Storycraft: The Complete Guide to Writing Narrative Nonfiction

as the Charles Dickens formula for success has it: “Make them laugh. Make them cry. But, most of all, make them wait.”6

Perhaps because polish is so visible,” Jon Franklin says, “many people erroneously believe it to be the most important part of writing.” But polish, Franklin adds, is merely “the plaster on the walls of structure.” The proof is in the window of the bookstore down the block. The display of current best sellers no doubt contains several titles by tin-eared pop novelists who wouldn’t recognize a graceful sentence if it asked them to dance. The likes of Jean Auel and Tom Clancy sell books by the millions because they understand story structure, a point that’s lost on the critics who savage their syntax.

exposition is the enemy of narrative. Good exposition provides just enough backstory to explain how the protagonist happens to be in a particular place, at a particular time, with the wants that will lead to the next phase of the story. Thorough reporting produces overwhelming detail. Good storytellers cut through it to create a clear path leading forward.

Charles Dickens formula for success has it: “Make them laugh. Make them cry. But, most of all, make them wait.”6 The

the protagonist-complication-resolution model for story. You see it in various forms. Philip Gerard, who writes both novels and book-length narrative nonfiction, says a story follows when “a character we care about acts to fulfill his desires with important consequences.

Readers know full well that when a writer takes pains to tell them a character doesn’t expect the worst, she’s about to get it.

Civilization is a stream with banks. The stream is sometimes filled with blood from people killing, stealing, shouting, and doing the things historians usually record; while on the banks, unnoticed, people build homes, make love, raise children, sing songs, write poetry, and even whittle statues. The story of civilization is the story of what happens on the banks. Historians are pessimists because they ignore the banks for the river.

Even the little bit that must be known will block easy entry to the story if it delays the action line. The secret, Hunter Thompson said, is to “blend, blend, blend.” You launch action immediately and then blend the exposition into it, submerging it in modifiers, subordinate clauses, appositives, and the like.