Meet The Storyfixer
ABOUT THIS BLOG…
(Updated 12/18/11)
Thanks for dropping by. Seriously, I do appreciate it.
The genesis of this blog comes from the thousands of folks who have attended my writing workshops. The consensus is this: “I’ve been attending writing workshops for many years, and I’ve read all the how-to books, and this is not only the best and clearest thing I’ve heard, it’s the first time someone has actually shown me how to write a novel (and/or a screenplay), structurally and thematically.” The developmental model referenced in that consensus feedback is what I call “The Six Core Competencies of Successful Storytelling,” which is the topic of my book by nearly the same name.
Writing workshops and how-to books come in all flavors and intentions. But rarely is the process broken down into specific developmental criteria, from concept to character to sequence and theme, with a vision for how all the parts come together to become a whole in excess of their parts. This blog is based on that process.
Now allow me to switch to third person so I can sound objective with a minimum of hubris.
Brooks is a critically-acclaimed bestselling author of four psychological thrillers, in addition to his work as a freelance writer and writing instructor.
His message to writers who wish to publish is this: the bar is very high, and the market is very crowded. The moment you declare an intention to publish, to write professionally, you are signing up for a tidy and largely inflexible list of criteria, formats and expectations, the nature of which applies directly to what you write. If you want to make up your own form and function of storytelling, the road is even longer.
There is only one thing you have control over in this business, and it’s not your career (which is largely out of your hands, to be honest) — it’s your manuscript. It doesn’t need to be perfect, it needs to be better than perfect, at least beter than perfectly fine. It needs to grab an agent or an editor who has seen it all before by the throat and squeeze. This blog is about how you can evolve your work to that level.
ABOUT THE BLOGGER: LARRY BROOKS…
Other than a 17-year stint in the marketing and training business, Larry Brooks’ resume reads like a Cheesecake Factory menu. Born and raised in Portland, Oregon in 1952, he graduated with a degree in marketing communications from Portland State University in 1975, attended in the off-season during an unremarkable five-year career as a professional baseball player (he pitched in the Texas Rangers organization). This led to his first published writing: a magazine article on the life of a minor league pitcher. Still not keen on a writing career – the money sucked then, too – came a few more swings and misses: history’s worst stockbroker for the world’s largest brokerage firm, the world’s worst personnel manager in a department store (remember what Dirty Harry said about Personnel managers?), and a couple of other humbling fliers he chooses to forget. Each abandoned career resulted in another published magazine piece lampooning the experience, and his interest in writing began to emerge as his best – and perhaps last – viable career option.
He was also the voice behind the airport public address announcement we all hate (“No stopping or parking on the roadway in front of the terminal. Violators will be cited and towed.” et al) for 14 years at PDX (Portland Internaional Airport). As claims to fame go, this is as anonymous as it gets.
In 1983 he answered an ad for a “script writer” at a small audio-visual production company – eight art majors and a slide projector. Cut to 1996, when the company was one of the largest marketing and training firms in the western U.S., and Brooks was the executive creative director and a partner, with some 120 employees and a portfolio with more corporate videos, brochures and other useless stuff than Harlequin has romances. The business sold in 1999, at which point Brooks took the money and ran toward the career he’d been quietly cultivating on the side for the prior two decades – writing novels and screenplays. And now, as a novelist/blogger/freelancer/workshop speaker.
His first published novel, DARKNESS BOUND, was based on one of his original screenplays, featuring – here’s a surprise – a stockbroker who hates stockbrokering. It debuted in October 2000, spending three weeks on the USA Today bestseller list. His second novel, PRESSURE POINTS – an ad exec who hates the ad business – appeared to good reviews in December 2001, with comparable sales. His third novel, SERPENT’S DANCE, was a February 2003 release from Signet, also well reviewed despite selling like parkas in Pakistan, and his fourth, July 2004’s BAIT AND SWITCH , earned a starred review from Publishers Weekly, who named it their lead Editor’s Choice for that month, and at year-end to two of their notable lists: Best Overlooked Books of 2004 (the only paperback so named; perhaps, says Larry, a dubious honor) and Best Books of 2004 (lead entry, mass market).
