Gain the storytelling clarity you seek by having all your notes in one connected system — Meet the Storyteller OS.
LEARN MORE

The But/Therefore Test: How to Find Where Your Plot's Causality Breaks

Your scenes might be strangers in an elevator, not links in a chain. The But/Therefore Test finds the exact scene where causality breaks — ten minutes, one outline, one pen.
Same troll, one coincidence — one consequence.
Same troll, one coincidence — one consequence.
🔥 Why this guide exists

No mind was built to hold an entire novel at once. StoryFlint turns the chaos in your head into a story you can see and control — frameworks to order your thinking, and the Storyteller OS to order your project. Bring us the mess.

What StoryFlint is

You've read the middle of your draft four times now, and every scene checks out. The dialogue holds up. Pacing's fine.

But somewhere past the midpoint, the story stops pulling and starts listing events. So you did what most writers do: cut the "boring" scene, added a subplot, raised the stakes.

And the middle still sags. It just ags with higher stakes now.

That's because a saggy middle isn't a boring-ideas problem. It's a causality problem, and E.M. Forster diagnosed it in ten words, and it's a distinction James Patterson still teaches in his MasterClass on writing: "The king died and then the queen died" is a story. "The king died and then the queen died of grief" is a plot.

Linking events through cause and effect, not just listing them in order, is what gives a narrative momentum and meaning. More excitement can't repair a missing link.

📖 Cause > Effect > Emotion — The chain this test checks for, plus the third link, emotion, that makes each beat land.

The But/Therefore Test

Its one job: find the exact scene where your plot's chain of cause and effect breaks.

  1. List the scenes of your middle, one line each. (No outline? List what you've drafted so far.)
  2. Between each pair of scenes, write the word that honestly connects them: "but," "therefore," or "and then."
  3. Circle every "and then." Each circle is a dead link, because nothing in the first scene forces the second to happen. Your scenes are just standing next to each other, like strangers in an elevator. Fantasy novelist Jed Herne calls "and then" one of the worst phrases you can say as a storyteller. He's right.
  4. At each dead link, change one of the two scenes until "but" or "therefore" is the true connector. A scene that can only join its neighbor with "and then" has to change or go.

Watch it work on a two-scene outline: "A thief steals a scroll from the library, and then she fights a troll in the forest." Dead link. The troll is a coincidence.

Now the repair: "She tries to steal the scroll, but she's discovered, therefore she flees the city, therefore she takes the back roads through the woods, therefore she meets the troll." Same troll. Now it's a consequence — one unbroken chain of cause and effect, not a coincidence.

📖 The Domino Effect Framework — A two-question scene test that makes every scene trigger the next, so momentum never breaks.

The pros already run this rule

Trey Parker and Matt Stone plot South Park episodes with it: if two beats on their writers-room board connect with "and then," the episode is broken. Parker's version: "This happened, and then this happened, and then this happens. That's not a movie, that's not a story."

Pixar bakes the same chain into the Story Spine it borrowed from improv teacher Kenn Adams: "But one day... because of that... because of that... until finally."

Breaking Bad's writers refused convenient plot turns; every one had to be forced by what came before. And The Hunger Games hangs an entire trilogy on a single live link: Prim's name is drawn, therefore Katniss volunteers.

Try it on your shelf: take the last story that wouldn't let you go and write the word between its first three beats. It won't be "and then."

Run the test on your second act tonight. Actually tonight, not the "tonight" where you reorganize your character names by hair color instead. Ten minutes with your outline and a pen, and you'll be looking at the exact scene that's been making your middle sag.

The test finds the dead link. Knowing what to put in its place is the harder part, and that's where a circled "and then" can sit for weeks.

Structure problems don't have one cause, so one framework was never going to be enough. The Story Structure Framework Pack gives you 21 frameworks, each built for one specific structural challenge, whether you're building the chain from the start or hunting the scene where it broke. It comes as a 65-page printable PDF and a Notion database, so you can work on paper or digitally. All of it for $5.

See the Story Structure Framework Pack.

FAQs

Contents
Kevin from StoryFlint
I love the science of storytelling — building compelling characters, plots, themes and worlds. I've helped thousands of writers gain clarity with their stories through content and Notion templates.
Free worksheet • Backsolve Framework

Fix an ending that doesn't feel earned

When your ending falls flat, the Backsolve framework walks you backwards from the finish to pinpoint exactly what's missing. A step-by-step PDF worksheet with examples.

Get it for free
Story Structure Framework Pack

Build your structure right or find where it's breaking and fix it

21 frameworks that each tackle one structural challenge — some build your plot from scratch, others diagnose and fix a draft that's sagging. Grab the one tool you need and get back to writing, in a 67-page PDF or the included Notion database.

explore more
The Midpoint Mirror Framework
Your midpoint isn't filler—it's the secret twin of your climax. How to make the ending inevitable.
How to Write the Climactic Moment
Your finale doesn't need a bigger battle. It needs one cleaner, braver choice. Here's how to find it.
How to Write Time Jumps
Your story isn't a security cam. How to skip time and speed up the plot without confusing readers.
The "One Problem, Many Attempts" Model
Stuck in revision hell? The fix is to make your character fail on purpose—again and again.
How to Write a Ticking Clock For Your Story
Give your hero 24 hours and you spike the reader's pulse by page two. How to set a ticking clock.
Where to Speed Up (and Slow Down) Your Story
If every scene feels the same—tense or chill—you have friction but no flow. Where to shift gears.

Feeling Lost in Your Story? Get Organized and Get It Done.

The Storyteller OS helps you organize all your story notes and ideas for your plot, characters, world, and all so you can write with clarity and finally finish.
"Worldbuilding and story organization have never been so well structured."
J. Zachary Pike