Story Structure: Twenty-Two Steps

PRIMARY DELIVERABLE: This skill creates timestamped reference documents saved to files.

This skill helps writers analyze and develop story structure using John Truby's twenty-two-step framework from The Anatomy of Story. These steps provide an extremely precise map of plot that allows writers to build stories steadily from beginning to end and avoid the fragmented, dead middle that plagues many narratives.

Critical: File Output is MANDATORY

This skill MUST save analysis to a timestamped file. Conversational output alone is an incomplete task.

Writers need persistent artifacts they can:

• Reference throughout the drafting process
• Update as the story evolves
• Share with collaborators
• Compare with future iterations

Success = A dated file exists (e.g., 2025-11-11-story-name-22-steps.md) Failure = Only conversational output with no saved file

Purpose

Truby's twenty-two steps are the crucial structure events or stages in the unfolding of an organic plot. Building on the seven key steps, the additional fifteen steps are found primarily in the middle of the story, where most stories fail. The twenty-two steps help create organic plots where all events are causally connected, track the intricate dance between hero and opponents fighting for the same goal, master suspense and mystery through withholding and revealing information, build revelations that increase in intensity and pace, ensure character drives plot (not author manipulation), and achieve greatest dramatic impact through proper sequencing.

When to Invoke This Skill

Invoke this skill when writers need to:

• Develop detailed plot structure for feature-length stories (novels, screenplays, long-form narratives)
• Fix "dead middle" problems where the second act drags or fragments
• Track and sequence revelations to ensure they build properly
• Analyze existing drafts to identify missing or weak structural steps
• Create opponent plans and counterattacks that drive complex plot
• Develop multiple plot threads that weave together organically
• Understand why a plot feels mechanical or predictable
• Build from the seven-step foundation to add necessary complexity

Note: For shorter stories (short stories, sitcoms, short films), use the story-structure-7-steps skill instead. The twenty-two steps are designed for longer narratives that need the additional structure to sustain complexity through the middle sections.

Bundled Resources

References:

• references/truby-22-steps.md - Comprehensive explanation of all 22 steps, organic plot principles, plot types, revelations sequence technique, examples (Casablanca, Tootsie, Alien, Basic Instinct), and detailed guidance

Assets:

• assets/22-step-template.md - Comprehensive template for documenting 22-step structure
• assets/revelations-sequence-template.md - Template for tracking and analyzing the revelations sequence

Task Instructions

When this skill is invoked, follow these steps to analyze or develop twenty-two-step story structure.

Step 1: Establish Output Location FIRST

Before beginning analysis, establish where the final document will be saved:

Determine the environment:

• With access to project directory and file system tools (Read, Write, Edit, Glob, Grep): Claude Code environment
• With uploaded files or chat without direct project access: Claude Desktop/Web environment

In Claude Code:

1. Get current date: date +%Y-%m-%d
2. Ask where to save structure analyses (suggest structure/ or process/structure/)
3. Make note of the filename format: YYYY-MM-DD-[story-name]-22-steps.md

In Claude Desktop/Web:

1. Note that output will be provided as formatted markdown artifact
2. Remind user to save with timestamped filename: YYYY-MM-DD-[story-name]-22-steps.md

This ensures the file creation is not forgotten and sets the proper context.

Step 2: Understand Story Context

Understand the story context:

1. Ask which story to analyze or develop
2. In Claude Code: If not specified, search for story files in the project (narrative drafts, outlines, structure documents, character notes)
3. In Claude Desktop: Ask to describe the story or share existing materials
4. Understand whether this is:
   • A new story idea needing detailed plot structure
   • An existing draft with middle/plot problems
   • A story in development with seven-step foundation needing expansion
   • A plot diagnosis (specific structural problem)

Length assessment: Confirm the story is long enough to warrant 22 steps. Short stories and sitcoms typically only hit the seven major steps. Feature films, novels, and hour-long TV dramas usually need at least twenty-two steps.

Step 3: Assess Existing Foundation

Before building the twenty-two steps, determine what foundation exists:

Seven-step check: Identify if the story has these core elements defined:

1. Weakness and need
2. Desire
3. Opponent
4. Plan
5. Battle
6. Self-revelation
7. New equilibrium

If seven steps are undefined: Consider using the story-structure-7-steps skill first to establish the foundation, then return to develop the full twenty-two steps.

If seven steps exist: Proceed to expand the structure with the additional fifteen steps.

