What The Sixth Sense Teaches You About Narrative Structure

From developmental editing to final revision, see how one unforgettable movie scene reveals why obstacles—big or small—are the backbone of compelling manuscript development.

Whether you’re working with a writing coach or tackling manuscript development on your own, learning how to build meaningful resistance into your story can turn a straightforward sequence of events into a gripping narrative that keeps readers hooked.

A Scene That Changed How I Think About Writing

The first movie I ever saw in a theater was The Sixth Sense. My dad knew it would scare me—and he was right—but he also knew it was a masterclass in storytelling.

One particular scene has stayed with me ever since. Bruce Willis’s character, Malcolm, is trying to tell a bedtime story to Cole:

Malcolm: “Once upon a time there was a prince, who was being driven around… He drove around for a long, long time… Driving and driving… It was a long trip… He fell asleep… When he woke up they were still driving… The long drive went on—”
Cole: “Dr. Crowe… You haven’t told bedtime stories before?”
Malcolm: “No.”
Cole: “You have to add some twists and stuff. Maybe they run out of gas.”
Malcolm: “No gas… Hey, that’s good.”

Cole’s advice is exactly what any fiction writing coach might give: without obstacles, you don’t have a story—you have a report. That single moment captures one of the most essential narrative structure techniques: the necessity of conflict.

The Question That Changes Everything

Cole’s insight has become a guiding question in my own writing and in the book coaching services I provide:

Why am I letting this character get exactly what they want right now? Where could I create obstacles they must overcome instead?

The truth is, many manuscripts don’t produce enough resistance naturally. In developmental editing, I often see early drafts where characters move too smoothly from desire to fulfillment.

The key is to design obstacles that feel organic to your story. Conflict works best when it fits the world, tone, and characters—not when it’s pasted in for the sake of drama.

Beyond Running Out of Gas: The Spectrum of Obstacles

Obstacles aren’t always literal, like running out of gas. They can be internal:

• Emotional obstacles: “I don’t want to be here, but I have to be here.”

• Mental obstacles: “I thought I was enjoying this, but I’m not.”

• Relationship obstacles: “This was supposed to be fun. Why am I not having fun?”

These inner conflicts can be just as powerful as external setbacks, adding layers of tension and emotional depth to a scene.

From Simple Journey to Adventure Arc

One of the most effective ways to strengthen narrative structure is to expand scenes by adding resistance. Instead of a character simply going from point A to point B, you can turn that trip into a series of tests—each revealing more about who they are and what they want.

This is where a story shifts from “a thing that happens” to “an adventure arc.” The journey gains shape, stakes, and meaning.

A Practical Scene-by-Scene System

In revision, I often work on each scene in isolation, even moving it into a separate document and changing the font. This small shift helps me see the work with fresh eyes.

Then I ask: What is this scene about? What emotional risk is present? What resistance can I introduce?

The aim is to expose something real about the characters while increasing tension—not to make the story harder to follow, but to make it harder for the characters to get exactly what they want.

Why We Resist Creating Resistance

Many writers, myself included, sometimes resist adding obstacles to our own work. It’s easy to feel protective of our characters and their journeys. But revision requires questioning those first impulses and reimagining what might serve the story better.

In some ways, this is the core work of revision: seeing the story anew and being willing to complicate it for the sake of truth and impact.

When Obstacles Come Late in the Process

If conflict-building doesn’t happen naturally in your first draft, that’s fine. Many writers only realize their story needs more resistance once they understand what it’s truly about.

The important part is to recognize when your scenes are too smooth—and to be willing to weave in obstacles, even late in the process.

Making Obstacles Feel Natural

The difference between meaningful resistance and arbitrary roadblocks is authenticity. Obstacles should feel inevitable, given who your characters are and the world they inhabit.

Remember Cole’s advice: stories need “twists and stuff.” Those twists should reveal how your characters behave under pressure, showing us who they really are.

Don’t give them what they want too easily. Make them earn it. Let them grow through the struggle. Your story will be stronger for it, and your readers will stay invested until the very last page.