I have this Story Trumps Structure book. Based on Steven James's practical experience as a successful novelist, I'd approach fiction writing this way (except I would just study his advice, then approach into the dark, because I believe James does things consciously, then he edits after). To overview in ten:
1. Start with tension, not structure - Begin with a character who wants something badly but cannot get it. This unmet desire is the engine of all stories.
2. Apply the Ceiling Fan Principle - From an funny anecdote to remember that a story only begins when something goes wrong. No disruption means no story.
3. Write organically - Instead of plotting beforehand, ask these three crucial questions:
- What would this character naturally do in this situation?
- How can I make things worse?
- How can I end this in a way that's unexpected yet inevitable?
4. Follow causality - Ensure each event is caused by what precedes it, moving from cause to effect, not effect to cause.
5. Build scenes around transformation - Only render scenes where something important is altered; otherwise, summarize.
6. Create dimensional characters - Give characters variable status across different relationships and situations. No one is dominant or submissive in every context. Focus on moral dilemmas and creating characters with genuine struggles.
7. Focus on reader engagement - Maintain the "story bubble" by avoiding anything that pulls readers out—clever literary devices, coincidences, or intrusive agendas.
8. Make and keep promises - Every word creates expectations. The more words you spend on something, the more important readers will expect it to be.
9. Escalate tension continuously - Don't just add more action; make the character's situation progressively worse until the climax.
10. Write the middle and end first - Discover where the story naturally leads, then go back and ensure the beginning points in that direction.
Remember James's core philosophy: story trumps everything that doesn't serve the reader. Rules, structures, and techniques are all subordinate to creating an emotionally engaging experience that keeps readers turning pages.
Overall, it reminds me of DWS essentials, and is ultimately similar (if deliberately Pantsing is) to Writing Into The Dark and Cycles as you explained in Writing Better Fiction.
Since you are still on the dialect topic at least somewhat, wanted to mention some recommendations I read for some dialects in fiction. In case anyone wants to read fiction books that use it. There recommended authors were Cormac McCarthy for southern USA, Joe Lansdale especially "Sunset and Sawdust" for East TX rural speech, Elmore Leonard, and Robert Parker for Boston Black and White dialects. I have not read any of these myself, just passing on if anyone is interested in these.
I have Stephen King On Writing, and I liked it, however, it wasn't actually for writers, but for fans. Or both. I found it the book was about how he made it, which was interesting. I like some of his books.
And I will look at this Steven James book. I have two shelves full of writing's books. Nah.
My latest read on the topic was Will Storr The science of storytelling. Maybe I mentioned it before, because I found it pretty helpful. The book is about storytelling, about how the brain actually works with stories, how the brain understood and create stories, how people's mind works, how people lie to themselves... One of the best I've read.
First off, I’m so glad you got the book and are enjoying it! I don’t know the author or anything haha, but it really is such a refreshing read and figured you’d appreciate it! That book, along with yours, Smith’s, and King’s are really the only books I’ve found that approach writing in this way. I wish more people would get a hold of this kind of advice. Arguably most writers are familiar with King’s On Writing, and although its great and inspiring he doesn’t get too far into the actual nuts and bolts of how to do it.
On another note, enjoyed the excerpt. It’s always good to see examples, especially those from the teacher’s own work. I know you’ve mentioned it before—the idea of mini scenes within a larger scene—and it really is a cool concept. That’s sort of what you talk about in “Writing Better Fiction” when you say that while overall scenes have cliffhangers that lead to hooks in the following scene, there are also smaller internal cliffhanger/hook connections WITHIN a scene that help to drive it forward, right?
Thanks, Ed, and thanks for mentioning Steven James' book in the first place.
With regard to mini scenes and internal cliffhangers and hooks, yes sir, that's exactly right. All good cliffhanger-hook combos drive/pull the reader through the story. And mini scenes occur in pretty much every fiction writer's work. The trick is recognizing them and using them to your advantage.
How could you not like a book with "Trump" in the title? Sorry, just a little political humor. I checked my Kindle library and found I already have the book. I just have not read it yet, but I certainly will now. Thanks, Harvey!