Reference: See references/truby-22-steps.md for the relationship between the seven steps and twenty-two steps.

Step 4: Determine Analysis Approach

Based on what the writer has, choose the appropriate approach:

A. Forward Development (New Story) If the writer has a story idea with basic seven-step foundation:

1. Start by confirming the frame (Step 1: self-revelation, need, desire)
2. Work through steps 2-22 systematically
3. Build the plot by establishing how events causally connect
4. Focus on creating organic revelations that build

B. Reverse Engineering (Existing Draft) If the writer has a draft or substantial material:

1. Read/analyze the existing story material
2. Identify which of the twenty-two steps are present (explicitly or implicitly)
3. Assess which steps are missing or underdeveloped
4. Show how existing elements map to the structure
5. Identify where the plot weakens or fragments

C. Plot Diagnosis (Dead Middle/Structural Problem) If the writer knows the plot isn't working:

1. Identify which step(s) are weak or missing
2. Check if revelations build or stall
3. Assess opponent's plan and counterattacks
4. Focus on the specific structural problem
5. Use the twenty-two steps to diagnose and solve

Ask the writer which approach best fits their situation.

Step 5: Establish the Frame (Step 1)

Step 1 is a planning tool that combines the endpoint (Step 20: self-revelation) with the beginning (Step 3: weakness, need; Step 5: desire). This frame establishes the overall range of change for your hero and ensures every step leads toward where you want to go.

Important: Steps 3, 5, and 20 will receive detailed treatment again in their proper sequential positions in Step 6 below. The Frame is a planning overview that sets the structural journey.

Work through these questions with the writer:

Self-Revelation (Endpoint - Step 20)

• What will the hero learn at the end?
• Psychological self-revelation: What will they learn about who they really are?
• Moral self-revelation: What will they realize about how they've acted toward others?

Weakness and Need (Beginning - Step 3)

• What does the hero know at the beginning?
• What is the hero wrong about at the beginning? (Cannot learn at the end unless wrong at the beginning)
• Psychological weakness: What flaw hurts the hero themselves?
• Moral weakness: How is the hero clearly hurting at least one other person?
• What must the hero overcome to have a better life?

Desire (Step 5)

• What specific goal will drive the hero through the story?
• At what level does the desire start? (Keep it low to allow building)

Reference: See references/truby-22-steps.md Step 1 for detailed guidance and examples.

Step 6: Build Steps 2-22 Systematically

Work through each step in order. Consult references/truby-22-steps.md for detailed explanation of each step.

Step 2: Ghost and Story World

Ghost questions:

• What event from the past still haunts the hero?
• How is this an open wound affecting them now?
• How does the ghost hold the hero back (counterdesire)?
• How/when will it be revealed to the audience?

Story world questions:

• Where does the hero live (arena, settings, technology, time)?
• How does the world express the hero's weakness?
• If the hero begins enslaved, how does the world highlight that enslavement?

Opening type: Determine if this is community start (paradise world), running start (classic - ghost, slavery, weaknesses), or slow start (purposeless hero).

Step 3: Weakness and Need

Now give Step 3 detailed treatment in its proper sequential position:

Psychological weakness questions:

• What specific character flaw is so serious it's ruining the hero's life?
• How is the inner person damaged?

Moral weakness questions:

• Is the hero clearly hurting at least one other person at the beginning of the story?
• How does this weakness have a direct negative effect on someone else?

Need questions:

• What must the hero fulfill to have a better life?
• What must they overcome to achieve this need?

Problem (immediate crisis):

• What trouble or crisis does the hero face at the very beginning?
• How is this an outgrowth of the hero's weakness?

Reference: See references/truby-22-steps.md Step 3 for detailed guidance on weakness types and openings.

Step 4: Inciting Event

Questions:

• What external event causes the hero to come up with a goal and take action?
• "From the frying pan into the fire": How does the hero think this solves their problem when it actually gets them into the worst trouble of their life?

Step 5: Desire

Now give Step 5 detailed treatment in its proper sequential position:

Desire questions:

• What is the hero's particular goal?
• Is it specific enough to provide a spine for the entire plot?
• Does it extend through most of the story?
• Does it start at a low enough level to build?

Building the desire:

• How will you increase the importance of the desire as the story progresses?
• How will you increase the intensity and stakes of the desire without creating an entirely new desire?

Reference: See references/truby-22-steps.md Step 5 for levels of desire and building techniques.