Since then he has written two novels : SCHMITT HAPPENS (the sequel to 2004’s BAIT AND SWITCH, which remains unpublished at this writing) and WHISPER OF THE SEVENTH THUNDER, an apocalyptic thriller from Sons of Liberty Publishing (March 2010).
In late 2002, Brooks’ script for the adaptation of DARKNESS BOUND was named a finalist in the Don and Gee Nicholl Fellowships in Screenwriting, sponsored by the Academy of Motion Picture Arts and Sciences, the folks who bring you the Oscars. It was one of ten scripts selected out of 6044 submissions, which he hopes you find impressive, especially since he didn’t end up winning one of the five Fellowships. Too dark, they said.
He did get to spend an afternoon kicking around the craft of storytelling with Frank Darabont during his week in L.A. for that contest, which, if you’ve ever seen “The Shawshank Redemption” you’ll agree is a big deal.
Brooks has been developing and teaching writing workshops since the mid-1980s. He has been named a Mentor by the Oregon Writer’s Colony, and continues to teach at workshops around the country (“Call me,” he whispers here). His new book, “Story Engineering: Mastering The Six Core Competencies of Successful Writing,” was released in early 2011 from Writers Digest Books, based on the popular developmental model upon which he bases his workshops… and this blog.
Brooks is very happily married to his wife of 17 years, Laura, an artist and interior designer (who assures everyone who has read Larry’s first novel that she is not The Dark Lady). He also has a wonderful son, Nelson, who is 21 and a senior at USC; three supportive step-children, Tracy, Scott and Kelly (two of whom have read all his books); and seven step-grandchildren who have no clue what “Poppy” does for a living.
Larry and Laura live in Scottsdale AZ, where he is busy writing is a** off on a new writing book (“The Search for Story”), two novels, a screenplay, a pile of freelance assignments (“call me” he whispers again), and of course, this blog.
Again, thanks for stopping by.
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Larry, sittin’ here in a coffeeshop in Arlington, Texas, struggling with my novel. You’re book & website are a godsend. Using your techniques, I just mapped out to mid-point and now working on 2nd half of book. This pantser is actually PLOTTING. (I can’t plot my way out of a paper bag.) OMG, dude, thank you so very much for your help. I don’t have it 100% but learning so much. Gracias, amigo. … Alley
Larry:
I’m a produced screenwriter of animation and have over 60 comic book / graphic novels to my credit and this is one of only two fan letters I’ve ever written. I recently had a treatment optioned for a live action movie and am currently doing the screenplay and decided to fill in my education by reading all the major authorities on the subject (McKee, Fields, Truby, etc) as well as a couple of new authors such as yourself and Chris Soth that I only recently come acrossed. Your stuff is insightful and accessible, wonderful to read and instantly understandable. A delight.
Best recommendation there is: my wife asked me why I needed to keep 20+ writing books on the shelf next to my desk when the only one that was ever next to the keyboard, opended, highlighted and annotated with my handwritten notes . . . was yours?
All the best,
Art Holcomb
Kludgy is an adjective, not a verb. In my field we use the word regularly and I’ve never heard it used as a verb. Even as an adjective, it’s rare. It’s much more common to call something “a kludge” than to say that it’s “kludgy”.
Hi,
I attended your workshop in Medford OR (actually Central Point) this fall. You are right, it was an eye opener for me. Thanks! Currently finishing up a memoir of our lives on an old-time ranch — I tell folks, that we moved 45 miles east and a 100 years back in time.
Do you have a schedule for your workshops for this next year? Especially, in eastern Washington? Or Western Idahao — o heck forget the eastern and western — what’s your workshop schedule? I am lining up folk to go.
Thanks,
Joan
Dear Larry,
I just wanted to let you know that I just “won” NaNoWriMo. I finished 50,100 words with 1 day left to go. And it was all because of your posts in October. I planned, I knew where I was headed and I got there. Not “just one edit” away from publishable, but my first draft is officially completed.
