© Nina Harrington https://ninaharrington.

com/
You have done the hard part! You have created a good working draft of
your romance novel.
Now it is time to switch into editing mode and shape that draft into an
effective page-turning romance that readers will love.
WHAT IS STRUCTURAL EDITING?
I will share with you a secret: great stories are built on strong story structure,
combined with innovative ideas to write stories that are fresh and new.
That applies to any genre and any story length, but it is particularly true for genre
commercial fiction such as crime and romance novels.

HOW ARE STORIES STRUCTURED?

Imagine that you are building a house.
You start at the bottom the foundations, the groundwork, the floor layout and
underpinnings of the building. Then the building work begins for an office block,
residential home or a retail store – whatever your plan dictates.
Story structure are the foundations which underpins all of your work.
On top of those foundations you can build any kind of fresh and new story you like, of
any length and in any romance subgenre. The foundations of the story stay the
same. The story you build on those foundations is your creative genius - but you
need that structure to support the story.

WHERE DO WE START?
Romance readers expect to be entertained. All the reader cares about is the
emotional roller coaster experience that you have created for them on the page.
In a properly structured movie, the story consists of six basic stages, which are
defined by five key turning points in the plot when the story shifts or something is
revealed and the stakes increase.
Not only are these turning points always the same; they always occupy the same
positions in the story. In this way, the story moves on and builds, and there are no
sagging middles but a controlled pace.
In classical story structure, scenes are collected into Sequences of scenes where
there is a start, middle and end to each Scene Sequence.

Every Sequence ends with a turning point that hooks onto the next Scene
Sequence.

Sequences of scenes are then collected into Acts.

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 THE FOUR ACT, EIGHT-SEQUENCE STORY PLAN

ACT ONE. SEQUENCE ONE

Introduce and establish your hero and heroine in their ordinary world. Hook the
reader with interesting characters. Build sympathy and empathy by showing that
they are lacking something. They come onto the stage with their own needs and
wants and expectations for the future.
By the end of the first sequence of scenes we know the external conflict of both
characters and the internal conflict – what is missing in the life/psychology of the
protagonist which the other person will fulfil. This is the start of their character arcs.
This sequence ends with a Plot Point or Turning Point #1, called the Inciting
Incident. Something unusual happens in this ordinary world.
About 10% to 15% of the way through the book.

ACT ONE. SEQUENCE TWO

Our hero and heroine have to react to this startling event and new situation. They
don’t want to change and resist moving out of their established lives, but something
pushes them to commit to change and try something new. This is linked to their
motivation and needs at this point, but one thing is clear. From now on their lives will
be very different. They have a specific objective to achieve and decide to go for it.
This is the external plot that brings them together and forces them to stay locked
together. The romance begins!
This is Turning Point#2. About 25% of the way through the book. The rest of your
story builds out from this Turning Point.

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ACT TWO. This is the falling in love stage of the book.
ACT TWO. SEQUENCE THREE.
The hero and heroine are working together on a joint project or being forced to
communicate and interact with one another in some way. They are still relying on
their old self-protection mechanisms but start to see another side of the person as
they are forced to work together and communicate. Attraction increases. She beings
to notice more about him, how he talks, the tones he uses, the words he uses and
how he acts.
Sequence 3 ends in a pinch point where something changes in their relationship, at
around the 38 to 42% point in the book.

ACT TWO. SEQUENCE FOUR.

Recognition and communication. Slowly they start to re-evaluate one another and
communicate like human beings. Building acceptance and trust as they enjoy being
with the other person.
Sequence 4 ends with a major shift in the external plot and the relationship which
locks the hero and heroine together in a powerful way. This could be a sexual, close,
intimate or personal moment, but it has to be a fundamental shift that changes the
entire direction of the story.
This is Turning Point#3, at about the halfway point through the book. This is also
known as the Midpoint of No Return. They cannot go back from this point.

ACT THREE. SEQUENCE FIVE.

After the midpoint of no return, the stakes increase at several levels and their
relationship becomes threatened by complications and issues.
Their limiting beliefs and fears are overcome by deep connection. They step outside
of their comfort zone and start to disclose and share their life with the other person.
Usually there is intimacy and passion for one another, leading to a strong trusting
bond between them, locking them even closer together.
The heroine [or the hero] is trusting enough to share her background “ghost” and the
cause of her inner conflict with the hero. He responds tenderly to the revelation with
warmth and understanding. Sincere bonding. Intimacy and sensitivity. Protection.
Sequence 5 ends in a pinch point where something changes in their relationship at
around the 62 to 65% point in the book.