Step 6: Ally or Allies

Questions for each ally:

• Who helps the hero?
• Does the ally have their own desire line?
• How does the ally define the hero through comparison?
• Is the ally less interesting than the hero? (If ally is more interesting, they should be the hero)

Subplot check: If there's a subplot character, ensure:

• They approach a similar situation differently than the hero
• Their plot affects the hero's main plot (dovetails near the end)
• They are distinct from the ally character

Step 7: Opponent and/or Mystery

Critical questions:

• Who wants to prevent the hero from reaching the goal?
• What goal does the opponent want? (Must be the SAME goal as hero)
• What are the opponent's values (how do they differ from hero's)?
• Why is this the necessary opponent (best able to attack hero's great weakness)?
• What is hidden about the opponent?

Iceberg opponent technique:

• Is there a hierarchy of opponents with alliances?
• How is the hierarchy hidden from hero and audience?
• How will information be revealed in pieces at increasing pace?

Mystery (if applicable):

• What mystery compensates for hiding the opponent?
• How does it replace ongoing hero-opponent conflict until the reveal?

Reference: See references/truby-22-steps.md Step 7 for the iceberg opponent technique.

Step 8: Fake-Ally Opponent

Questions:

• Who appears to be an ally but is actually an opponent?
• How do they appear to help the hero?
• What is their true allegiance?
• When are they introduced vs. when is their true nature revealed?
• How does pretending to be an ally create internal conflict for this character?

Step 9: First Revelation and Decision

All four elements must occur together:

• Revelation: What surprising new information does the hero learn (preferably about an opponent)?
• Decision: What does the hero decide based on this information?
• Changed desire: How does the goal bend (not break)?
• Changed motive: Why do they want it now?

Quality check: Is this revelation explosive? Does it pop the story?

Step 10: Plan

Questions:

• What strategy will the hero use to overcome the opponent and reach the goal?
• Is the plan detailed enough to shape the middle of the story?
• Why will the initial plan fail? (In good stories, opponent is too strong at this point)
• How must the plan adapt?

Training (if applicable): If the genre requires training (sports, war, caper), it comes right after the plan.

Step 11: Opponent's Plan and Main Counterattack

This step is crucial and often missing:

• What is the opponent's strategy to get the goal?
• What hidden attacks has the opponent devised?
• How will these attacks be sprung on the hero (each is a revelation)?
• What is the main counterattack?

Key Point: The more intricate the opponent's plan, and the better it's hidden, the better the plot will be.

Reference: See references/truby-22-steps.md Step 11 for why this is so important.

Step 12: Drive

The biggest section of plot (from Step 10 to Step 14):

• What series of actions does the hero perform to defeat the opponent?
• How does the hero react to new information about the opponent?
• How does the hero's action change in fundamental ways (not repetition of same beat)?
• What immoral steps does the hero begin taking as they become desperate?

Development vs. Repetition check: Ensure each action is a different plot beat, not the same beat repeated in different settings.

Step 13: Attack by Ally

Questions:

• When the hero starts taking immoral steps, how does the ally confront them?
• What criticism does the ally offer?
• How does the hero justify their actions?
• Does the hero begin questioning their values, or do they resist?

Function: This provides second level of conflict (first is hero vs. opponent) and increases pressure on the hero.

Step 14: Apparent Defeat

Two-thirds to three-quarters through the story:

• What happens that makes the hero believe they've lost the goal?
• Why does it feel explosive and devastating (not just a small setback)?
• What is the hero's emotional state at their lowest point?

Key Point: You want only ONE apparent defeat. One moment that clearly seems to be the end. Multiple defeats reduce dramatic power.

For tragic stories: This becomes apparent victory—hero reaches height of success, but everything goes downhill from here.

Step 15: Second Revelation and Decision

All five elements must occur:

• Revelation: What new information shows victory is still possible?
• Decision: What does the hero decide?
• Obsessive drive: How does the hero become tyrannical in pursuit of the goal?
• Changed desire: How does the goal intensify?
• Changed motive: Why do they want it now?

Galvanizing effect: Where before the hero wanted the goal, now they're obsessed with it. They'll do virtually anything to win.

Moral decline: Note how the hero continues immoral actions while strengthened by information.

Step 16: Audience Revelation

Questions:

• What does the audience learn that the hero doesn't know yet?
• How is this revealed dramatically/visually?
• Does this reveal the true identity of the fake-ally opponent?
• How does this show the audience the true power of the opposition?