Not only did I complete NaNoWriMo and win on my first time out, but I finally started a habit of writing every day (win), I now know I can average 1,000 words or more a day so I know what kind of goal to set myself (win).
Thanks for your posts. You are the best.
@Amanda — thanks for the feedback, so glad to hear that your NaNoWriMo was a positive experience, and that you’ve immersed yourself in the craft. Good for you, I wish all the best as you move forward. We all have an important story in us… may you find yours and may we all get to read it one day soon. Thanks for hanging on Storyfix, too. L.
Larry,
I have a question, what are your suggestions of adapting the core competencies, specifically the beat sheet and story structure, for scense in a short story?
Hi Larry, I discovered your website while I was doing Nano, and reading your articles about Story Structure really help me understand my writing better. I have a question about the plot points. I read a blog post by Janice Hardy about the difference in Main Character and Protagonist at her blog (http://blog.janicehardy.com/2009/05/main-event.html).
Quote: “In contrast, in Tom Clancy’s Hunt for Red October, Jack Ryan stands out to me as the main character. The story revolves around him and his hunt, but he isn’t the protagonist. Ramius is the one who’s acting and driving the plot, because his choice and his actions set the entire story in motion. If you took Jack Ryan out of the story, Ramius would still act as he does. If you took Ramius out of the story, Ryan has nothing to do. But Ryan plays a vital role in balancing Ramius plot. We care abut Ramius because we care about Ryan.”
So basically the answer to “Whose story is this? (MC)” and “Who’s the one driving the plot? (Protagonist)” can be different. In that case, whose POV should I use to structure my story? Do I write the plot points based on the MC or the protagonist?
Thanks!
Hi, again, Larry. Okay, I think I’ve got the first plot point figured out.
On page 107 of 443, 24% on my Kindle—
In The Help, Missus Stein tells Eugenia she will read what Eugenia (Skeeter) writes about how the maids in Mississippi are treated. Without that call, Skeeter may not have gone through witht the effort or danger of writing the book. But, she decides to write the book despite the dangers to herself and the maids. = FPP.
So, when Missus Stein says that she will read what Eugenia writes, was that a FPP nudge? Or a pre-FPP hint?
Should there be a nudge or hint right before the FPP that tips the scale and gives the character a choice? (Though, we writers know that the character has no choice
!
Thanks, again! Evonne
Hi!
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I think your readers would love them! They are great for music lovers and writers.
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Thank you for your time.
Hi Larry,
I have been following your blog for a few years and hope to complete my first novel this year. Actually, forget ‘hope’. I WILL finish my first novel this year. There, that’s better.
I am having a hard time deciding on the genre the story fits in, and I need to know this to get guidelines about length and which agents to pitch to. It’s a love story but it has crime and chases too. What do you think? I have an outline ready.
@Zelda — sounds like romantic suspense to me. If you’re pitching an agent, that should do the trick, it’s their job to find the right publishers (not all romance house publish romantic suspense, and some publishers you wouldn’t think of as romance house also publish it, with a “tougher” cover).
Either way, it’s exciting to hear about your progress and hope for this, please keep us posted! Wishing you every success. L.
Thanks Larry for your reply. Actually, I have decided to get help from you with editing. So when I have the first 60 pages done (I’m now at 35) I am going to buy some help from you and we can go over the manuscript. I think the hardest bit for me is writing good descriptions of a. the location in the scene b. the person who’s talking c. the gestures the person makes as they speak and showing not telling what’s going on in their head. I find that Tess Gerritsen does this very well. Damn, wish I know how she did it.
Lovin’ your book and your site. They’ve both been a great help. I am particularly enamored with ‘what if’ right now. It helped me immensely with a block in my plot.
Just wanted to let you know though, I’ve already signed up for your newsletter but I’m still getting the lovely, but now annoying, modal window encouraging me to sign up for a newsletter I’ve already signed up for. This happens nny time I go to a new page or blog post. I think there are gremlins in your cookies.
