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Larry Brooks - Story Engineering

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Larry Brooks Story Engineering
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What makes a good story or a screenplay great?

The vast majority of writers begin the storytelling process with only a partial understanding where to begin. Some labor their entire lives without ever learning that successful stories are as dependent upon good engineering as they are artistry. But the truth is, unless you are master of the form, function and criteria of successful storytelling, sitting down and pounding out a first draft without planning is an ineffective way to begin.

Story Engineering starts with the criteria and the architecture of storytelling, the engineering and design of a story--and uses it as the basis for narrative. The greatest potential of any story is found in the way six specific aspects of storytelling combine and empower each other on the page. When rendered artfully, they become a sum in excess of their parts.

Youll learn to wrap your head around the big pictures of storytelling at a professional level through a new approach that shows how to combine these six core competencies which include:

  • Four elemental competencies of concept, character, theme, and story structure (plot)
  • Two executional competencies of scene construction and writing voice
The true magic of storytelling happens when these six core competencies work together in perfect harmony. And the best part? Anyone can do it!

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STORY ENGINEERING

MASTERING THE
CORE COMPETENCIES
OF SUCCESSFUL WRITING

LARRY BROOKS

Story Engineering - image 1

STORY ENGINEERING. Copyright 2011 by Larry Brooks. Manufactured in the United States of America. All rights reserved. No other part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published by Writer's Digest Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio 45236. (800) 289-0963. First edition.

For more resources for writers, visit www.writersdigest.com/books.

To receive a free weekly e-mail newsletter delivering tips and updates about writing and about Writer's Digest products, register directly at http://newsletters.fwpublications.com.

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Library of Congress Cataloging-in-Publication Data
Brooks, Larry.
Story engineering : mastering the 6 core competencies of successful writing / by Larry Brooks. 1st ed.
p. cm.
ISBN 978-1-58297-998-4 (alk. paper)
eISBN 13: 978-1-5996-3281-0
1. Fiction Authorship. 2. Fiction Authorship. I. Title.
PN3355.B744 2010
808.3 dc22

2010034244

Picture 2

Edited by Scott Fracis
Designed by Terri Woesner
Production coordinated by Debbie Thomas

DEDICATION

For Laura and Nelson

PRAISE FOR LARRY BROOKS ANDSTORY ENGINEERING

Larry Brooks's Story Engineering is a brilliant instructional manual for fiction writers that covers what the author calls the Six Competencies of Successful Storytelling. The author presents a story telling model that keeps the writer focused on creating a dynamic living and breathing story from concept to the beat sheet plan, through story structure and writings scenes. It's a wonderful guide for the beginner and a great refresher for the pro. I guarantee this book will give you new ways to fire up your creativity.

Jim Frey, author of How to Write a Damn Good Novel, How to Write a Damn Good Thriller, and Gift of the White Light

Larry Brooks' groundbreaking book offers both novelists and screen-writers a model for storytelling that is nothing short of brilliant in its simplicity, its depth, its originality and its universality. Following his unique process is guaranteed to elevate your writing to the highest professional level.

Michael Hauge, author of Writing Screenplays That Sell, and Selling Your Story in 60 Seconds

Nobody on the planet teaches story structure better than Larry Brooks. Nobody.

Randy Ingermanson, author of Writing Fiction For Dummies

A useful guide explaining how to transfer screenwriting techniques to the craft of novel-writing. Good for screenwriters, too, summarizing the essence of entertaining commercial storytelling with great clarity.

Christopher Vogler, author of The Writer's Journey: Mythic Structure for Writers

INTRODUCTION

As a bit of a cynic a result of actually having worked in the writing business I asked myself if the world really needs another book about writing. Another how-to from an author who, frankly, isn't exactly a household name. A quick Google search reveals there are 128,000,000 available resources on the subject of how to write a book. (It also provides 1,380,000 hits on my name, but even after five published novels I'm not kidding myself.)

Maybe 128,000,001 won't make that much difference either way.

Unless, perhaps, it offers something original, clarifying, and empowering for writers who are tired of hearing the same old thing delivered in the same old inaccessible, rhetoric-clouded way. A new twist on the old language about storytelling. Something that cuts across all genres and categories, from novels and screenplays to memoirs, articles, and even essays.

I understand guys like Dean Koontz and David Morrell and Stephen King doing it. My guess is (and here's the cynic in me) that it was their publisher's idea, hoping to cash in on the abundant name equity of those authors. Having read a bunch of these books myself, never once have I found a writing book or workshop that cuts to the core issues of the craft in a completely clear and accessible way (maybe it can't be done, maybe writing will always remain an elusive avocation) and that actually delivers a development model and process based on accepted criteria for effective storytelling.

Or, more clearly stated: a writing book that shows storytellers what to write, where to put it, and why it works there without any of it being remotely formulaic.

Elusive or not, that's not asking too much.

Most writing books are aesthetically driven.

The trouble is, in their execution stories are every bit as engineering driven as they are artistic in nature. And that particular context of learning gets next to no coverage in the oeuvre of writing instruction.

Writing teachers of all types will eagerly tell you what needs to be done your story needs heart we need to experience the journey of the hero you need pacing and crisp prose but few offer anything about how you get it done and in what order it needs to happen, step by excruciating step. Mostly their instruction is about theories and aesthetic sensibilities, all valid, while delivering less than precise advice. Even Stephen King, an author whom I respect, suggests in his book On Writing that once you stumble upon the seed of an idea, you should just sit down and start writing a story about it. That the first draft is for you and the subsequent drafts are for someone else.

Right. Just take off with it and see where it takes you. As if what you'd write for yourself is somehow less critical or not subject to the harsh light of analysis or the standards of solid storytelling that apply to everyone else. As if making stories up without a clue how to write them well will somehow satisfy your artistic jones.

Where that takes you is back to the drawing board.

But it doesn't have to be that way. Unless you are a master of the form, function, and criteria for successful storytelling and King certainly is this is a highly inefficient and, therefore, ineffective way to write your story. When it comes to storytelling, pain is optional. When it comes to selling your story, though, pain is inevitable but that's another book altogether.

King's approach known as organic writing or, in some circles, pantsing (for seat-of-the-pants storytelling) may actually work for some, but that's only if a) you know what you're doing to the extent that you don't need to plan out your story; b) you somehow stumble upon the proper structural sequence and intuitively meet all the criteria for the various essential components; and c) you're willing to complete the inevitable rewrites that come with writing without a story plan. And yet, this is the default approach for nearly every new writer and a startling percentage of established ones, published and nonpublished alike. Some actually

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