Relationship shift: For the first time, audience knows something before the hero. This creates distance and allows audience to see the hero's overall process of change.

Note: This step may not be present in all stories (e.g., farce where hero is already in control and fooling others).

Step 17: Third Revelation and Decision

Questions:

• What does the hero discover (often the fake-ally opponent's true identity)?
• What decision does the hero make?
• How does this information make the hero feel stronger and more determined?

Pattern: As hero learns more about true power of opposition, they don't back out—they become more determined because they can see all they're up against.

Step 18: Gate, Gauntlet, Visit to Death

Gate/Gauntlet:

• How does conflict intensify so pressure becomes almost unbearable?
• How do the hero's options narrow?
• Does the space literally narrow (passage through tight space while assaulted)?

Visit to Death:

• How does the hero have a sudden realization of their own mortality?
• Instead of fleeing, how does this spur them to fight?
• How does this trigger the battle?

Note: This is the most movable step—may occur during apparent defeat, during battle, or after battle.

Step 19: Battle

Final conflict:

• What is the final confrontation between hero and opponent?
• Where/when does it occur (smallest space possible—the funnel point)?
• What values are fighting (not just who is stronger)?
• Who wins the goal?
• How is the hero most like the opponent here?
• How do crucial differences become even clearer in that similarity?
• How does the theme first explode in the audience's mind?

Key Point: A big violent battle is the least interesting form. The battle should express what the two sides are fighting for—which ideas or values win out.

Step 20: Self-Revelation

Questions:

• What does the hero learn about who they really are for the first time?
• How do they see themselves honestly, tearing aside the facade?
• Psychological: How do they see themselves in a new light?
• Moral: What do they realize about how they've hurt others?
• How is this shown through action, not stated directly to the audience?

Quality check: Much of the story's quality is based on the quality of this self-revelation. Ensure it is:

• Sudden (better dramatic effect)
• Shattering for the hero
• New (something they didn't know until that moment)
• Truly meaningful (not platitudes)

Double Reversal (optional advanced technique):

• Does the opponent also have a self-revelation?
• How do the two revelations connect?
• What is the moral vision (best of what both learn)?

Reference: See references/truby-22-steps.md Step 20 for double reversal technique.

Step 21: Moral Decision

Questions:

• What two courses of action does the hero choose between?
• What values does each represent?
• What way of living does each stand for?
• How does this choice affect others?
• What does the hero choose?
• How does this prove what they learned in the self-revelation?

Thematic Revelation (optional advanced technique):

• What does the audience learn about how people in general should act?
• How is this drawn from the specific of characters to the general?
• What particular gesture or action has symbolic impact?

Reference: See references/truby-22-steps.md Step 21 for thematic revelation technique.

Step 22: New Equilibrium

Questions:

• What has fundamentally changed now?
• Has the hero moved to a higher or lower level?
• What is the lasting impact of the hero's journey?

Step 7: Track the Revelations Sequence

Separate the reveals from the rest of the plot and examine them as one unit. Tracking the revelations sequence is one of the most valuable storytelling techniques.

Create revelations list: Extract all major revelations (target: 7-10 for average story; more for detective/thriller).

Assess the sequence:

1. Logical order: Do they occur in the order the hero would most likely learn them?
2. Build in intensity: Does each reveal get stronger (general buildup)?
3. Increasing pace: Do reveals get closer together as story progresses?

Quality check:

• How many reveals are about the opponent? (These are the best kind)
• Are any revelations not explosive enough?
• Do any breaks in the buildup cause the plot to stall?

Reversal reveal: Is there a reversal where the audience's understanding of everything changes in an instant? If so, does it dominate the story or integrate with character/theme?

Use template: In Claude Code, offer to create revelations sequence document using assets/revelations-sequence-template.md.

Reference: See references/truby-22-steps.md "Revelations Sequence" section for detailed guidance and examples.

Step 8: Assess Organic Connections

Verify that the twenty-two steps connect organically (not mechanically):

Connection tests:

• Frame: Does self-revelation address weakness/need from beginning?
• Desire ↔ Opponent: Are they competing for the SAME goal?
• Opponent ↔ Weakness: Is this the necessary opponent (best able to attack hero's great weakness)?
• Revelations: Do they build logically and intensify?
• Drive: Does it develop (not repeat same beat)?
• Plot: Does it seem to come naturally from the character rather than imposed by author?

