Structures of a Story: More ups and downs

Last month, we began our new series on narrative structures by looking at simple three-act and five-act structures. This time, we're stepping up the complexity with a couple of variations adapted for particular types of stories.

For some stories, one rise and fall is not enough. Characters need to be propelled from one event or crisis to the next, and their momentum must be maintained. Or, you may simply want a slightly more complex structure, with more movement in it than just building up to a climax and coming down from it, without having to define every narrative beat.

The three-act structure is, as we've discussed, fairly ubiquitous. It's not very surprising, then, that the bones of this structure have been elaborated on to create more detailed variants. One example is the Fichtean Curve, which uses the same overall shape of the three-act structure but modifies the rising action slope with smaller crises leading up to the big climax. Another is the Seven-point Story Structure, which can be overlaid onto a three-act structure but shifts the focus from action and tension to progress and character development. Both of these variants are good at helping you manage elements like pace and tension, making them useful stepping stones for writers wanting to develop more sophisticated plot arcs.

The Fichtean Curve

This narrative structure was coined by John Gardner in The Art of Fiction. It is, as mentioned, quite closely based on the classic three-act structure, but with some key differences. Firstly, the inciting incident happens immediately; there isn't time to spend on exposition in this structure. By pushing the inciting incident earlier, the tension can start building right away, and this structure is all about tension.

The other major difference between the Fichtean Curve and a classic three-act structure is the path of the rising action―after the climax both structures use the same rapid fall into denouement to resolve tension, but it's the building of it that we're focused on with this structure. Rather than moving directly towards the climax, the plot builds up to smaller moments of crisis which must be resolved along the way. These crises become increasingly tense and raise the stakes higher and higher, leading the characters up to the climax, the biggest and most important crisis of all.

This structure layers the tension of the underlying rise to the climax with that of each individual crisis point as it comes up. While the underlying tension keeps rising, though, the tension from each crisis is built and then resolved, leading to more fluidity in the reading experience. Because of its focus on tension, the Fichtean Curve is ideal for gripping, suspenseful plots.

The Seven-point Story Structure

A relatively new narrative structure, the Seven-point Story Structure was developed by Dan Wells around 2010. It follows similar plot points to the ones used in a three-act structure―there's an inciting incident, a midpoint shift, a major setback, and a final resolution―but focuses less on the action and more on the characters. For this structure, the ups and downs are specifically related to the characters' emotional journey, rather than tension.

The first of the seven points is the hook, which establishes the exposition (in a way that pulls readers in, the name suggests). This is followed by plot point 1, which we might recognise as being an inciting incident; it's the event that kicks off the plot. Progress is made, and we're feeling good! Unfortunately, the plot falls into pinch point 1, and the situation becomes difficult. From there, the characters rise to the fourth point (the midpoint), when they start to take a more active role in the story. This does not, however, stop them from tumbling into a second pinch point, even more negative than the last one. All seems lost, until the characters have a breakthrough with plot point 2, and they know now how to succeed. The conflict of the story can now be resolved, ending the story on a satisfying note.

Because this structure is more character-focused, it aligns well with stories which have a primarily internal arc or an emphasis on character development over action. It also encourages a balance of positive moments with negative moments; rather than building continuously up, it shifts between progress and setbacks, or between high points and low points. A Seven-point Story Structure is a good way to think about the role of change in your narrative, not just tension.