Hey storyfixers… I know I’ve been MIA for an inexcusable length of time. Thanks to Art Holcomb for filling the void a few times while I went about the business of reinvention, rejuvenation, ducks-back-in-a-row stuff, and a general inventorying and understanding of why people read my work, why they come and then go away, and what writers are truly looking for when it comes to mentoring, teaching and the discovery of totally free information that will take them deeper into the craft of writing and the pursuit of their writing dream.
Some may believe – inaccurately – that the title of this blog, and of my latest book (Story Fix), imply I’m all about editing and rewriting, when in fact the most valuable thing to be found here is a perspective on what it takes to develop and implement a viable story from the square one comprised of a compelling premise (emphasis on the word viable, because not all ideas are worthy of a story… this being one of the most toxic misbeliefs floating around out there) using provable, universal and perhaps heretofore unclear (and therefore rarely or vaguely described within the general writing conversation) principles of storycraft.
Let me state the complex in a succinct way:
I believe in, teach, write about and can substantially prove the value in mission-driven, criteria-based story development. I’m betting you may not have heard the writing proposition framed quite that way… and I’m also betting than the notion of criteria – not a magic pill, but a strategic logic – already appeals to you. Especially if you’ve been at this a while.
Too many writing gurus preach benchmark-free story development. And yet, stories that work always – not almost always, but always – touch on specific benchmarks, structural and otherwise… so why aren’t we talking about and writing in context to them?
We’re going to continue a deeper dive into all of this.
If you seek an alternative to the vague frustrations of “writing what you feel, because there are no rules, damnit, so we can just write without thinking about it too much,” all without some sense of how to navigate the creative options along the path… if you seek that higher ground, you’ve come to the right place.
I’m certainly not the only “guru-type” selling you the truth (Art Holcomb, for example, is spot-on with everything he says about storytelling, as is James Scott Bell, among others… read us all, and soon you’ll notice the commonality, as well as the nuanced differences), but I have coined some specific labeling and modeling, perhaps uniquely so, that many say make these principles immediately accessible.
I’ll also shine a light on what’s risky, and what isn’t valid thinking.
Take the common advice, “just write,” for example.
“Just write” can, if taken in a less than fully-informed way, become the most toxic writing advice you’ll ever hear. Yet, if you can wrap your head around the core principles you’ll encounter here (including the over 700 posts that are available in the Archives; use the search function to find articles on virtually anything concerning the craft of storytelling), you’ll find a rich new context from which to write your stories. You’ll discover an informed context, rather than simply writing what you feel without an understanding of how that fits into a professional storytelling paradigm.
Those who succeed at the “just write” approach usually do so – and will defend that advice vehemently – precise because their core storytelling instinct is already informed by these principles. Even without knowing that’s what’s going on.
I read recently (in a Writers Digest article) that mega-author JoJo Moyes (11 million books sold, and counting) claims to not know how she did that, and that when she begins a new book she feels totally lost. That’s what I’m talking about… obviously, her instincts are keen and her ear highly developed… perhaps, as she claims, without even knowing how or why.
Better to know, I hope you’ll agree.
This is advanced stuff.
And yet, it is the very foundational bedrock of what the new writer needs to understand. It is, in that way, paradoxical in nature, because the advanced craft of writing is no more than a deeper understanding of what newer writers must encounter and grasp (even if only instinctually) before they can truly get far from the starting gate.
So that’s my ongoing platform: framing the most basic, hardcore criteria and nature of the elements and essences of storytelling in ways that will clarify and make them more accessible to both the new writer and the working writer going forward.
If anything has gained me a spot at the table when it comes to writing about writing, it is that I seek to cull out, summarize and present the elemental essences of a story – both in terms of parts and reading experience, in function and in form – in a way that resonates with many. Even – perhaps especially – after they’ve heard it from others, or in courses from names like James Patterson that are really, when you boil it all down, some form of “this is how I do it” shallow rehash of the obvious, without a real thinking-writer’s template for understanding what a story needs to be, regardless of how you get there.
Even the novels of the deniers demonstrate the very principles that I will show you. Everything I offer up has that end-game in mind: a story that works. Really works.
Without bloodletting, suffering or years of frustration over a massive pile of rewrites.
Do you really want to take years to get there, and then not truly understand how you did what you did? And then, how to do it again, even better?
Can you really do what Stephen King does, the way he does it and advises you do it, too? Have you bought into the myth of relying on under-informed instinct, when you have access to the learning that will turn on the light of a higher understanding?
If you know what you’re doing – and believe me, this is something that can be learned – you can nail your story in two drafts. Art preaches this, too, in case you need outside confirmation. The more you understand about story criteria, the more you’ll apply it to the stories you develop.
Almost always, when “famous novelist” writes about writing, they will be focusing on process – their process – rather than the criteria and fueling of the end-product. It’s like LeBron James talking about his training and diet, rather than the fundamentals of the game he plays. Like, how to play defense against Stephen Curry.
So what’s next here?
I’m developing a multi-part series on “Core Craft for the Emerging Novelist,” which exists within one of my new video modules, as well. Look for at least 14 posts in that series.
I am doing a deconstruction of the novel, “The Girl on a Train,” which illustrates how the principles become visible, and therefore, confirming your understanding of how and why those principles apply. Look for that soon, inserted within the multi-part series I just mentioned.
Until then, here’s some hardcore content for you to chew on… right now. This link will take you to a post I wrote for Brian Klem (October 2013), which first appeared on the Writers Digest website that he manages.
A little taste of what is possible when you hunger for more craft.