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ACT THREE. SEQUENCE SIX
Stakes and problems ramp up as the external and internal conflict increases as their
passion develops. They have grown mutually dependent on one another and feel a
natural bond between them.
Both hero and heroine have moved away from their limiting beliefs and into a
trusting growth state because of their relationship. The hero [or the heroine] shares
his source of pain and internal conflict in a major revelation scene.
Then something happens. Some major revelation threatens their relationship-
through the external conflict, which directly challenges the internal conflict and fears
of one of them. It could be linked to the revelations about the character’s backstory,
or a betrayal of their trust or self-worth, for example where the other person had been
keeping the whole truth hidden. But this is a major set-back.
One of them steps away from the relationship and retreats back into the old self-
protective mode.
Sequence 6 ends with Turning Point#4, Major Setback, at about the 75% point
through the book. This is also known as the Dark Night of the Soul or the Black
Moment and is a compulsory plot point in any romance.

ACT FOUR. SEQUENCE SEVEN.

Everything they have gained in the story and the entire relationship seems at risk –
they are under attack. All of their fears about being vulnerable are back in place.
Their old belief systems threaten to destroy this relationship.
Hero and heroine must regroup and work out what to do next in the final push to
build a relationship – using the new strengths and lessons they have learnt in their
character growth. They are not the same person they were when the story began.
They have to take a remarkable leap of faith in the other person.
Sequence 7 ends in Turning Point#5. The Climax decision. Do or die. Commit,
compromise or walk away. Usually at the 90% point in the book.

ACT FOUR. SEQUENCE EIGHT.

Sequence 8 is the aftermath and resolution of the Climax decision as the hero and
heroine commit to one another and find a life together.
Either the hero or the heroine – or both – have a self-revelation which drives them to
be the person who represents their true self.
They have to show how they have grown, overcome the obstacles and conquered
their old beliefs. They earned their happy ever after and this is it.

© Nina Harrington https://ninaharrington.com/ Page 5 of 12

 STRUCTURAL EDITING OF YOUR MANUSCRIPT.
Please note – this is my process. But every single writer is different and what works
for me might not work for you. All I can tell you is that for commercial romance
fiction, readers expect to read stories which follow familiar story patterns which
contain compulsory milestones along the emotional journey they take with your
characters.

STEP ONE
#If possible, take some time away from your manuscript.
#Imagine that you don’t love your characters and want to protect them. Instead you
are coming to this story completely cold. Just as an outside person would.
#Collect together a whole stack of index cards or a pad of sticky notes or cut in half
pieces of paper. Anything that you can write a few lines on. This is one time when
pen on paper are much better tools than digital spreadsheets or charts.
#Use one piece of paper or card for each scene. You are going to scribble down
notes and ideas on other cards or sheets of paper as you work through the text.
#Give each scene card a name which makes sense to you. For example. Hugh spills
orange juice all over Julia.

STEP TWO
Create a Scene Step Outline for the first Act of your book.
#Starting at Chapter one, scene one, read your manuscript through to the end of Act
One – if you know where that is, or about the 25% stage if you are unsure. You are
not reading for pleasure. You are reading to get the big picture.
Some authors prefer to print out these opening chapters so that can sit down with
their editor pen and mark out where scenes turn, and new scenes begin.
#Write down the key “beats” or action points about what happens in that scene.
One point of view. One character. What they are doing. What happens in this scene?
How does it move the story forwards?
Collect together the cards for all of Act One – or where you think the major new
turning point that marks the end of Act One is in your story.
For example. The opening chapters of my Mills and Boon book Hired:Sassy
Assistant. [The ROMANTIC TIMES magazine Top Pick for January 2010. AND the
Reviewers Choice Award for Best Harlequin Romance for 2010.]

