The Onion Method: Building Better Stories by Talking to Yourself

Reimena Yee’s Onion Method For Outlining Graphic Novels is one of the more interesting approaches I’ve seen to planning a story in a while. At first I thought it was going to be another take on the Snowflake Method, but I quickly discovered her approach is something very different. Not only that, it’s a more character-centered approach to planning a story than most of what you see online.

In essence, she explains this method as follows:

The Onion Method is a outline method that consists of two major elements (Character-Driven Plot, and Thematic Thesis) riffing off each other. One informs the other, vice versa, creating multiple alternating layers in conversation.

Image copyright Reimena Yee.

Now you see where the onion metaphor came from.

These two elements together will create an Onion Story – a character-based story that when cut open, reveals layers upon layers of character motivation and story themes, ideas, topics, messages in conversation with each other.

In actual practice, as she lays out in her long post about this method, this is basically a method where plot/theme stuff happens and then character responds to it. You could almost call it the Call and Response Method or the Socractic Dialogue method, since basically the idea is that the plot and theme become characters who talk to each other. Through this “conversation” the writer figures out the story and how plot/character and theme are going to interact with each other.

As I understand it, it would would work a little like this:

Plot/Character (P/C): A weapons engineer from our world wakes up one morning to find he’s in the body of a prince in a magical fantasy setting.

Theme: Cool idea. Is he going to use his skills to change that world? This story is about taking responsibility for your actions.

P/C: Heck no! He’s going to use them to make himself richer by building and selling modern-ish weapons to the lords of the kingdom.

Theme: Whoa there! That might make him rich, but won’t that destabilize the kingdom? He’s basically setting things up for a civil war.

P/C: Yeah. When they start using those weapons, a lot of people will die. He’s going to feel really scared.

Theme: So he’ll try to clean up the mess he’s made?

P/C: LOL. No, he’ll move to a new kingdom using all the gold he’s made and live a high life as a rich merchant while letting the old kingdom fall apart. He’s not a responsible type of guy.

Theme: But, he needs to take responsibility.

P/C: Well, when the old kingdom falls apart, a warlord rises up and takes over using the weapons the main character made. After that, the warlord sets his sights on the new kingdom the MC is living in.

Theme: So, he’ll have to decide whether to run again or arm the new kingdom to fight the Warlord.

P/C: Exactly, in the new kingdom he found people he really cares about, and they’ll all die if he doesn’t man up and fix his mistakes. They’re willing to run away with him, but he realizes that eventually the warlord will keep coming and destroying his newfound happiness unless he gets serious and takes a stand.

Theme: Sounds like he’s maturing and learning a hard truth.

P/C: Pretty much. But is isn’t so simple. He doesn’t want the new kingdom to suffer the fate of the old one, and he’s afraid that will happen if he just arms the local lords with machine guns.

Theme: So what does he do to avoid problems?

P/C: He creates a special mercenary force just loyal to him and turns them into a special forces commando unit. Introducing big changes is bad, but small surgical changes won’t be as harmful. Then he uses them to attack the weapons factories of the warlords and stop the production of weapons. Then they capture the Warlord and stop the war.

Theme: But what about the old country? Won’t the new one invade it? Isn’t it a mess? That’s his fault too.

P/C: Well, about that… (and the dialogue continues)

The best way to think of this is that the Plot/Character is trying to tell their story, but their “friend” the Theme is constantly asking questions and making comments related to that theme or idea. It’s job is to drag the story back to being about that theme and keep the theme front and center as the story plays out.

If you put the focus on plot, like I did above, it becomes a dance between the plot/character and theme as they negotiate with each other. If you did it with a character and theme, it would come out a little different as the focus would be more about how the character develops related to the theme. You end up with a story about how the character’s flaws are brought into the light by having to confront the elements of the theme.

Character: The MC is a shy 15 year old Canadian girl with no friends.

Theme: But making friends brings out the best in people, she needs to learn to overcome her shyness and make friends.

Character: But she has no social skills and crippling anxiety.

Theme: Then she’s going to need to do something that will require her to overcome that. What could make her face her problems head-on?

Character: She needs to work after her mom gets sick. She has to take on a part-time job to feed the family, and she NEEDS to make this job work.

Theme: What job would make her confront her flaws?