I bought your book, “Story Engineering” and think it’s great! However, the link on the back to your downloadable “Story engineering checklist” at WD is dead. Do you have the correct link or can you email the file?
Thank you very much
I’d love to do a guest post for this site. It seems like a great place for serious writers who have something to say. Since my novels are typically about social issues, restarting late in life (Widow’s Walk), mental health and personal freedom (Memoirs From the Asylum), and the people who are just getting by (Tales From the Dew Drop Inne), I always like to discuss the social and political role of the writer.
Let me know if you’d be interested.
Okay Larry, tired of banging my head on the rafters I’m nailing together, based on Story Engineering. I’m using your checklist to outline my scenes, but keep stumbling over the first two. Isn’t the mission of every scene “to drive the story forward?” and doesn’t it do this by delivering (optimally) a single piece of story exposition? I’m struggling with trying to differentiate between a unique mission for each scene and the piece of story it’s tasked with delivering. Can you sharpen the distinction? Thanks so much if you find the time, if not, I’ll read part 6 another few times…
Are you doing ok?
Having read enough books on writing as to be able to stack them three feet off the ground, I am a big fan of your book (Story Engineering), and think it is one of the best out there.
I have been applying your ideas while breaking down both movies and novels. It works well, but then I started wondering how it would stand up to the most brilliant and complex novels of all time.
Would it hold against East of Eden? A book with many points of view, (including omnipresent), and many story lines.
Where would the plot points be in a massive book like Shogun? Or Dune?
Wat is different in these novels, perhaps more finesse?
I would be very curious as to the answer.
Thank you
*What is the difference in these novels, perhaps more finesse?*
@Michaell — a great question, and a can of worms. For sure, the underlying story physics (forces) are hard at work and very visible in the classic stories you mention, and others. As for structure, it’s there in some form, but often there are so many POVs and inciting incidents and even multiple plot points – or conversely, they are so subtle you barely notice them – that analysis is hard to nail, and challenge is easily mounted. I like to say that we should appreciate those novels, but not necessary hold them up to the light of architectural analysis with a view toward learning the basics. We don’t teach out kids painting by having them study Dali or Rembradt to discover the basic physics and structure of the art. Genius is almost always based on a foundation of solid basics, and from there, those basics become a variable that only works in the hands of one. Hope this helps! L,.
Thank you for answering my question.
I look forward to your next book “Advanced Story Engineering,” where you breakdown War and Peace, Ulysses, Paradise Lost, and Dante’s The Divine Comedy.
Until that time I will continue the determined march of becoming a better writer, and hopefully a published one in the years to come.
Besides your book (Story Engineering), which covers vital parts of writing which few other books even come close to doing, I wanted go give a quick shout out to another one of my favorite books on the craft.
Artful Sentences: Syntax as Style, by Virginia Tufte.
A hidden gem on an ignored subject, this book alongside yours should be in every would be writer’s bookcase.
Thx again for the reply.
Larry– I have been working through the Core Competencies for a couple of days now: making notes, building relational tables and just eating it up. I’ve hoped to find “something like this” for a while now. So imagine my surprise and excitement. I love investigating these deep, fundamental structural-functional relationships.
No matter what, I REALLY need to see what’s going on behind the veil. That’s probably why I became an anthropology major in school and later was attracted to data structures in the IT world. Now I am fascinated with writing stories. I guess it’s always about story.
So thanks for your thoughts and your books. I just wish so many people didn’t have such violent reactions to the whole idea of underlying structures and business rules. Too bad for them, eh?
TY
Jim in Montana
Hi Larry, You’ve been a great inspiration to me and I’ve devoured your Story Engineering. I’ve just nominated you for the Illuminating Blogger Award, you can find out more details at my blog. Thanks for all you do!
Hi Larry
I am wondering about the position of the underdog as the main character. A mentor once told a friend of mine ‘It’s easy to write about the underdog’. This comment has haunted her, and myself since. I do wish mentors would elaborate on these kinds of comments. However, my quest is now to find out why writing about the underdog is considered an ‘easy path’. I suppose to empathy. Yet, if we wrote about happy people, nothing would happen. Do you have any ideas that would shed light of the need for a hero to be something other than a disadvantaged minority, and therefore to overcome????
