More on the Seven Point Structure

First off - none of this is my idea. All credit goes to Dan Wells. I mentioned this last post, but I want to make sure to give credit where credit is due.

Check out this video series for a great lesson:

http://www.youtube.com/view_play_list?p=C430F6A783A88697

Or go to his blog, specifically this page:

http://www.fearfulsymmetry.net/?p=405

All of that stuff will help in understanding the example below. One note of caution - this is just my attempt at applying this structure, allow for mistakes. Probably lots :)

Onward! The following is this structure applied to my newest novel. I generally don't like sharing details of a work-in-progress, but this work is hardly even begun, so what the hay.

Besides, this is work I would have to do to get started, anyway. So turning it into a blog post and getting double-duty out of it seems like an efficient use of my work time, right?

Basic Structure - Monster Attack! (place-holder title)

Hook- Three main Characters (MCs). MC one is Monster, newly created, small. MC two is Scientist young, brilliant, insecure. MC three is Soldier, battling inner demons, torn up.

Plot turn 1- Monster escapes. Scientist discovers older colleague, mentor, is responsible. Soldier struggles after homecoming.


Pinch 1- Monster growing, goes on rampage, small and stealthy at first. Scientist begins trying to decipher colleagues notes. Soldier called in to fight.

Midpoint- Monster growing larger. Soldier/military on full attack. Scientist learns Colleague/Mentor was somehow set-up by Corporation, key to notes is at separate site in Monster-controlled zone, must go there physically.

Pinch 2- Entire city in peril, many deaths, Monster huge. Military barely holding it back with Scientist suggested tech (radio, Soldier's, from zone.) Plans to nuke city. Soldier and scientist ally, trying to make it to secret lab.

Plot turn 2- Scientist discovers key to secret notes, left by Mentor. Military applies solution, Scientist and Soldier must make it stick, somehow personally deliver when Military fails. Monster mutating, may break free any second.

Resolution- Monster neutralized, Scientist expands quest to stop Corporation, be responsible, Soldier feels better about self, can see hope for future. City saved. Ya!

There are some obvious sub-plots here - love interest between Soldier and Scientist, Evil Corporation fights back, Military/Government corruption and spy stuff, some daily life interrupted moments, and so on.

Also, very clear possibilities for a sequel or series expanding the quest against those responsible.

Next step is to expand this outline into a full storyline, and/or scenes.

Narrative Structure and Novels vs. Short Stories

I've been stuck at around chapter three on two different novels for about a month now (okay, maybe just three weeks.) This is just frustrating.

I certainly don't have writer's block, I've been producing plenty of short stories. It's just the novels that I'm bogged down on.

Key question - why? These are both interesting projects. One is YA (ish) horror/adventure, the other is torchpunk fantasy. Both have cool characters, some original (ish) ideas, interesting settings, and so on. One has an outline, the other I have been discovery writing.

So, no obvious culprits there. I just can't seem to get excited about them anymore. I don't know where I'm going with either of them. Even the outlined book, I still just don't feel like I have my fingers on a narrative thread.

I mostly do discovery when I write shorts, sometimes with just a starting scene, sometimes with a bit of an outline. I almost never stick to what I start with though, adding in newer and better ideas as they present themselves. This doesn't seem to work for me for novels, though.

My characters don't seem real enough, the narrative is twisting, the third chapters are drifting far from alignment with the first. So what to do?

I am going to try another idea, a different work-flow. Instead of my short story methodology, I am going to do a much more complete outline, a lot of background, full character studies, and then plot scene by scene. If each scene is essentially a short story, and I can think of each scene, when complete, as the same accomplishment-wise as a short story, I think that will help me get through learning the longer form.

I'm figuring on some combination of three act structure, seven point structure a la Dan Wells, or even the eight point screenwriter's structure. Or all at once. Whatever works, however the book shapes up.

But it is clear to me that I need to build a framework first, before I try to hang drywall, to mix metaphors.

Also, the new book is an easier concept, easier setting, and so on. As easy as I can make it. It is crucial that I complete a novel, just like it was crucial when I wrote my first story that I completed that. have to prove to myself that I can do it. Even if it's not the best book ever. As long as it's coherent, and complete.

Don't worry, though, about the unfinished books. I hate leaving things unfinished. Once I have a success (as in, a completed book), I'll go back to them, with a better idea of how to proceed, I hope.

I'll let you know how it's going in a few weeks.