Character: A job in sales. Maybe jobs are hard to get, and that’s the only one available. Her mother’s friend gets it for her.

Theme: Sales as in corner store? Sounds boring. What would be the most extreme sales situation she could face?

Character: A high-end clothing store?

Theme: Sure! She has to work at a high-end clothing store, but she has no social skills, can’t deal with people, and of course no fashion skills. Who is going to help her with that? She needs a mentor to help her overcome her challenges.

Character: Well… (and the dialogue continues)

I think it was manga creator Tetsuo Hara who said that “manga is created in the conversation” (although I might be mis-attributing this to Hara-sensei) and one of the ways to interpret this statement is that manga creation is the result of two creative people (the creator and editor in the Japanese manga system) throwing ideas back and forth. The creator has wild ideas, and the editor keeps them on track and focused.

In a real sense, that’s what’s happening here in the Onion Method. The writer is simulating a conversation between a creator and editor about the story they’re trying to develop, using their own imagination to play both parts. By doing this, a story is produced which has a theme built into it without having to laboriously think through every part of the story from a thematic perspective.

If you struggle with theme sometimes (like I often do), but are good at writing dialog, this could be a good hack to solving that problem.

Also, as Reimena says in her original post, you can then take this dialogue and develop it however you like. Whether it’s just jumping into writing the full story, turning around and breaking it down into your story structure of choice, or digging deeper into different parts of it by having separate conversations about those parts with the same theme.

There’s a lot of potential here for some writers, and it might be worth playing with and exploring the Onion Method to find out if it works for you.

Have fun!

Rob

The (Classic Doyle) Whydunnit Formula

The Adventure of the Red-Headed League | Baker Street Wiki | Fandom

‘Is there any point to which you would wish to draw my attention?’

‘To the curious incident of the dog in the night-time.’

‘The dog did nothing in the night-time.’

‘That was the curious incident,’ remarked Sherlock Holmes.’

― Arthur Conan Doyle, “Silver Blaze

Things might not always go as planned, but there is always a reason why things happen. A whydunnit is a search for causes in order to understand the effects. Doyle wasn’t very concerned with motivation (most his criminals act simply from greed or anger), but he was a master of the art of finding interesting ways of framing events so that even things which were normal parts of life could seem strange and mysterious until Holmes unravelled them for the audience.

Strange happenings, people acting weirdly, unusual requests – these were all common ways a Sherlock Holmes whydunnit started, and the audience was then carried on a quest to find the reasons for these bizarre events and the more sinister causes which often lay behind them. By following the trails of logic, and backed up with his encyclopedic memory, Holmes was able to match result with action and often bring criminals to justice despite their elaborate schemes. 

A typical whydunnit looks a little like this…

Introduction (15% or less of the story, 900 words in a 6000 word story)

  • The main detectives are introduced in an interesting way which shows off their personalities. Often the detective shows off their incredible abilities by doing something that amazes the audience and other characters.  
  • A new character with a problem (hereafter called the “innocent”) appears before them and the main detective character shows off their detective skills by guessing information about the Innocent.

The Situation (35%, 2100 words)

  • The Innocent tells the detective characters about their problem. The innocent tells them the details of what happened which lead them to coming to see (or calling for) the detectives.
  • Something strange has happened to the Innocent and the reasons for this strange event will be revealed to be linked with a crime as the detectives investigate. The strange events are usually the result of a) a crime being hidden as it occurs, b) a crime being covered up after the fact, c) the Innocent being tricked into being part of a crime without knowing it. The crime can be murder, but is usually robbery or theft of some kind.
  • Regardless, the Innocent will tell the detectives their story, which will include all suspects (although they may be under fake names), the important details of the events they’ve experienced, and a few important clues (which they might not realize are clues and just think are details). The detective will catch these clues, but probably won’t put them together or mention this to the audience. The clues should be worked into the story in such a way that they don’t stand out as being clues and fit in with the rest of the Innocent’s story unless the audience pays very careful attention.