Harvey,
I have this Story Trumps Structure book. Based on Steven James's practical experience as a successful novelist, I'd approach fiction writing this way (except I would just study his advice, then approach into the dark, because I believe James does things consciously, then he edits after). To overview in ten:
1. Start with tension, not structure - Begin with a character who wants something badly but cannot get it. This unmet desire is the engine of all stories.
2. Apply the Ceiling Fan Principle - From an funny anecdote to remember that a story only begins when something goes wrong. No disruption means no story.
3. Write organically - Instead of plotting beforehand, ask these three crucial questions:
- What would this character naturally do in this situation?
- How can I make things worse?
- How can I end this in a way that's unexpected yet inevitable?
4. Follow causality - Ensure each event is caused by what precedes it, moving from cause to effect, not effect to cause.
5. Build scenes around transformation - Only render scenes where something important is altered; otherwise, summarize.
6. Create dimensional characters - Give characters variable status across different relationships and situations. No one is dominant or submissive in every context. Focus on moral dilemmas and creating characters with genuine struggles.
7. Focus on reader engagement - Maintain the "story bubble" by avoiding anything that pulls readers out—clever literary devices, coincidences, or intrusive agendas.
8. Make and keep promises - Every word creates expectations. The more words you spend on something, the more important readers will expect it to be.
9. Escalate tension continuously - Don't just add more action; make the character's situation progressively worse until the climax.
10. Write the middle and end first - Discover where the story naturally leads, then go back and ensure the beginning points in that direction.
Remember James's core philosophy: story trumps everything that doesn't serve the reader. Rules, structures, and techniques are all subordinate to creating an emotionally engaging experience that keeps readers turning pages.
Overall, it reminds me of DWS essentials, and is ultimately similar (if deliberately Pantsing is) to Writing Into The Dark and Cycles as you explained in Writing Better Fiction.
Hi Sebastian. Yes, ALWAYS "study his advice," keep what feels right to you, then write into the dark.
Since you are still on the dialect topic at least somewhat, wanted to mention some recommendations I read for some dialects in fiction. In case anyone wants to read fiction books that use it. There recommended authors were Cormac McCarthy for southern USA, Joe Lansdale especially "Sunset and Sawdust" for East TX rural speech, Elmore Leonard, and Robert Parker for Boston Black and White dialects. I have not read any of these myself, just passing on if anyone is interested in these.
Thanks, Carrie.
Hi!
I have Stephen King On Writing, and I liked it, however, it wasn't actually for writers, but for fans. Or both. I found it the book was about how he made it, which was interesting. I like some of his books.
And I will look at this Steven James book. I have two shelves full of writing's books. Nah.
My latest read on the topic was Will Storr The science of storytelling. Maybe I mentioned it before, because I found it pretty helpful. The book is about storytelling, about how the brain actually works with stories, how the brain understood and create stories, how people's mind works, how people lie to themselves... One of the best I've read.
Very cool, Balázs. After you've checked out the Steven James book, let me know how it compares with the one by Will Storr.
First off, I’m so glad you got the book and are enjoying it! I don’t know the author or anything haha, but it really is such a refreshing read and figured you’d appreciate it! That book, along with yours, Smith’s, and King’s are really the only books I’ve found that approach writing in this way. I wish more people would get a hold of this kind of advice. Arguably most writers are familiar with King’s On Writing, and although its great and inspiring he doesn’t get too far into the actual nuts and bolts of how to do it.
On another note, enjoyed the excerpt. It’s always good to see examples, especially those from the teacher’s own work. I know you’ve mentioned it before—the idea of mini scenes within a larger scene—and it really is a cool concept. That’s sort of what you talk about in “Writing Better Fiction” when you say that while overall scenes have cliffhangers that lead to hooks in the following scene, there are also smaller internal cliffhanger/hook connections WITHIN a scene that help to drive it forward, right?
Thanks, Ed, and thanks for mentioning Steven James' book in the first place.
With regard to mini scenes and internal cliffhangers and hooks, yes sir, that's exactly right. All good cliffhanger-hook combos drive/pull the reader through the story. And mini scenes occur in pretty much every fiction writer's work. The trick is recognizing them and using them to your advantage.
How could you not like a book with "Trump" in the title? Sorry, just a little political humor. I checked my Kindle library and found I already have the book. I just have not read it yet, but I certainly will now. Thanks, Harvey!
I didn't even know it was available as an ebook, but I like reference books in paper anyway. ::-)