. Delete the chase. Give the time to the Midpoint reveal, which sharpens the turn.

One last habit. When you fix a symptom, write a one-line reason for the change. Pin it to your outline. Future you will thank you when pages tighten and the story drives itself forward.

Frequently Asked Questions

Download FREE ebook

Claim your free eBook today and join over 25,000 writers who have read and benefited from this ebook.

'It is probably one of the best books on writing I've read so far.' Miz Bent

Leave this empty

Get free book