The Investigation (20%, 1200 words)

  • The detectives will take action to help the Innocent, usually by going out and gathering more clues or information.
  • If there’s not a lot of information, then we might follow the main detective and their partner as they talk to various people involved in the case. They may interview witnesses, examine crime scenes, or collect the stories of the people involved.
  • If there’s a lot of information to be gathered from various sources, the main detective and their partner may split up and then meet again later to compare notes. This is to speed up the process of telling the story by having one or both of them summarize the information they learned for each other and the audience.
  • Often the case will get stranger, or there will be a twist, near the end of this phase (but not always). The most common twist is the elimination of the “red herring” cause where the most likely reason is thrown out the window by new evidence.
  • At the end of this phase, the main detective (and the audience, maybe) will have the key information they need to solve the case and will often say that they know to their partner. (But not tell the audience what they’ve figured out.)

The Reveal (30%, 1800 words)

  • The main detective will now take steps to catch the guilty party.
  • This type of story usually ends with the detective finding the criminals and forcing them to confess the real crime they were hiding behind the strange events the Innocent experienced. The end of this one can come in many flavors, but usually either a) the criminal is caught while doing the crime they were trying to cover up with the strange events, or b) the criminal tried to commit the crime but has already failed for other reasons by the time the detectives confront them. In either case, the detective reveals everything that they figured out, and the criminal fills in the missing details. Especially if the criminal has failed due to their own mistakes (or bad luck), the criminal is just so depressed they don’t care anymore, which is why they tell all.
  • With the crime laid out, the audience should be able to look back now and see clearly how everything fit together in a reasonable way. There should be no magic powers, acts of god, or huge co-incidences, and everything should make sense.
  • Usually, there is one last unanswered question, and in the final scene the detective’s partner or the Innocent asks it to the main detective, and the detective answers them in some interesting way. The final scene usually ends on either a final thought or (in later stories) on an amusing note to balance out any tragedy which the ending revealed with positive emotions.

While Doyle seems to have been fond of whydunnits, they are largely the least common type of mysteries and audiences don’t seem to be as attracted to them as the other two types. This might be because they usually have the least exciting endings- the detective is learning why something happened like a curious dog following a scent, and then having found the scent the story just ends. Often in Doyle’s whydunnits, the criminal has already lost by the time Holmes tracks them down, and Holmes is just there to witness their tragic fall, not bring them to justice.

This is why Doyle often combined his Whydunnits with the other two types of mysteries, using strange events to lead into a whodunnit or howdunnit. Often the whydunnits which lead many of his stories are the results of distractions from real crimes or a side-effect of people doing something criminal or immoral. Cases such as the Red Headed League or the Christmas Goose are good examples of these.

That doesn’t mean pure whydunnits can’t be interesting, they can be very interesting in the hands of a skillful writer, but they can be the hardest of the three types to write well. Answering the question of why something happened isn’t as naturally exciting as revealing a hidden villain or cracking an impossible puzzle, so the writer needs to come up with an ending that’s going to get a strong emotional reaction from the audience to make it memorable.

The (Classic Doyle) Howdunnit Formula

Sidney Paget - The Adventure of the Speckled Band | Adventures of ...

Solving “impossible crimes” was one of the things Holmes was most famous for, and Doyle was fond of coming up with puzzles to challenge his great creation. In fact, a good way to think of a howdunnit is as it being a puzzle.

“How did the killer get in and out of the locked safe with guards around it?”

“How did the thief cover the distance between a party and the crime scene faster than a car can travel?”

“How did the victim die without leaving any evidence behind?”

The answers to these puzzles will lead to solving the crime, and preventing the criminal from getting away with their immoral actions. Maybe it will stop them from killing again? Maybe it will prevent them from getting on a plane to freedom? Either way, the puzzle is the key.

In Doyle’s case, a howdunnit usually runs something like this…

Introduction (15% or less of the story, 900 words in a 6000 word story)

  • The main detectives are introduced in an interesting way which shows off their personalities.
  • A new character with a problem (hereafter called the “innocent”) appears before them and the main detective character shows off their detective skills by guessing information about the Innocent.

The Situation (35%, 2100 words)

  • The Innocent tells the detective characters about their problem. The innocent tells them the details of what happened which lead them to coming to see (or calling for) the detectives.
  • A crime has been committed, and usually there is only one main suspect, but there is no proof they did it and the detective must figure out how the crime was committed to stop them from committing another crime or getting away.
  • The Innocent will tell the detectives their story, which will include all suspects (although they may be under fake names), the important details of the events they’ve experienced, and a few important clues (which they might not realize are clues and just think are details). The detective will catch these clues, but probably won’t put them together or mention this to the audience. The clues should be worked into the story in such a way that they don’t stand out as being clues and fit in with the rest of the Innocent’s story unless the audience pays very careful attention.