Causality check: Are all events causally connected? Is each event essential?

Identify weak connections and suggest how to strengthen them.

Step 9: Provide Structural Analysis and Recommendations

Based on the analysis:

For new stories:

• Which steps are well-defined?
• Which steps need development (especially in the middle)?
• What should be worked on first?
• Are there any missing connections?
• Is the opponent's plan detailed enough?

For existing drafts:

• Which steps are present and working well?
• Which steps are missing or underdeveloped?
• Where does the plot fragment or drag (dead middle)?
• How can weak steps be strengthened?
• What revisions would improve structural integrity?
• Do revelations build or stall?

For plot diagnosis:

• Which step is the source of the problem?
• How can that step be fixed?
• What ripple effects will fixing it have on other steps?
• Is the middle missing opponent plan/counterattack?

Compare to industry standards: Average hit Hollywood film has 7-10 major reveals. How does this story compare?

Step 10: Save Structure Documentation (REQUIRED)

MANDATORY: Do not consider the task complete until file is saved.

If in Claude Code (project directory access):

1. Create the chosen directory if it doesn't exist using Bash (e.g., mkdir -p structure)
2. Use Write tool to save file with the filename established in Step 1: YYYY-MM-DD-[story-name]-22-steps.md
3. Use the structure format from assets/22-step-template.md
4. Include complete step-by-step breakdown and assessment/recommendations from Steps 5-9
5. Offer to create revelations sequence doc: YYYY-MM-DD-[story-name]-revelations-sequence.md using assets/revelations-sequence-template.md
6. Confirm save location to user with full file path

Validation Checklist - Before Completing:

• Date obtained via Bash in Step 1
• Save location confirmed with user in Step 1
• Analysis completed in Steps 2-9
• File written using Write tool
• File path confirmed to user
• Revelations sequence document offered

If in Claude Desktop/Web (no project directory):

1. Create the analysis as a formatted markdown artifact
2. Present it in the chat for review
3. Remind user to save with timestamped filename: YYYY-MM-DD-[story-name]-22-steps.md
4. Use the structure format from assets/22-step-template.md
5. Offer to create revelations sequence document separately
6. Offer to explore any specific step in more depth if requested

If any Claude Code checklist item is unchecked, the task is incomplete.

Important Reminders

• Build from seven steps: The twenty-two steps expand the seven key steps. Ensure the seven-step foundation is solid first.
• Flexibility in order: The twenty-two steps are not fixed in their order. They represent the general order by which humans solve life problems, but every story is different.
• Beware drastic reordering: If you change the order too drastically, you risk a story that seems fake or contrived, since the steps represent organic order.
• Revelations are key: Quality of plot comes down to quality of revelations. Target 7-10 major reveals; ensure they build.
• Opponent's plan crucial: Most writers miss Step 11. The more intricate the opponent's plan and the better it's hidden, the better the plot.
• Development not repetition: During the drive, ensure the hero's action changes fundamentally—don't hit the same plot beat.
• Same goal: Opponent must want the SAME goal as hero (not just oppose the hero).
• Show, don't tell: Self-revelation through action, not statement.
• Organic not mechanical: Plot must seem to come naturally from character, not imposed by author.
• Solve the dead middle: The additional fifteen steps (beyond the seven) provide the map through the difficult middle section.

Reference: See references/truby-22-steps.md for all detailed principles, examples, and techniques.

What This Skill Does NOT Do

• Replace the writer's creative vision or storytelling instincts
• Guarantee a "good" story (execution still matters)
• Work for short stories (use seven-step skill for shorter forms)
• Provide scene-by-scene dialogue or prose (it establishes structural foundation)
• Eliminate the need for other story elements (character depth, world-building, theme, symbol)
• Work as a mechanical formula (must be adapted to unique story)

Integration with Other Skills

This skill works alongside:

• story-structure-7-steps - Establishes the foundation; twenty-two steps expand it
• symbol-web - Symbols deepen the twenty-two steps with thematic resonance
• narrative-inventory - Catalogues what exists in a draft; twenty-two steps show if structure is present
• narrative-keywords - Identifies themes; twenty-two steps ensures they build toward self-revelation
• narrative-maps - Shows spatial structure; twenty-two steps show dramatic structure
• Character development tools
• Scene planning tools
• Genre-specific tools

Based on John Truby's "Twenty-Two-Step Story Structure" from The Anatomy of Story: 22 Steps to Becoming a Master Storyteller