@Rosetta — you ask about writing underdogs, and question where they are, or should be “easier.” Good question. I also like your observation that “mentors” sometimes say stuff without explaining what it means, and it just sits there like a tumor, growing and tormenting. I’ll be on guard for that.
I’ll try for a simplified, universally-okay response. Underdogs make great characters because, as YOU said, we root for them. Moreover, though, they have problems and disadvantages to overcome, goals to achieve, and the story becomes about that journey. That said…
… underdogs aren’t the only architype with things to overcome and goals to achieve. Anybody can be placed in that situation. What is someone just won the lottery, big time, and someone else is suddenly blackmailing them for a crime they got away with, someone who has turned their life around (I’m making this sh*t up right now, to clarify my point), and deserves our empathy and support. Is that an underdog? No. Do they have a problem? Yes. An adversary? Yes. A goal? Yes.
THAT’s what a story is about: a protagonist with a problem/need/quest/goal… facing opposition, and – when it works — becomes someone we root for, with stakes hanging in the balance. That’s it as far as “universal truths about your protagonist” are concerned. Has nothing at all — NOTHING — to with being an underdog, a minority or anything else. It has to do with CONFLICT and EMPATHY… that’s it.
Hope this helps. L.
I love your blog! You have been very helpful to me! Thank you so much!
Hi Larry,
I like your site, you have some interesting posts. My site compliments yours, consisting of interesting articles from a published author, plus a free resource of over 1000 traditional book publishers currently accepting submissions – the largest on the web. Keep up the good work.
Regards, Brian
Hey!
I was reading through your blog and thought it was very insightful. I’d love to contribute, so let me know if you could fit a guest post in!
Thanks,
Christine
You’re top notch Larry
Have a good day.
Hi Larry. I have nominated you for The Very Inspiring Blogger Award, which I hope you will accept. If so, you probably know what to do – seven facts about yourself and seven new nominees. You can read the details here: http://howesue.wordpress.com/2012/12/21/fame-at-last/
Cheers, and thanks for all the writing tips.
Sue
Hi Larry
Thanks for your feedback on my last question. Well said.
Just want you to know that I have just signed a contract with Penguin for my first novel. I have your book and one other your recommended, and your blogs to thank for showing me the importance of structure. I couldn’t have done it without you. Thank you for putting it out there.
@Rosetta — HUGE congrats on your Penguin contract, and thanks so much for the kind words. Here’s to your massive success going forward! Larry
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Larry,
I recently purchased your book Story Engineering for my Nook, and I am reading it VERY carefully. I have had to read Chapter 5: Concept Defined a couple times, and I am still having trouble differentiating between idea/concept/premise.
Are there any blogs on your website where you go more into depth in these three terms?
Joe
Dear Larry Brooks,
It is nice to meet you via e-mail. I’m Jackie Yang at EYA(Eric Yang Agency) which is one of the leading literary agencies in Korea.
We have exclusively worked with HarperCollins, Little Brown and Company, The Crown Publishing Group, Berrett-Koehler, Pocket Books, Bloomsbury, Walker & Company, Hodder, Hachette Livre, ICM, Faber & Faber, Andrew Nurnberg, A.P. Watt, etc.
RE: STORY ENGINEERING, STORY PHYSICS
With regard to the above titles, I have Korean publisher who got interested in. Please send me an email if the Korean rights of two titles are still available in Korea. If available, please kindly arrange the reading copy, manuscript or e-file for the review.
Thank you in advance and we look forward to hearing from you.
