In the last post, we discussed how the most important element in a logline is often the element that reveals the story's hook(s). But what is a hook? Let's find out. What is a hook? Generally speaking . . . “A hook is a device for catching, holding, sustaining, or pulling anything--in this case, a … Continue reading Story Hooks: What are they?
Logline Revisited: Are some components more significant than others?
I got a comment the other day, on the post about NYTBS one-line synopses, asking whether the significance of each logline component varies according to the sort of story it's describing. Also requested was a list of the components ordered by most significance. These are great questions, and my answers ended up being pretty long … Continue reading Logline Revisited: Are some components more significant than others?
Rhythm and Sequences: How Graeme Simsion does it
We've been looking at the rolling, mid-level rhythm of story, and how sequences might be the way to achieve that. The Bestseller Code gave us a list of the top ten books with good rhythms (none of which were as good/steady as TDC and FSoG). The book I picked from the list to test the … Continue reading Rhythm and Sequences: How Graeme Simsion does it
Sequences: What are they?
Last post, I said I'd do a master storyteller post, or three, on Rhythm. Well, I found that I needed more guidance. Determining page-by-page, scene, and overall-plot rhythms were easy enough, but determining that rolling mid-level rhythm, the one that spans 50 or so pages between crests/troughs--the one that seemed so important to The Bestseller … Continue reading Sequences: What are they?
Rhythm in Plotting: The Bestseller’s best-kept secret – Part 2
We're looking at how to create the regular, rhythmic beat that The Bestseller Code says exists in the top two bestselling adult books of all time, Fifty Shades of Gray and The Da Vinci Code. When we left off last week, we were wondering how, specifically, to create this rhythm. The goal is to alternate negative … Continue reading Rhythm in Plotting: The Bestseller’s best-kept secret – Part 2
Rhythm in Plotting: The bestseller’s best-kept secret – Part 1
Have you read The Bestseller Code? The authors, Jodie Archer & Matthew L. Jockers, say that the two bestselling adult books of all time--Fifty Shades of Gray and The Da Vinci Code--share a "regular rhythmic beat" that no other books share, at least not as closely. Whether coincidence or not, don't you kind of want … Continue reading Rhythm in Plotting: The bestseller’s best-kept secret – Part 1
An Interview with Craft Master H. R. D’Costa
Oh, People, have I got a treat for you! For those of you who have visited the Favorites page, you might recognize H. R. D'Costa as the author of WWT's reigning plot book, Sizzling Story Outlines*. Well, I got this crazy idea to ask her if she'd be willing to do an interview with us--and SHE SAID YES! … Continue reading An Interview with Craft Master H. R. D’Costa
Character Introductions: In our own work
Almost done with Character! We've been looking at how to select details to best convey characterization. Last week we came up with some details for Amos Anderson, the main character of one of the stories we've been developing. Now let's use those details as fodder for his introduction using the seven methods of character introduction … Continue reading Character Introductions: In our own work
Character Names, Details, and Introductions: In our own work
We've been looking at how to select character details and introduce characters. Today, we're going to select some concrete details for the main character of one of the stories we've been working on and then next week we'll try out some introductions. Let's use the main character from our human-rights-attorney story: Set in the mid 1950’s, … Continue reading Character Names, Details, and Introductions: In our own work
Characterizing Details: How Thomas Harris Does It
I read Red Dragon* again recently. Let's look at the details Thomas Harris chose for his antagonist's introduction, in Chapter 9, which consists of a scene at work and a scene at home. These details are mostly from the first scene, his public persona. Name: Francis Dolarhyde. People at work call him Mr. D, which … Continue reading Characterizing Details: How Thomas Harris Does It
Writes With Tools 