The Investigation (20%, 1200 words)

  • The detectives will take action to help the Innocent, usually by going out and gathering more clues or information.
  • If there’s not a lot of information, then we might follow the main detective and their partner as they talk to various people involved in the case. They may interview witnesses, examine crime scenes, or collect the stories of the people involved.
  • If there’s a lot of information to be gathered from various sources, the main detective and their partner may split up and then meet again later to compare notes. This is to speed up the process of telling the story by having one or both of them summarize the information they learned for each other and the audience.
  • Often the case will get stranger, or there will be a twist, near the end of this phase (but not always). The most common twist is the elimination of the “red herring” where the most likely method of committing the crime is eliminated as the way it was done. 
  • At the end of this phase, the main detective (and the audience, maybe) will have the key information they need to solve the case and will often say that they know to their partner. (But not tell the audience what they’ve figured out.)

The Reveal (30%, 1800 words)

  • The main detective will now take steps to catch the guilty party.
  • The detectives will set a trap for the criminal, usually by getting one step ahead of them and laying in wait. If the criminal is using the same “secret method” again, the detectives will often replace the victim to catch them in the act and then reveal how the criminal made a mistake that let them get a step ahead and prove the criminal’s guilt. If the criminal had a perfect crime, the detective will trick them into thinking they made a mistake, and then catch them when they try to cover up the mistake or flee. Confronted with the truth, the criminal will confess all, or if they died as the “secret method” kills them instead of their intended victim, the detective or someone else will fill in the missing pieces.  
  • With the crime laid out, the audience should be able to look back now and see clearly how everything fit together in a reasonable way. There should be no magic powers, acts of god, or huge co-incidences, and everything should make sense.
  • Usually, there is one last unanswered question, and in the final scene the detective’s partner or the Innocent asks it to the main detective, and the detective answers them in some interesting way. The final scene usually ends on either a final thought or (in later stories) on an amusing note to balance out any tragedy which the ending revealed with positive emotions.

One interesting feature of a howdunnit is that they are sometimes played as a sort of duel between the detective(s) and the culprit. The culprit is often (but not always) an active character in the story who the detective is interacting with and the detective gets to know as the story goes on, and since howdunnits can more easily be victimless crimes, the culprit might even be sympathetic in their goals. Or, the criminal may be a very unlikeable person who taunts the detective with their lack of proof and angers the audience like a true villain until the detective finally outwits them in a final display of brilliance or skill at the end.

The challenge with writing howdunnits is to come up with a puzzle that isn’t too easy for the audience to figure out while giving them enough clues to make it possible to solve before the end. Even Doyle didn’t always play fair in this regard, and sometimes slightly cheated to make sure the audience couldn’t guess until the end. However, whenever possible you should avoid doing that if the puzzle is the main question you build your story around.

A suggestion for writing these stories is to come up with the method for doing the “impossible crime” first, and then figure out what kind of crime it’s best used with. However, whatever method you use to plan it, thinking through the crime before writing is a must!

The Three Mysteries of Arthur Conan Doyle

Sherlock Holmes | Description, Stories, & Facts | Britannica

While making my way through Stephen Fry’s astoundingly good Sherlock Holmes: The Definitive Collection on Audible, I began to notice a pattern in Arthur Conan Doyle’s stories. Story after story in the collection tended to follow one of three different patterns, and after I started taking notes, I began to realize that these three patterns didn’t just apply to Holmes’ stories, but mysteries in general.

Using the language of mystery fans, I classify these three patterns as “whodunnits,” “howdunnits,” and “whydunnits.” For those not familiar with the term “dunnit,” it’s a slang version of “done it” and traditionally connected with “whodunnit” (who has done it) mysteries. And, in this and the following posts, I’ll be discussing each of them as they relate to the Holmes stories and the rough story formulas each of them is used in classic Holmes stories. Of course, these formulas can be applied to any plot or subplot to get a mystery out of them.

