Great stories don't write themselves : criteria-driven strategies for more effective fiction /
Great stories do not write themselves
Larry Brooks.
- First edition.
- 250 pages : illustrations ; 22 cm
Includes index. Place of publication from publisher's website.
Part I: It's all in your head 1.The Mission of the Novel, and the Novelist 2.Developing a Criteria-Driven Nose for Story 3.What Happens When You Know 4.The Sound of the Writing Conversation 5.Realities, Odds, and Other Inconveniences 6.The Power of Storytelling Context Part II. Navigating the leap from story idea to premise 7.The Eight Criteria for Premise 8.The Mission of Your Story Idea 9.The Idea-Fueled Premise 10.The Criteria for Concept 11.Context for Criteria-Driven Drafting Part III: Criteria for the parts and parcel of story development 12.The Functional Mission of Story Structure 13.Contextual Application of the Four Quartiles 14.Structure-Enabled Characterization 15.Criteria for the Part 1 Set-Up Quartile 16.Criteria for the First Plot Point 17.Criteria for the Part 2 Hero's Response 18.Criteria for the Mid-Block Pinch Points 19.Criteria for the Midpoint 20.Criteria for the Part 3 Hero's Attack 21.Criteria for the Second Plot Point 22.Criteria for the Part 4 Resolution Part IV: The sum of the parts 23.Criteria for Effective Scenes 24.Criteria for Professional Narrative Prose 25.Caveats, Exceptions, Contradictions
One of the most common questions new writers ask professional writers is about how the author wrote their book, what was their process for storytelling? But really the question should be about the general principles and nature of story--does every part of a story have what it needs to keep readers turning the pages (regardless of how the author got there)? Does every scene, every part of the story support the strategic narrative objective of providing new information a scene will inject in the story (the key principle of writing fiction)? Larry Brooks has developed a series of detailed checklists backed by tutorial content for novelists of every level and genre to refer to as they write regardless of which writing method they prefer. Beginning with the broadest part of story, the early checklists help writers to ensure that their book is based on a premise (aka plot) rather than an idea, or how you can elevate your idea into an actual premise where other story elements can be developed. Gradually honing in on other story elements like hero empathy, dramatic tension, thematic richness, vicariousness of story, narrative strategy, scene construction, etc. each with their own checklists with specific, actionable items that ensure that key principle (providing information to move the story forward) occurs
9781440300851 paperback 1440300852 paperback
2019287304
Fiction--Authorship. Fiction--Technique. Autoria de ficción Ficción--Técnicas Fiction--Authorship. Fiction--Technique.