High-Concept vs. Low-Concept Stories

Rosemi Mederos: 00:01

If you have plot bunnies coming out of your plot holes, it’s time for a writing break.

Welcome back to Writing Break. Whether you’re curled up with a notebook, out for a walk, or commuting to work, I am so very glad you’re here taking a little time out of your day to talk about writing with me.

Today, we’re exploring high-concept stories versus low-concept stories. These two approaches shape the way we tell stories, how we pitch them, and even how they’re marketed. I’ll discuss both approaches, share some examples, and help you figure out where your book fits.

We’ll also talk about the latest publishing trends and industry shifts that could affect how books are written, published, and discovered. The news has us going in all directions today, so let’s settle into the Writing Break cafe and get started.

% in: 2024

Now, we go down with bad news for me and other nonfiction writers. As you know, a book that is first released as a hardcover usually has a paperback release once hardcover sales slow down. The paperback release is a more affordable print version of the book, and it’s an opportunity to generate additional interest in the book. So, if your book is on a reader’s TBR list, but they don’t get around to reading it right away, they might forget about the book altogether. (Hard to believe, I know, but stick with me here.) So the paperback version of your book comes out, and the reader thinks, Oh, yeah, I wanted to read that. So, they pick up the cheaper, more compact version of your book.

f audiobooks and ebooks. From: 2019

And now we go up again. The hybrid genre of "romantasy," blending romance and fantasy elements, is still surging in popularity, largely driven by social media platforms. But this isn’t just a US phenomenon. This trend has contributed to a 15.6% increase in book sales in the UK since the pandemic. Publishers like Bloomsbury and Penguin Random House UK have reported substantial revenue growth, benefiting both independent booksellers and major chains.

And now we go sideways. Australian publisher Black Inc Books recently faced backlash after asking authors to sign agreements permitting their works to be used for training AI systems. The proposal, which included a 50/50 revenue split, was criticized for its short notice and lack of detailed information. Writers and literary agents expressed concerns about inadequate compensation and the unregulated nature of the AI industry, highlighting the need for clearer guidelines and discussions regarding AI's role in publishing.

One Black Inc Books author said,“I feel like we’re being asked to sign our own death warrant.”

And finally, we go digital. The New Jersey Star-Ledger, the state's largest newspaper, ceased its print edition last month, transitioning focus to digital journalism. This move reflects broader industry trends as publishers adapt to changing reader preferences and economic pressures.

Links to all of these news stories can be found in the show notes of this episode.

I know the publishing news I share with you is often about industry trends and book sales, and there is definitely a business side to publishing. But we’re also storytellers. And today, I want to discuss the difference between high-concept and low-concept writing. It’s a distinction that can influence both sides of publishing, from how you structure your book to how you sell it.

So, let’s get comfortable on the Overthinking Couch to discuss what makes a story high-concept or low-concept and why it matters.

As writers, we’re always told to make our stories compelling, but what does that really mean? One of the most important things you can ask yourself when developing your book is: Am I writing a high-concept story or a low-concept story? Knowing the difference can help you refine your pitch, market your book effectively, and position it for success.

Let’s start up high. A high-concept story is built around a bold, unique, and instantly intriguing premise. It’s the kind of idea that makes people sit up and say, “Whoa, I need to read that.” A high-concept story can be summed up in a single, compelling sentence, which means it’s easy to pitch. There is a dramatic, urgent situation at play, the stakes are big and there is a lot of conflict.

Think of stories like Jurassic Park. What if scientists cloned dinosaurs and opened a theme park?

Or The Hunger Games. What if a dystopian government forced kids to fight to the death for entertainment?

These are high-concept stories. The idea grabs you before you even know the characters. The concept appeals to a wide audience, and it’s visually engaging. You can already imagine it as a movie or TV series.

Now, we get low. A low-concept story is less about an attention-grabbing premise and more about deep character development, relationships, and themes. Here we move away from flashy ‘What if?’ scenarios and focus more on how the story unfolds and on the emotions it explores.

Since the focus is on personal growth, relationships, and emotional depth, that means low-concept stories are character-driven. The drama comes from within, rather than from a big external event. The conflicts in these stories are interpersonal and internal. (Check the show notes for a link to a bonus episode where I explain seven literary conflicts.) Low-concept stories might not have mass-market hooks, but they do connect deeply with readers. These stories are harder to pitch in one sentence, but I urge you to try. You never know when you’re going to get that one fleeting moment to sell your book. Keep your elevator pitch locked and loaded.

For low-concept stories, think of books like Normal People by Sally Rooney, which follows two people navigating love, class, and identity. Or a film like Before Sunrise, where the entire premise is just two strangers walking around a city, talking. Nothing ‘big’ happens, but the emotional weight is what makes the story compelling.

You must have an idea by now as to whether your story is high-concept or low-concept, but let’s test it out. Number one: Can you pitch your book in one sentence and instantly hook someone? If yes, you’re probably writing a high-concept story. If no and the appeal is more in the journey than the premise, it’s likely a low-concept story.

Number two: Is your story driven by an extraordinary premise or by deep character development? If the plot stands out as the selling point, it’s high-concept. If the characters and their emotions are the focus, it’s low-concept.

Number three: Would your story work as a Hollywood blockbuster or is it more of a quiet, literary piece? If it’s big, cinematic, and gripping, it’s high-concept. If it’s subtle, intimate, and character-focused, it’s low-concept.

Now, I will say that I believe the film industry is changing quite a bit, and how we select and watch movies is revolutionizing, so this third question is not going to be readily understood by future generations, but we can explain it to them later via TikTok dances or something.

Disregard any positive or negative connotations you might have regarding the words high and low. Neither concept is better than the other. High-concept stories are easier to approach and sell, while low-concept stories tend to offer deeper, more emotionally resonant storytelling. Some books even blend both, like The Night Circus and The Time Traveler’s Wife, which both have a high-concept premise and deeply emotional, character-driven storytelling.

Whether you’re crafting a thrilling, high-concept adventure or an intimate, low-concept character study, the most important thing is execution. This means writing the best book you can. I’m talking blood, sweat, tears, and talent. A great book keeps readers hooked, no matter the concept.

That’s all for today. Next episode will be a bonus episode. That’s where I take the writing tips from the past few episodes and clip them together for you. As always, thank you so much for listening, and remember, you deserved this break.

Thank you for making space in your mind for The Muse today.

Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.