A couple weeks ago we looked at how master novelists write one-line synopses. One of them really emphasized stakes, so I picked that one to read with an eye for developing, heightening, and deepening stakes. Ladies and Gents, I give you: some of the stakes in James Patterson's Hope to Die. SO HOW DOES PATTERSON DEVELOP HIS STORY’S … Continue reading Stakes: How James Patterson does it
Stakes: So what? Who cares?
The masters agree: stories most often fail because the stakes aren't high enough. But there is plenty we can do to ensure lack of stakes doesn't happen to our stories. What are Stakes? Although many masters discuss them, only a few actually define stakes: For Karl Iglesias, "Stakes are what your character has to win or lose;" they "are … Continue reading Stakes: So what? Who cares?
Designing Principle: Show us what you’ve got!
Designing Principles can come instantly, along with the initial idea. But often they are hard-won. If they come at all. I considered trying to come up with a designing principle for one of the two premises we developed last week, but... I’ve got nothing. The only made-up designing principle I can offer you is this... … Continue reading Designing Principle: Show us what you’ve got!
Designing Principle: Examples from the Masters
The designing principle, more or less, is the collection of creative things you do to present and tell your story. In no particular order, here are some examples of how the masters have done it: 13 Reasons Why by Jay AsherThis is about a boy who learns why a girl has committed suicide. Its designing principle … Continue reading Designing Principle: Examples from the Masters
Designing Principle: What is it?
This tool is really an opportunity. It’s a prompt to get you thinking about your story and about how you might tell your story in an original way. What is it? John Truby says that the designing principle is stated in one line and is the "overall strategy for how you will tell your story." … Continue reading Designing Principle: What is it?
Writing–and Improving–The One-Line Synopsis
Today we’re expanding a couple of last week’s concepts into synopses and then trying to improve them. First I wrote out my first-thought, all-seven-components synopses, with each component identified with {W}orld, {C}haracter, {I}nciting Incident, {G}oal, {A}ction, {P}roblem, and {S}takes, with {i}mplicit components and questionable {?} components indicated. And then I did a stream-of-conscious application of this week’s criteria for a … Continue reading Writing–and Improving–The One-Line Synopsis
The One-Line Synopsis: How the Best Sellers Do It (Or At Least the People Who Write the List)
I’ve lifted these synopses from the January 18, 2015 New York Times Best Seller Lists. In each one, I’ve identified any synopsis components with: {W}orld, {C}haracter, {I}nciting Incident, {G}oal, {A}ction, {P}roblem, and {S}takes. I've also indicated if the component is {i}mplicit...to my ears anyway. And, if I wasn't sure if a word or phrase indicated … Continue reading The One-Line Synopsis: How the Best Sellers Do It (Or At Least the People Who Write the List)
The One-Line Synopsis: What is it and how do you write one?
Time to expand the concept into a one-line synopsis. Some people call this tool the logline or the one-liner, and lots of people also call it the premise. I was one of the premise people until I started digging into the tool and saw that a lot of people also use premise synonymously with theme … Continue reading The One-Line Synopsis: What is it and how do you write one?
High Concept: Let’s See What You’ve Got
Sharing our own concepts.
Concept: How the Masters do it
A look at the concepts of some best sellers.
Writes With Tools 