In need of a new reader magnet to draw readers to my mailing list, I’m turning to the seven-point short story structure. Why seven? And what are they?
The common story structures for novels and novellas cater for long-form writing and full-length stories. Save the Cat has fifteen beats; Derek Murphy’s Plot Dot has twenty-four chapters. They are way too large and complex for a short story.
But seven elements are enough for a short story. In seven beats, you can write your Tent-pole scenes that hold up the rest of the story; and that’s any length story.
The concept of tent-pole scenes isn’t new, and the number of scenes isn’t fixed. Some writing coaches says five, some six, some seven. What matters is the minimum number of story beats you need to complete a satisfying story arc.
This is where I return to Dan Well’s seven point structure. It’s fine, Dan doesn’t recall where he got this from either. Just go with it.
In this structure we have:
- The opening Hook.
- Plot point one.
- Pinch point one.
- Midpoint.
- Pinch point two.
- Plot point two.
- The Resolution.
Breaking the Word Budget
If you recall Mary Robinette Kowal’s lecture on short stories, to might remember the idea of the word budget. For every additional setting, idea, character and event, you increase the word budget, or else write each element ever thinner.
My short story doesn’t have a fixed word count, so I don’t have to worry about cramming too much into too few words; interesting as that exercise can be.
But I also don’t need to write a whole novella for my reader magnet. This short story has to be contained in a few short, vivid scenes. It needs to tease character, tone, style, and genre. It needs a hint of action, as well as some suggestion of character arcs. I also need to set out the stakes.
My initial target is four to five thousand words.
In application
This is how I’m using the Wells’ version of the seven point story structure for my new reader magnet, To the Outlands. Warning: mild spoilers ahead.
One: Vision.
The story opens with Jovanka’s premonition of the journey through her Second Sight. I establish the tone of my series Book One, The Ghost and the Vipers, with foreboding and foreshadowing.
Two: Hiring
Jo and Gulatta meet with the two veteran mercenaries who will provide escort to the Outlands. Clearly Jo and Hemmig won’t get along.
Three: Supply train.
Events catching up already. Jo has a chance meeting with an officer of the Emperor’s Lances. He hasn’t heard yet of her ‘treason’ in the capitol. She tries to bluff her way clear.
Four: Debate.
What to do? Given the certainty of her second sight, Jo anticipates the terrible outcomes ahead. What if she could change the path? Make a different future for herself and the people she cares for? The Queen of Fortune doesn’t allow it. Jo is trapped by her culture and beliefs.
Five: Couriers.
Two of the Emperor’s couriers arrive in the township with news of Jo’s treason. They tell the officer, Gill who says nothing to them of their meeting or her presence in the township. Gill decides to go after reward himself.
Six: Attack the Lances
With few viable choices, Jo attacks Gill and the Lances in a cold-blooded, pre-emptive strike. She falls further down her scale of morality. Does this make her no better than the Emperor himself?
Seven: Resolution.
Her bloody deeds hastily concealed, Jo joins with with Gulatta and the escort. She is on a mission, on a fixed path, searching for someone in her future. To the Outlands…
Success or Failure?
The reader magnet should showcase an author’s best work, so this needs to be sharp, tight and compelling; something to entice the reader to want more.
Success means they sign up to the newsletter and/or follow the links to buy some books. If not, then my magnet isn’t strong enough. That will be down to my writing, my execution, and not the seven-point short story structure.
Very good.