1) The Romance skeleton poses the central question: Will they or won’t they end up together?
The answer had better be yes or a satisfying equivalent. The girl can find out guy A isn’t what she wanted after all because she found guy B, but this is not the genre for an I’m okay on my own ending. That story uses the Literary (or Women's Fiction) skeleton. Romance readers want passion and fulfillment and are very disappointed if they don’t get it.
2) The Mystery skeleton poses the central question: Who did it and will they catch him?
The answer is yes. The criminal may escape at the last moment to torment the detective another day, but the case that is the focus of the story is considered solved. Twists where someone other than the detective solves the crime or there wasn’t a crime after all should be rerouted to the Thriller section.
3) The Thriller skeleton poses the central question: How will they, and by proxy we, survive the threat to an individual or society?
For an up ending, the hero succeeds. If you want a down ending, the hero can fail and learn an ugly truth. Twists often provide an unexpected answer in this genre.
4) The Horror skeleton poses the central question: What brought the danger near and how will they escape it?
The answer can go either way as long as you reveal the reason why. Some horror stories ignore the why, but fans consider that a weak story. Fans want the main character to live to be frightened another day, even if every other character is knocked off by the tale's end.
5) The Science Fiction skeleton poses the central question: Will the hero find, change, or stop something in time?
Most fans prefer an up ending. They want to believe that we can overcome the challenges to our existence, especially if you plan a sequel.
6) The Fantasy skeleton poses the central question: Will the hero obtain or learn to use the power to defeat the evil that has disrupted his world in time?
The force is usually with the hero. The wicked witch gets her just due. Lord Voldemort is defeated. If you plan a sequel, the villain can live to fight the hero another day, but the story must show a resolution to a skirmish in the battle.
Once you've chosen a skeleton, the challenge is providing riveting obstacles between question and answer to keep the reader glued to the page. The reader knows from the outset that the hero will likely survive. Your mission is to make her question the outcome anyway. You do that by choosing believable obstacles.
Diana Hurwitz is the author of Story Building Blocks: The Four Layers of Conflict, Story Building Blocks II: Crafting Believable Conflict, Story Building Blocks III: The Revision Layers, and the YA adventure series Mythikas Island. Her weekly blog, Game On: Crafting Believable Conflict explores how characters behave and misbehave. Visit DianaHurwitz.com for more information and free writing tools. You can follow her on Facebook and Twitter.