© Nina Harrington https://ninaharrington.com/ Page 6 of 12

Chapter One.
#1. Medic Kyle Munroe is on the London Underground when he sees a woman
struggling with a large parcel and offers to help. Kyle is a risk taker from the first
page–exciting, adventurer, skilled, athletic, strong.
They chat and agree to share a taxi.
Reveal Kyle has just returned from Nepal with a broken wrist.
#2. Lulu Hamilton in London on way to a book launch.
Reveal that she gave up her university education to take care of her father when her
mother died. Now she is a part-time artist.
Reveal that her mother was a famous surgeon.
Reveal that she has partial hearing in her left ear.
Reveal that she is on her way to meet Mike Baxter, an old friend of her mother who
can help her raise money for the hospice where her father died.
#3. Kyle is in office getting ready for the book launch with Mike Baxter.
Reveal Kyle has come straight from a TB clinic.
Reveal Kyle has become a star on social media with his online diary in Nepal and
India and has written a book.
Reveal Kyle came out of a war zone in Africa 10 years ago. They want to make a
documentary and new book about his experiences as a medic. The advance will pay
for the vaccines the clinic needs. But he is useless with paperwork.
Reveal. Kyle is reluctant – there are painful memories for him, but he has to do what
it takes to save lives.
Chapter Two
#4. Lulu is waiting for Mike when the man from the tube walks in.
Reveal. His photo is on the back of the book in full mountaineering pose.
Reveal. She wonders if this man has a wife and children at home.
#5. Lulu at the book launch and press conference.
Reveal. Kyle is a total Indiana Jones star the cameras love.
Reveal. Mike Baxter wants Lulu to help Kyle write a book about the time he spent
with her late mother on her last mission in Africa just before she died.
[ Inciting Incident. Totally unexpected opportunity that she does not want to go
anywhere near the subject. Too painful.] Page 24/181 in the draft ~ 13%
#6. Lulu’s reaction to the invitation. It is painful but she is persuaded to consider it.

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Reveal. Kyle dedicated the book to her mother.
Reveal. Mike wants Lulu to go through her mother’s records and find her weekly
letters and diaries to help Kyle write the book.
Reveal. Mike offers her a large sum to work with Kyle, paperwork and admin. Money
she could spend on the hospice where her dad died and help her pay the bills.
Emotional blackmail. But cannot say no.
Chapter Three
#7. Lulu is sitting alone at the buffet lunch party held for Kyle, who is acting the part
as adventurer author and media star.
Reveal. Her hearing is a problem.
Reveal. She is dreading the thought of going through her mother’s letters and diaries
and going back to the pain of her sudden death in Africa.
Reveal. She goes out to look over the Thames on her own and decides to tell Mike
no.
Reveal. Kyle comes out to join her. One of her heels gets stuck in the wooden deck.
He rescues it for her like a glass slipper, Cinderella and the Prince style.
Reveal. Kyle does not know that Lulu is Ruth Hamilton’s daughter.
#8. Kyle is stunned – he had no idea that Ruth had a family.
Reveal. Kyle explains that he needs the money for this book to buy rabies vaccines –
appeals to her sense of justice.
Reveal. Kyle needs to have a draft in 3 weeks, and he is a terrible typist.
Reveal. Lulu is still uncertain but lays down conditions. It has to be done at her home
in Kingsmede over two weeks.
Reveal. They have a deal. She agrees to do it.
Turning Point 1. They are locked into working together on this project.
End of Act One. Page 42/181 in the draft ~ 23%

STEP THREE.
Lay out your scene cards into sequences of scenes.
You could create one long column of cards for the entire Act One on a table or cork
pin board or a white board or whatever flat surface you have handy, or you can break
it into sequences and have two columns of scene cards/sticky notes etc., one for
each sequence of scenes.

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Scene Sequence One. From page one to the Inciting Incident.
Scene Sequence Two. From the Inciting Incident to the first Major Turning point at
the end of Act One.
Write the Sequence number at the top of the column and the turning point at the
end of the column.

STEP FOUR
Stand back and take an objective view of your scenes in
Act One.
Ask yourself some critical questions and take notes on paper or cards as you go, or
scribble on your printout.
#Have you introduced the hero and heroine in a way that tells the reader what their
self-defeating beliefs, needs, wants and challenges are at that moment in time? They
will both have lots of emotional baggage and self-sabotaging beliefs and behaviours.
Have you shown that on the page?
#What have they always been afraid of? How can you demonstrate that on the page?
#What have they always wanted to do? How can you demonstrate that on the page?
#The reader wants to see that character transformed over the course of the book
because of her relationship and the difficult choices she has to make under pressure
- so you have to show on the page how much of a journey that person is going to
have to make and how much they will resist the pain of having to face their fears.
The bigger the fear, the greater the satisfaction for the reader.
They have to move from living in a state of fear to living courageously.

# Have you shown that fear in these opening chapters so the reader can
recognise the growth and change in the characters at the end of the book when
their character arcs are complete?

#What happens in this sequence of scenes which provokes a fundamental shift or

change in the character or their situation?
In the worked example the first scene opens with the hero.

What is his short-term goal when the story starts? An external goal with a clear
endpoint linked to a chance to achieve his longing or need – he has to do this to
make a big change in his life.
What are the stakes? What happens if he does not achieve this goal?
Why now?

