How I draft stories

MATT THOMPSON

As part of my EngD project, I am creating ways for story authors to easily write narratives with multiple branches, along the lines of the Choose Your Own Adventure stories from the 1990s. Typically, this kind of story authoring is hard, as the number of material that needs to be written increases exponentially with the number of decision points.

Writing Is Thinking

When you write about your work, it makes all of us smarter for the effort, including you. Done well, this kind of sharing means you’re contributing signal, instead of noise. But writers are made, n…

The Anatomy of Story

”The Anatomy Of Story is concrete and practical without resorting to simplistic ‘Three Act Structure’ screenwriting clichés. It will be an indispensable guide to writing your first great script.” —Larry Wilson, co-writer /co-producer of Beetljuice and co-writer of The Addams Family THE ANATOMY OF STORY 22 STEPS TO BECOMING A MASTER STORYTELLER Faber & Faber launches John Truby’s The Anatomy of Story: 22 Steps to Becoming a Master Storyteller—a new Bible not just for screenwriters, but for any writer crafting the perfect story. Taking as his examples Jaws, Adventures of Huckleberry Finn, Tootsie, The Great Gatsby, The Godfather, Chinatown, and A Christmas Carol, among many others, Truby illustrates in The Anatomy of Story (Faber & Faber/Farrar, Straus and Giroux) what makes a great story and how to create that story, focusing on plot and premise, theme, characters, moral development, and crafting the kind of ending that brings readers and audiences back again and again. Additionally, Truby offers seven key story structure steps, which are the major stages of a story’s development and of the dramatic code under its surface. The Anatomy of Story is a step-by-step guide to constructing the best story possible—be it a screenplay, short story, or novel. Truby, who has taught his twenty-two-step Great Screenwriting and Genre classes to more than 20,000 students worldwide, is available to discuss: Top 10 mistakes writers make about story. Five best and worst questions about screenwriting. How the 22-step-approach is different from the 3-act structure. Five unique story elements of blockbuster films. Five best techniques of character and plot. John Truby is Hollywood’s premier story consultant and founder of Truby’s Writers Studio. He has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, FOX, and HBO, among others. Booklist  “ Hollywood story consultant Truby commits his vast knowledge of screenwriting and storytelling to the page in this handy guide for aspiring writers of all types. Truby delves into the setup, from basic structure to the premise and the depth behind it. From there, he moves into character, emphasizing the importance of not only the hero but also the characters in the story who aid and oppose him. Truby illustrates the importance of setting to the story and how careful plotting is needed to weave the elements of the story together. He cautions that plot is not incidental and requires careful management and timely revelations. Although most of his examples are from movies, such as Tootsie, The Godfather, and Star Wars, Truby also draws from novels and plays, and his advice is applicable not only to the hopeful screenwriter but to the aspiring novelist as well. A comprehensive guide to writing stories of all kinds, Truby’s tome is invaluable to any writer looking to put an idea to paper.” —Kristine Huntley Tweet

Write for people

Make it shorter.

Toward a durable writing stack – Writings and rehearsals by Nathan Schneider

I have benefited over the years from others who have documented their writing setups, and so I feel some obligation to pay the favor forward by doing so with my own. The stack I’ll describe here is one I’ve been iterating on for about twenty years, starting from when I began discovering the pleasures of plain-text writing. Every aspect of it has changed over that period, but the some basic goals and flows have been with me through the writing of my college thesis, five books, and hundreds of articles. I am quite happy with where I am, and others might benefit from what I’ve come up with.

Minimum Queue Publishing - Wesley's notes

A strategy for writing more often without losing momentum

On Writing #3

Periodically I like to gather various observations about writing, and share my perspective.

Long form writing in Logseq

An area that has traditionally been described as one of Logseq’s weak points is long form writing, however, with the right setup, it’s very much possible to get an excellent writing experience While writing long form text, such as while scripting videos, I absolutely adore the experience of using both iA Writer and Ulysses. They’re some of the best designed apps I’ve ever used and offer an unparalleled editing experience. At the same time, I absolutely love using Logseq and all my notetaking and outlining for videos happens there.

Creative Reading: Scaffolding Reading for Transformation

Reading augmentation systems increasingly help readers process text at scale. While these tools address real constraints of time and cognitive load, they often implicitly frame reading as information transmission, or "reading to discard," delegating interpretation and effort to the machine. Yet this delegation changes the outcome of reading. For example, in scholarly reading, deciding what a research text implies and why it matters is central to the work of scholarly production. We propose creative reading as an alternative goal: reading augmentation that supports readers in creating both readings and themselves as readers. By putting literary and narrative theories into conversation with scholarly sensemaking and creativity support, we present a provocation-oriented design space for valuing the process of reading as a way of preserving a plurality of readings and transforming readers over time.

Creative Reading: Scaffolding Reading for Transformation

Reading augmentation systems increasingly help readers process text at scale. While these tools address real constraints of time and cognitive load, they often implicitly frame reading as information transmission, or "reading to discard," delegating interpretation and effort to the machine. Yet this delegation changes the outcome of reading. For example, in scholarly reading, deciding what a research text implies and why it matters is central to the work of scholarly production. We propose creative reading as an alternative goal: reading augmentation that supports readers in creating both readings and themselves as readers. By putting literary and narrative theories into conversation with scholarly sensemaking and creativity support, we present a provocation-oriented design space for valuing the process of reading as a way of preserving a plurality of readings and transforming readers over time.

Dangerous Writing App

Dangerous Writing App. If you stop typing, all progress will be lost. Now with over 500+ writing prompts to choose from.

The best writing advice I’ve ever read comes from Robert Frost.

I write prose, not poetry, but the most helpful piece of advice I’ve ever read was written by a poet: Robert Frost, who was born 147 years ago today. In the second, expanded edition of his Co…

Writing by Hand is Good for your Brain - Here's how to do it

Because I am known to write using a fountain pen on paper, a number of people have pointed me to this post and its underlying research. I won’t rehash what is said in those sources, but the gist of it is that when you write things down by hand you’re recruiting more of your brain, which is a good thing.

From bench to bot: Why AI-powered writing may not deliver on its promise

Efficiency isn’t everything. The cognitive work of struggling with prose may be a crucial part of what drives scientific progress.