Let’s look at each in order of their popularity.

Whodunnit: A mystery story built about the question of who committed a crime. When most people think of mysteries, or “murder mysteries,” they’re thinking of whodunnits. In these stories, there will be two or more possible suspects who may have committed the crime and by the end of the story the detective will have figured out which one did it. There might be questions about how a crime was done, or motives, but ultimately everything leads back to the central question of who the criminal was. A classic Holmes whodunnit is “The Adventure of the Abby Grange.”

Howdunnit: A mystery story built around the question of how a crime was accomplished. A classic example of the howdunnit is the “locked room mystery,” which is defined on Wikipedia as a crime being “committed in circumstances under which it was seemingly impossible for the perpetrator to commit the crime or evade detection in the course of getting in and out of the crime scene.” These are also called “impossible crime” mysteries, for obvious reasons. Of course, there are other kinds of howdunnits as well, like a crime where the criminal seems to have been in two places at once, but the focus of these stories will always be the central question of how a crime was committed. In fact, often the criminal is known to both the reader and the detective(s), but to lay the hands of the law on the criminal requires figuring out how the crime was even possible first. A classic Holmes howdunnit is “The Adventure of the Speckled Band.”

Whydunnit: A mystery story built around the question of why something has happened (or is happening). These stories usually come in two flavors – motives and events. A motive-based whydunnit is built around the question of why a character did something, usually a crime. An event-based whydunnit is usually built around the question of why something out of the ordinary happened. Doyle made use of both, but he especially loved to write event-based whydunnits because of their ability to shock and intrigue readers. In a Doyle story, the reason behind the event is usually a crime, but one which is seen from a strange angle (often that of someone affected by the crime indirectly) and then when the events are seen correctly everything becomes clear. The story may involve elements of whodunnits or howdunnits, but the central mystery will always be why something did or did not happen. A classic Holmes whydunnit is “The Adventure of the Red Headed League.”

Of course, these stories are often not “pure” and often contain elements of each other as plots and subplots, and you can even have a story that contains all three- a mysterious criminal who commits an impossible crime for unknown reasons. However, especially with short stories, there is usually one of these three which is the dominant mystery question to be solved. Which one it is can usually be discerned by it being the last question the story answers, since once it is done, the story is effectively over.

Making each of these the focus of a story can change the story quite a bit, since each of them has their own special rules and quirks that will be discussed in turn in each of the following posts. Just click on the links below to look at how Doyle writes each in more depth.

Lastly, some of you might be saying, “Wait a moment, Rob! What about Whatdunnits? Whendunnits? and Wheredunnits?” If we’re playing with question words, wouldn’t those be stories too?

And you, intelligent reader, would be right, but those three are rarely the focus of a mystery story for good reasons.

A “whatdunnit” would be in a weird space between a “whodunnit” and a “howdunnit”, but really covering neither of them well. If a non-living (or non sentient) thing committed a crime (or other act) then technically it’s a “whodunnit” with a non-living suspect. This has been done, usually in stories where the victim accidentally killed themselves with some weapon or object, and the twist is that all the suspects were innocent. On the other hand, if the “whatdunnit” is about what object/method was used to commit a crime, then the term “howdunnit” is better because it covers a lot more possibilities.

A “whendunnit” or “wheredunnit” would build a story about the time or place a “crime” (or other act) occurs, but in most stories those are just pieces of information that lead to answering other questions. In fact, time and place are usually parts of “howdunnits” when they’re the focus of the story, so that category also covers them already.

Now, on to the formulas!

The (Classic Doyle) Whodunnit Formula

The (Classic Doyle) Howdunnit Formula

The (Classic Doyle) Whydunnit Formula

Figuring Out What to Write

Some writers have problems deciding on what ideas to use and what to leave on the table. However, the solution is pretty simple- you need to sell yourself the idea before you sell it to an audience. If you’re not interested, an audience likely isn’t either.

One approach to solving this problem is writing a book blurb for your story, which lays out the fundamental ideas of the story in an interesting and lively way that attracts readers. If you get excited reading/writing this blurb, then that story might be for you!

Blurbs are written using formulas, and one of the best I’ve come across can be found here.

However, if writing a full book blurb is still too much for you, a simple core premise logline might be better at getting you started.