Best wishes,
Jackie Yang
Hi Larry
I want to write a book I think it is a novel in the style of Master funny story teller Tom Sharpe—Riotous Assembly and several other books. I have written other books but this is my first go at fiction. I was sure it would be easy. I was wrong! The others in my writing group were very quick (a bit too quick I thought) to tell me. I didn’t even understand Point of View for goodness sake! So I am learning about POV, outlining, (snowflake) the four parts to a story and so on. I am reading your book Story Structure Demystified and I am learning fast but there is one major problem. None of the characters in my proposed book are heroes or villains as such they are mostly just idiots. And as in all Tom Sharpe’s books (yes he is a hero of mine) I just want the story to lurch from one complete mess to the next but all hilariously funny. I was just wondering if Tom Sharpe’s books fit the four part theory of fiction. Really I have just answered the question for my self. I will analyse a few of Tom Sharp’s books and then let you know!
I am learning lots from your book . It is great!
@Brian — hey there, welcome to the fiction jungle. Where all is not as it seems as we try to reflect what we’ve enjoyed about published novels onto our own projects. Where we learn, sometimes painfully, that we can’t reinvent the form, or do it “our way” when that way violates certain principles. The key thing, which is between the lines of what you describe, is that a successful novel is more than a glass cage into which we can look in… it’s more than “interesting” characters, a menagerie of the strange. Rather, it’s allowing the reader to ROOT for someone, and against something that blocks the path of what that character needs/wants to achieve in the story. That’s a wide breadth of story lattitude, but it’s always there. Haven’t read Sharpe, but unless the books aren’t novels at all (humorous essays are a great niche, but they’re not novels), I can pretty much guarantee you that this type of dynamic is in play. The trick for new fiction writers is twofold: learn what those principles are, and then begin to recognize them in novels you enjoy. Trying to find them without understanding them… that’s really hard. But once you see them, they pop out, you can’t un-see them. Lots of resources here for you… hope you find the Holy Grail, and that you enjoy the journey. Larry
@Jen – wow, in my face. But you’re absolutely, offensively wrong. Check this link (from the sponsor of the contest), which shows the 2010/2011 winners (notice who was in first place), and then notice the SEAL shown, which IS the SAME seal, the correct seal, shown on my site:
http://writetodone.com/2010/12/21/top-10-blogs-for-writers-2011-the-winners/
Larry,
In a few days I will begin a blog. In it, I plan to refer to books which have shone the light on my own ignorance as I became a writer. Your “Story Structure” was the first of them; I would like to show people enough of the book to convince them they really need it on the reference shelf, whether that shelf is wood or electronic. Would you care to see the paras, to ensure that I haven’t shown them so much they don’t need to buy it? I would of course respect your wishes in this matter.
This is too small a word for the doors you’ve opened for me, but thanks. Many, many thanks.
Right now I plan to discuss boxes and major plot points, making the point that the minors need to be respected too — although they won’t be discussed. It’s another nudge to buy “Structure.”
Also, restating your work on my blog in condensed form would be plaigiarism, a bit of moral drum-beating which I shall not hesitate to commit!
I’d be absolutely honored to interview you. Let me think about my questions, and find the best place in the sequence I presently have planned for it. Thank you very much.
Larry, I’ve sent a rough draft of the questions to the other e-mail address you use on this site. Hope that was okay.
Thanks again,
Lin
Hi Larry,
I bought your S.E. book as well as the NaNoWriMo ebook. Hugely grateful for the insights in these books! I’ve been applying the six core competencies to my latest novel project, and my question specifically has to do with scene construction/ beat-sheet vs. pantsing, and where the two might mix a bit.
I used your models to sketch out the 4 acts and all of the necessary points along the way. I’m very happy with this approach – it allows for a lot of creativity. I then started at the beginning of act 1 and made little 1-4 sentence descriptions of each scene (17 scenes total), sort of like, ‘in this scene I need to get from point A to point B’, all the way up to the end of act 1.
I was about to go right along to act 2 but then felt that perhaps I should begin writing the first draft of act 1 before defining the detailed beat sheet for acts 2,3, and 4. The reasoning here being that the details I allow myself to discover while writing “from point A to point B” in the act 1 scenes might help to inform the other acts, not on a large structural level, but on a micro level, which could nonetheless determine the shape and maybe even settings of the scenes in those acts.
Have you ever gone this route? Do you always make a detailed beat sheet for every act before starting the draft, or is there some back and forth?
Thanks!
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