The 22-step story structure by John Truby is a respected system, especially in screenwriting. It provides writers with a complete and detailed guide for writing a great story and understanding how a character thinks and makes their choices. In this post, you’ll learn about who John Truby is and what these 22 steps are for creating engaging and well-structured stories.
Who Is John Truby?
John Truby is one of the most in-demand and respected script doctors in the movie industry. He also works as a story consultant for major studios and production companies, such as Disney, BBC, and Paramount.
He gives lectures all around the world, and the core of these talks is his 22-step narrative framework. His students include directors, producers, and writers, who have gone on to write some of Hollywood’s biggest hits, such as Scream, Shrek, Star Wars, and Sleepless in Seattle.
About Truby’s 22 Steps
Truby outlines the “22 Steps to Becoming a Master Storyteller” in his book The Anatomy of Story. His approach zeroes in on how characters develop their sense of what’s right and wrong and how they overcome their flaws. Unlike Campbell’s Hero’s Journey, which is more rigid, the 22-step framework feels more like crafting a recipe for making a great story.
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John Truby’s 22 Steps To Becoming a Master Storyteller
Here’s a short explanation of each of the 22 steps from John Truby’s storytelling approach:
Act 1
1. Self-revelation, need, and desire
The “Self-revelation, need, and desire” step is all about introducing the audience to the main character’s inner world. That includes the character’s intense longings, inspirations, and core beliefs. By mastering this step, you can create interesting and relatable characters and effectively lay the groundwork for the story’s conflict and resolution.
2. Ghost and story world
In this step, writers try to establish the main character’s “ghost” and “story world.” “Ghost” refers to a major event in a character’s life that still affects their present, usually a traumatic or unresolved life experience. The “story world” refers to the pre-conflict environment, relationships, and daily life of the main character.
3. Weakness and need
The weakness refers to the difficulty or problem the main character needs to deal with at the beginning of the story. This could be character defects (e.g., arrogance, selfishness, and lack of self-control) or limitations (e.g., lack of skills and insufficient time). The need refers to what the main character needs to solve their weakness and live a better life.
4. Inciting event
The “Inciting Event” is difficult to miss because of its significant role in changing the entire story’s direction. It completely turns the normal life of the main character upside down.
Example:
In the “Old Guard,” the “Inciting Event” is when Andy and her team are attacked by mercenaries. This event exposes their existence, causing them to question their purpose and look for a way to free themselves from their curse.
5. Desire
This step focuses on the goal that the main character wants to achieve, which drives the story forward. By going after this desire, it often leads to conflict by putting the main character against an opponent who either shares the same desire or is trying to prevent them from getting it.
6. Ally or allies
Like the name says, the sixth step is about figuring out which characters will help the main character achieve their goal or desire. The ally or allies could come in the form of a friend, mentor, or anyone who can help the main character grow and become stronger.
7. Opponent and/or mystery
The opponent here is a character whose role is to attack the main character’s weakness, which the audience learns in the third step. In certain film or story genres, like a detective story, the conflict isn’t immediately obvious. When this happens, the mystery itself acts as the enemy that the main character has to deal with.
8. Fake-ally opponent
The “fake-ally opponent” step is exactly what it says—a character who the protagonist initially believes to be an ally or a close friend but turns out to be a bad guy. Being double-crossed can have severe effects on the main character, usually causing them to rethink their plans or deal with new problems.
9. First revelation and decision: Changed desire and motive
The ninth step, also called the first turning point, is where the main character learns something new. They might also make a major decision that leads them to a different path. When this happens, the main character might create a new plan or use a totally new approach to achieve their initial goal.
Act 2
10. Plan
The “Plan” stage of Truby’s 22 Steps story structure serves as the main character’s blueprint for achieving their goal. For a good story, let the main character fail in their first attempt to carry out their plan to raise the stakes.
11. Opponent’s plan and main counterattack
Usually as the story progresses, the audience sees the enemy creating plans or using methods to stop the hero from achieving their goal or desire. This action by the enemy keeps the story moving forward.
12. Drive
The “Drive” is a tension- and conflict-filled step. During this time, both the main character and their opponent are executing their plans and strategies—the former takes action to get what they want, while the latter tries to stop them.
Key Difference Between “Plan” Step and the “Drive” Step
The “Plan” step is all about the main character’s strategy to achieve their objective. Meanwhile, the “Drive” step reveals the actions of both sides to carry out their opposing plans.
13. Attack by ally
This ally is someone who’s supposed to be on the main character’s side. But somewhere along the story, this character suddenly betrays them or causes major setbacks for their journey.
Key Difference Between “Attack by Ally” Step and the “Fake-Ally Opponent” Step
In the eight step of the story’s plot, the character pretends to be a friend or mentor but is actually the secret opponent. The ally in this step, on the other hand, is genuinely a trusted ally, who suddenly turns against the main character.
14. Apparent defeat
The main character has abandoned all hope and feels like giving up on pursuing their goal. As a key turning point, this step causes them to rethink their decision and find a new purpose.
Act 2B
15. Second revelation and decision: Obsessive drive, changed desire and motive
In the “Second revelation and decision: Obsessive drive, changed desire and motive” step, the hero realizes their mistakes and decides to try again. This time, the hero is armed with a new perspective and more focused and motivated to pursue their goal.
16. Audience revelation
During this time, the audience learns or sees something that the main character is completely unaware of or doesn’t fully understand yet. This can be a secret, a key piece of information, or the real reason behind someone’s actions.
17. Third revelation and decision
This is the moment the main character learns a new skill, technique, or information that could help them defeat their opponent. This usually makes them more determined and committed to achieving their goal.
Act 3
18. Gate, gauntlet, visit to death
It’s during this stage that the main character faces their final test or offers their last sacrifice. The main character either fails or succeeds in their final test.
19. Battle
The “Battle” acts as the final showdown between the main character and their opponent.
20. Self-revelation
The main character finally, suddenly, realizes and understands their mistakes and how to make up for them. They’re already aware of their true self, including their weaknesses.
21. Moral decision
During this stage of the story, the main character could be asking themselves, “Should I do the right thing even if it means sacrificing my life?” After self-reflection, the main character must make the ethical choice to show their inner growth.
22. New equilibrium
This is when everything goes back to normal. In addition, the core conflicts at the start of the story find their resolution.
John Truby’s 22-Step Story Structure: Final Thoughts
One of the great things about Truby’s 22 Steps narrative structure is that it’s flexible. You can play around with it, depending on your story. It’s a helpful checklist that helps writers create comprehensive and engaging stories and well-developed characters. For beginners, this storytelling technique will work best when paired with another narrative structure.
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