A Core Premise is the central idea of your story and a seed from which the rest of the story will grow. With it, you’ll know the story you’re trying to tell, and have a guiding star leading the way to the end!

To find your Core Premise, you’re going to use a very basic technique that writers for movies have been using for a long time. In the movie business, writers often approach producers and directors with ideas for films, but they use a very simple structured version of their idea called a logline to get maximum effect and make the producers interested. If they can use it to sell a movie to producers, you can use it to sell a story to yourself- so let’s get started!

A great Core Premise needs to describe most of the following things:

  1. One or two adjectives about the main character. (to give them personality)
  2. The main character’s role or job. (Don’t use a name, just their role for now.)
  3. Anything that’s important to know about the setting or setup for the story.
  4. What the main character’s clear goal is.
  5. One or two adjectives about the opposition. (to make them interesting)
  6. The antagonist, opposition or challenge they face. (Also no names, use roles instead.)
  7. A hint of what will happen if the protagonist loses, or the stakes involved. (to add drama)

These can be presented in any order, but usually go in the above order, and will produce one or two sentences that look like this:

A mousy college student (adjective, who) working in a used bookstore (setting) must find a mysterious book (goal) when her co-workers are possessed by evil spirits (adjective, opposition) that will escape the store at nightfall (stakes).

An overworked executive assistant (adjective, who) at a large corporation (setting) must choose between her work and her family (goal) when a long-time rival (adjective, opposition) threatens to steal a big project (stakes) during a family crisis.

A high school student (adjective, who) must find a way to tell her long-time crush her true feelings (adjective, challenge) before she moves to a new city and they lose touch forever (stakes).

It’s actually pretty easy and fun once you get the hang of it!

Try using the ideas you brainstormed to come up with a Core Premise that follows the rules above. You don’t need to use all the information you came up with, just the main ideas. Also, don’t be afraid to try different versions of the premise with different details until you get one that you like.

Once you’ve turned at least one of your story ideas into a good-looking Core Premise, then you should ask yourself the following questions:

  1. Does this story idea grab you and make you want to write it?
  2. Is this story going to be one you think will interest your target audience?
  3. Is this story going to make your readers feel something?

If a premise gets three solid answers of “yes!” then that’s the story you need to write. If none of them get a “yes” for all three questions, then you need to go back and brainstorm some new ideas and turn those into premises that will work for you.

Another Book Blurb Formula

Found this info in a thread on Royal Road on writing good reader-catching story blurbs by Vincent Archer. I thought it was worth sharing, his original source was a bit vague, so I couldn’t trace it. (Bolding mine for emphasis.)

The blurb is supposed to catch your readers’ attention and sell the story, not tell the story.

I’m going to pick from Author’s Society: Fiction book blurbs start with a situation (a), introduce a problem (b) and promise a twist (c). They usually end with a sentence that emphasizes the mood (d) of the story.

So you start with a catch-up sentence, since often, people will drop the blurb if they don’t like the first sentence, and you end with a kind-of-cliffhanger so that people go from blurb to story.

Blurb sample using the formula (along with ‘a’, ‘b’, ‘c’ and ‘d’) lists:

For nearly twenty years since they’ve opened, the Gilded Gates of the Infinite Labyrinth have brought power and wonders to the subjects of King George III. Fueled by the resources from the place beyond the Gates, the modern age is in full swing across the British Empire (a: situation)

But the Hordes of Napoleon are not standing still. They will not stop until they can achieve total dominance, and ending the British advantage is what they plan for (b: problem).

Jonas Sims never planned to be a Labyrinth Professional and be involved in high stakes games (c: plot twist)

Now he, and the rest of his team have to level, push themselves forward and grow beyond their origins (d: story mood)

Or the Sun may set upon the Empire at last! (final hook)

Another one to illustrate the method:

The town of Las Viadas has two sides, like the twin swings of its saloon’s entrance. One seedy, one bright, and never the two meet. (a: situation)

But sometimes, people go into the saloon and don’t come out, and that’s something sheriff Marcus can no longer ignore. (b: problem)

The thing is, sometimes people who haven’t gone into the saloon come out, and no one finds that strange. (c: twist)

Getting to the truth will not be easy, nor will it leave the sheriff untouched by the weird. (d: mood)

Unless he goes in and never goes out. (explosive suspense)

Of course, you can have a full paragraph for each part rather than one or two sentences. You just need to keep your sentences very short, to the point.

