04065cam a2200469 i 4500 21409854 BJBSDDR 20240514162159.0 ta 200130s2019 ohua 001 0 eng d 2019287304 9781440300851 paperback 1440300852 paperback (OCoLC)on1126189647 TOH eng TOH rda OCLCO GL4 OCLCF YDXIT DLC eng lccopycat PN 3355 B873g 2019 808.3 Brooks, Larry, 1952-2021 35903 Great stories don't write themselves : criteria-driven strategies for more effective fiction / Larry Brooks. Great stories do not write themselves First edition. [Cincinnati, OH] : Writer's Digest Books, 2019. 250 pages : illustrations ; 22 cm text txt rdacontent unmediated n rdamedia volume nc rdacarrier 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 Fiction Authorship. Fiction Technique. Autoria de ficción 24311 Ficción Técnicas 3293 Fiction Authorship. fast (OCoLC)fst00923713 Fiction Technique. fast (OCoLC)fst00923755 7 cbc copycat 2 ncip 20 y-gencatlg lcc BK 121062 121062 0 0 lcc 0 0 HU BJB BJB HU 2024-04-18 0 PN 3355 B873g 2019 00000177433 2024-04-18 00:00:00 1 2024-04-18 BK