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 What is his long-term goal – his longing- that deeply held desire which he has not
found the courage to go after yet
What is his need? The thing that is missing in his life which will make it complete
What is his wound – the unhealing source of continuing pain
This has led to the identity mask that they show to the world – which will be
chipped away during the story journey
Who is the character without the mask? His soul and his essence – the person he
must become = the heroine embodies this essence
What is his core belief about the way the world works- the universal code he lives
by
and what is the deep fear that is linked into this belief-– what would destroy
them/wound them again/cause them pain again
How does this Internal Conflict create the RELATIONSHIP BARRIER

You should be able to answer all of these questions for both the hero and the
heroine.
#Do you have an Inciting Incident towards the start of the book where the normal life
of the hero and/or heroine is completely changed? Something happens to upset
their ordinary worlds and throw them out of balance. How does this crisis kick off the
story?
#Do you have a Major Turning Point where the hero and heroine make a decision
which will lock them together so that they will be forced to communicate? It does not
have to be a work project but there has to be some good reason why these two
people are going to spend serious time together one to one from this point.
#At what % point in your book do the hero and heroine commitment to this new
objective?
This balance in the story pattern is super important in romance fiction and I would
strongly advise you not to aim to have this major first turning point at between 20%
and 30% max of the book.
When you break into Act Two then the love story can really get started!
The goal is to:

• Remap out the scenes. You know the endpoint of Sequence One and
Sequence Two. Now you can make sure that you have built the story to
support the Inciting Incident at the end of Sequence One and the main Turning
point at the end of Sequence Two when the hero and heroine are locked
together in some way.

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 • Reorganize the manuscript to create the most compelling story arc for your
characters in this romance
• Is there a great hook in the first few scenes leading to the Inciting Incident
which will keep readers turning the pages?
• Ask yourself constant questions about what people are doing and why.
• How many scenes have the heroine POV?
• How many scenes are the hero’s POV? Can you improve the balance so that
the readers discover more about each character?
• If most of the scenes are from one POV, would it be better to rewrite them as
first person POV and get deeper inside the head of that main character? Yes, I
know how much work that would take but it could transform a story from
good to great.
• Find out now if there are missing scenes or too many scenes [save any
deleted text in a separate document]

STEP FIVE
Save a new copy of your original manuscript and call it Act
One.
Now you are going to work on the text.
Many authors find it helpful to divide up the text into Acts when they are self-editing,
so they don’t feel overwhelmed at the thought of tackling an entire manuscript all at
once.
Then they recombine all four Acts to create the final text when the editing is
complete.
I would recommend that you save a new copy of your manuscript and delete
everything beyond the end of Act One main turning point at around the 25% point so
that you are only working on a limited number of scenes at any one time.

STEP SIX
Start working on the Story Structure for Act One.
If you have been objective with your review, you should have generated a lot of notes
and ideas about this opening part of your text.
Now it is time to get those ideas onto paper/digital text file/your work in progress
[WIP] document for Act One.
#Go back to your scene cards and move them around. Add notes to every card.
Write extra cards and pin them where they should go in your scene sequence. Take
out scene cards that aren’t delivering and write new ones to take their place.

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#Build a scene sequence outline of the new scenes you are going to write. Check
that the structure delivers the emotional impact you are looking for.
#Go to each scene in your manuscript for Act One. Add your notes and ideas to the
start of each scene. Reorder them if you need to, insert new scenes and add your
notes for that scene. Change the colour of the text you want to delete from black to
red or some other bright colour you cannot miss.
#Start work rewriting and editing the scenes. Give this the time it needs! It can take
several drafts. This is okay. This is normal.
Don’t forget that this is the structural edit of your work. The next round of edits will
be adding layers of depth, dialogue and detail. Make notes as you go.

STEP SEVEN
Re-read Act One.
#Read it all through and if you can, read it out loud. Look for pacing and conflict.
#When you are happy, save the file as Act One Edit and give it a date.
You have now created the second draft of a quarter of your entire book!
Take some time out to celebrate that before moving on.

STEP EIGHT
Now Repeat the Entire process for Act Two, Act Three,
then Act Four.
Use the Eight Sequence structure I described above to outline the scene sequences
in the other three Acts of your romance.
If it helps, create separate documents for each Act so that you don’t feel
overwhelmed.
Options. Some authors go straight to Act Four and work on the end of the character
arc you have just created in Act One for your hero and heroine and that’s fine. You do
whatever works for you. This is your book and your process.
Yes. You will be moving scenes, adding conflict and detail so you should expect to
have to come back to the opening chapters to create the starting point for those
changes, but you doing so from a strong opening structure.
The good news? Once you understand the Four-Act, Eight-Sequence Story Structure
and can apply it to your work, you can apply it for your next book and the book after
that. Building powerful stories that readers will love and your career as a fiction
author.
Thank you for your attention and Happy Writing!

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