There’s lots of tried “recipes” in writing. We’ve been writing novels and doing mass market publishing for centuries now. Everyone wants to be an amazing writer, but for most of us, myself included, using tried recipes and putting our own touch on them works better than attempts at being “truly innovative”.

You can pick my story and try to see how the classic Hero’s Journey steps apply, and you’ll find they’re all there (well, except the very end, since there’s 5 chapters left). It’s all about the presentation.

Same thing for the blurbs. Classic version works nearly perfectly. The best ones follow the recipe without you realizing it’s there.

It’s not a bad little formula, and I think sells stories pretty well.

(a) Situation

(b) Problem

(c) Plot Twist

(d) Story Mood

(f) Story Hook

You could even use it to sell a story to yourself to decide if it was worth writing. Create a blurb for a story you might write, and see if it gets you exited enough to write it!

Rob

DNA Podcast 035 – The Hero’s Journey Strikes Back!

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In this episode, Rob and Don are joined by Jack Ward for a spirited debate about Joseph Campbell’s Hero’s Journey. Does Campbell’s opus really hold the key to writing satisfying stories? Jack thinks so, but Rob and Don aren’t so sure, and this leads to a long discussion involving comparative mythology, newspaper comic strips, 1970’s vampire hunting reporters, and more sitcom references than an 80’s flashback! All this, and Don’s unhealthy fixation with the obscure scifi comedy Quark are waiting for you in this, the 35th episode of the Department of Nerdly Affairs.

Dan Harmon’s Story Circle Evolved

Anyone who reads my blog knows that I’m fascinated by story structure, and recently I’ve been probing the depths of Dan Harmon’s Story Circle. The Story Circle was Harmon’s way to take Joseph Campbell’s Hero’s Journey and make it into something practical but still all encompassing. This isn’t new, Christopher Vogler did something similar in his famous memo, which he later turned into The Writer’s Journey, and other writers have done their own takes as well, such as Chris Woo’s fascinating take on it. This is possible because Campbell wasn’t writing a book about writing, but a book about comparative mythology, so he left the more practical applications of his work to others.

In any case, I’ve taken to Harmon’s Story Circle for its simplicity and practicality for writers. I won’t reiterate the details whole thing here (read about it on his original Channel 101 posts, which start here, but this is the most important one), but you can watch this video which covers the points of the thing pretty nicely.

So basically in simplest form it looks like this:

1 – You (a character is in a zone of comfort)
2 – Need (but they want something)
3 – Go (they enter an unfamiliar situation)
4 – Search (adapt to it)
5 – Find (find what they wanted)
6 – Take (pay its price)
7 – Return (and go back to where they started)
8 – Change (now capable of change)

Which is pretty good, and covers a lot of ground. But, as I was trying it out with different stories, I realized something- it actually resembles another story plotting approach utilized by Trey Parker and Matt Stone of South Park fame. Now theirs, which I covered here, is a lot simpler, as it’s basically just about turning story outlines into series of cause and effect relationships using words like BUT, AND SO/THEREFORE, and MEANWHILE. But, I noticed that if we combine it with Harmon’s Circle, we end up with…

1 – OPEN ON You (a character is in a zone of comfort)
2 – BUT Need (but they want something)
3 – AND SO Go (they enter an unfamiliar situation)
4 – BUT Search (adapt to it)
5 – AND SO Find (find what they wanted)
6 – BUT Take (pay its price)
7 – AND SO Return (and go back to where they started)
8 – THUS Change (now capable of change)
And what do you know? It works! We have a story structure of cause and effect relationships that build up into a heroic journey. Who knew?

I’m still debating about the usefulness and nature of the Hero’s Journey monomyth as an all-encompassing story form, as you’ll hear about in an upcoming DNA podcast where writer Jack Ward and I go at it hammer and tong about the subject, but I will admit that this is a useful tool for writers. I’m always looking for ways to give my stories the solid underlying structure they need to become more satisfying for readers, and this is yet another tool in my writer’s toolkit to try out.

Rob