When discussing narrative elements, it's common to note that the arrangement of Shakespeare's sonnets in most contemporary editions follows the sequence set by Thomas Thorpe in the 1609 original publication. We lack evidence of Shakespeare's involvement in this publication, leaving us unsure if this sequence reflects his intentions. Many scholars have speculated that rearranging the sonnets could reveal a coherent story and have suggested alternative orders. Despite these efforts, none of these new sequences have gained widespread acceptance among critics and scholars.

There are numerous summaries of the storyline within Shakespeare's sonnets, ranging from brief single sentences to detailed analyses over thirty pages long. Critics generally agree that the sonnets do not follow a traditional plot structure. Most point out the lack of a clear series of events, specific actions, or temporal and spatial markers. Recently, some scholars have proposed that certain sonnets in the first group (1-126) may address the Dark Lady. Due to the uncertainty surrounding the intended recipients of many sonnets, constructing a coherent—even fragmented—narrative is challenging. Critics argue that the sonnets focus more on the speaker's inner thoughts and emotions rather than a linear sequence of events.

Since the mid-nineteenth century, Shakespeare's sonnets have often been interpreted as a series of dramatic monologues. As a result, many scholars describe the sonnets as "dramatic" because they create an immediate emotional connection between the speaker and the audience. Some critics also view the tensions between the speaker and his young friend, as well as with his mistress, as inherently dramatic. However, there are those who contend that the sonnets are nondramatic, as they appear to exist in an eternal present.