Scene Structure: Goal, Conflict, Disaster – The Framework That Works

The Blueprint That Creates Momentum

Scene structure is where theory meets practice—where abstract ideas about narrative become concrete techniques you can apply to every scene you write. Master scene structure, and you’ll never write a scene that feels aimless or stagnant again.

The framework that follows isn’t a rigid formula. It’s a diagnostic tool—a way to understand why scenes work when they do and how to fix them when they don’t.

The Goal-Conflict-Disaster Framework

Every scene needs three elements: a character pursuing a goal, conflict that creates obstacles, and an outcome that changes the situation. The classic terminology is Goal-Conflict-Disaster, though “disaster” doesn’t mean catastrophe—it means the outcome that propels the story forward.

The Goal

What does your POV character want to accomplish in this scene? The goal should be:

• Concrete: Not “feel better” but “get the information from Sarah”
• Clear: Readers should understand what success looks like
• Connected: The scene goal should link to larger story goals
• Achievable: Not easy, but possible—otherwise why try?

If your POV character enters a scene without wanting something specific, they’re passive—and passive characters bore readers.

The Conflict

What prevents your character from achieving their goal immediately? Conflict creates the scene’s middle—the tension that makes readers uncertain about the outcome.

Effective scene conflict:

• Directly opposes the scene goal
• Escalates—each attempt to overcome it creates new problems
• Feels organic, not contrived
• Tests the character—reveals who they are under pressure

The character shouldn’t passively suffer conflict. They should actively struggle against it, making choices that reveal character.

The Outcome

Scenes end with one of four outcomes:

Yes: The character achieves their goal. Surprisingly rare—too many “yes” outcomes make the story feel easy.

Yes, but: They get what they wanted, but there’s a cost or complication. They win the argument but damage the relationship. This is often the most useful outcome—it creates new problems while feeling like progress.

No: They fail to achieve their goal. Useful for raising stakes, forcing new approaches.

No, and furthermore: They fail, and things get worse. The conversation didn’t just not help—it revealed that things are even worse than they thought. This is your high-tension outcome, used to create crisis points.

The Sequel: Processing and Deciding

After a disaster comes the sequel—the quieter moment where your character processes what happened and decides what to do next. The sequel has its own structure:

Reaction

The emotional response to what just happened. Let your character feel before they think. Don’t skip this—readers need to process alongside the character.

Dilemma

What are the options now? The disaster has created a new situation; the character must figure out their next move. This is often internal—weighing possibilities, considering consequences.

Decision

The character chooses their next action—their new goal. This decision should emerge logically from the dilemma, showing the character’s values and priorities.

The decision becomes the goal for the next scene, and the cycle continues.

Applying the Framework

Example: A Thriller Scene

Goal: Sarah needs to access the computer before the target returns

Conflict: The password doesn’t work. She tries variations. Footsteps in the hallway. She hides, loses time, tries again. Discovers she needs a security card she doesn’t have.

Disaster (No, and furthermore): She can’t access the files—and a hidden camera recorded everything.

Sequel:

• Reaction: Fear, frustration, despair
• Dilemma: Flee now and blow her cover? Try to destroy the footage? Go deeper into the building?
• Decision: She has to find and destroy that footage before anyone sees it

Example: A Literary Scene

Goal: James wants to reconnect with his estranged daughter over dinner

Conflict: Every topic turns awkward. His attempts at connection feel forced. She checks her phone constantly. The easy conversation he imagined becomes stilted performance.

Disaster (Yes, but): She agrees to meet again next week—but only because she needs to ask him for money.

Sequel:

• Reaction: Disappointment masked as relief. The old pattern continuing.
• Dilemma: Give her the money and maintain the tenuous connection? Refuse and force something more honest?
• Decision: He’ll give her the money—but he’ll also tell her the truth about why he left

Scene Types and Variations

Not every scene follows the framework rigidly. Some scenes are primarily sequel—processing and deciding after off-page events. Some scenes are almost pure conflict with the goal and outcome implied. But the framework should be detectable even when abbreviated.

The Try-Fail Cycle

Within a single scene, your character might try multiple approaches—each attempt meeting new obstacles. This creates the sense of struggle and effort that makes eventual success (or failure) feel earned.

The Cliffhanger

Ending a scene or chapter at the disaster point—before the sequel—creates urgency. Readers must turn the page to see how the character responds.

The Delayed Sequel

Sometimes you cut from one character’s disaster to another scene entirely, making readers wait for the sequel. This builds tension but must be used carefully—don’t frustrate readers by delaying too long.

Diagnosing Scene Problems

The Scene That Goes Nowhere

Problem: No clear goal or weak conflict.

Fix: Before you write, articulate: What does my POV character want? What prevents them from getting it?

The Scene That Feels Easy

Problem: Too many “Yes” outcomes. Obstacles overcome too quickly.

Fix: Make conflicts more robust. Add complications. Use “Yes, but” and “No, and furthermore” outcomes.

The Emotionally Flat Scene

Problem: Missing or rushed sequel.

Fix: Give characters time to react emotionally before moving to the next goal. Let readers feel with them.

The Confusing Scene

Problem: Unclear stakes or goals.

Fix: Make sure readers know what success and failure look like before the conflict begins.

Scene Structure in Practice

You don’t need to outline every scene with this framework—but when a scene isn’t working, this analysis will usually reveal why.

The goal of scene structure isn’t mechanical perfection. It’s understanding the underlying dynamics that create momentum. When you internalize these principles, you’ll sense when a scene needs higher stakes, stronger conflict, or space for emotional processing—without consciously running through the framework.

But first, practice consciously. Take scenes you’ve written and map them against goal-conflict-disaster. Take scenes you admire in published novels and identify the elements. The more you analyze, the more natural the structure becomes.

Scene structure is how individual moments accumulate into narrative momentum. Master it, and your readers won’t be able to stop turning pages.