#ernestperry

Although there are variations on the original structure to a story, the most common (and successful)  structure is the three acts. Think beginning, middle and end. Firstly, the lead encounters a problem. The second act deals with attempts to handle the problem. The final act deals with a climax and then hopeful resolution. Back to Lord of the Rings:

Problem - the One Ring could destroy Middle Earth unless destroyed

Handling - the journey to Mordor, with conflict and obstacles

Resolution - the ring is destroyed and (nearly) everyone lives happily ever after

This also fits nicely with the overall rising character arc that many stories cover. Of course, a story doesn't have to follow the structure. More gifted writers have played with structure all the time, but this is my first novel so I'll play this one safe.

Beginnings

Here, the reader should be introduced to the lead character and his world, within the tone of the story. We see his current situation, and interrupt his life with the problem or disturbance. Also, to avoid problems that Season 2 of Heroes demonstrated, the antagonist should be introduced here. If there's a bad guy with a clear objective (steal the One Ring to rule Middle Earth), then the reader is encouraged to find out both the what and if. It should probably cover about 20-25% of the novel.

Here, I like James Scott Bell's idea of defining the transition between Act I and II as a doorway. Once the lead can't go back to his old life, then Act I ends. He has to move forwards towards achieving his objective in Act II.

Novel Spoilers

The reader is introduced to Daniel Conrad as a gifted but troubled student who is behaving out of turn at university. Thurman, his father, together with Dean John Wilkes and local businessman Horace Dillow decide it would be best if Daniel is given a job as an apprentice at Horace's business, immediately disrupting his previously leisurely lifestyle.

However, since accounting is definitely not something Daniel has an interest in, his downward spiral continues and ultimately finds himself as a highly-funded apprentice to Charles Ridpath, and eccentric professor. Together they begin to perform strange and illegal experiments, meaning there is no turning back for Daniel. He's now deep in underworld activity.

N.B. As of yet, I've still to work out just how to introduce the antagonist and his objectives without removing a reveal that would have greater impact later in the story.

Middles

Here, minor skirmishes take place between the two characters, and the lead should be defeated. Here relationships can be deepened, stakes raised and At the end of the middle, the lead should be a broken man(/woman), leading to an epic showdown when all the pieces are in place. 

To transition towards the climax, there should be some sort of revelation or discovery - something to set up the final showdown between the lead and his antagonist. After all, the middle can't go on forward, so there can't be small skirmishes going on indefinitely. Until the hero discovers the villain's lair or his key weakness, they'll keep fighting until one of them dies. This discovery and momentum should provide an amplified, Knockout ending.

Novel Spoilers

Through the second act of the story, Daniel begins to escape his rut with his new found wealth allowing him to spend his summer afternoons frittering away money with best friend Ernest Perry (who happens to be quite the buffoon, but a good guy all the same).

The wedding preparations continue, although Virginia remains content to leave things as they are, and Daniel becomes increasingly distant. At night, the experiments get increasingly dangerous and jeopardise hundreds of civilians. As the true motives come clear, Daniel realises Charles Ridpath and his financier are bad news and need to be stopped at any cost.

Endings

Here we have the big show down, we tie up the loose ends, and leave the reader satisfied with the conclusion of the story whether positive or negative.

Novel Spoilers