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The Story Book - a writers' guide to story development, principles, problem solving and marketing
Book one in the five books Story Series by author, scriptwriter, story consultant & PhD scholar of narrative theory, David Baboulene. `Fantastic. A bible for writers.` Bookshelf.Author, scriptwriter, story consultant and Ph.D scholar of story theory, David Baboulene, helps you to understand what makes stories that grip.With invaluable new thinking on subtext plus insights on story success from Bob Gale: Legendary Hollywood scriptwriter and producer of the Back to the Future trilogy. Lee Child: 16 million Jack Reacher novels sold in 43 countries and 29 languages. Willy Russell: celebrated playwright and filmmaker of classics such as Shirley Valentine, Educating Rita, Blood Brothers... John Sullivan: television comedy writing legend - Only Fools and Horses, Citizen Smith, Just Good Friends... Simply a must-read for anyone wanting to understand how to turn ideas into stories that sell.“Receiving a publishing deal was a dream turned reality, and The Story Book helped me obtain this achievement. A practical, yet engaging guide, every writer should read." Craig Hinde (Director)“David Baboulene is truly a master when it comes to the science behind storytelling.” Craig Hinde (Director).Here is what I have in my acknowledgement "David Baboulene—I did it and you’re a heck of a teacher!“ Kerri Cuevas — Author of Deadly Kisses.
255 pages, Kindle Edition
First published November 12, 2010
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Displaying 1 - 23 of 23 reviews
January 29, 2019
Okay, let's face facts. When it comes to books on writing, after the first few, it's no longer about solving any issues you may be having in your writing so much as avoiding them. Books on writing facilitate procrastination. Sure, we'd all love it if this time it turned out to be the magical one that makes everything easy. But we know it won't be. At best we'll get a tiny boost in confidence or a motivational high that will burn itself out a few days after we close the book.
So why 5 stars for this one? Is it the magical one? No, don't be ridiculous. And on top of that the kindle edition has some formatting issues and probably could have used another pass by the copy editor's desk. There a couple times where he uses the wrong word, like "sequence" when he clearly means act. Or 1985 when he clearly means 1955. So why 5 stars? Well, despite it's flaws, this book is the first writing book I've ever read that comes anywhere close to being the sort of book I'm always hoping to find when I pick up a book on writing, narrative, or literary theory: an actually analysis and theory about what makes specific stories "work" or fail. I'd have liked more depth, and he uses the terms subplot and subtext in ways that don't 100% align with they way I've generally found them used, but Baboulene's "knowledge gap" idea, which is the heart of this book, is fascinating, and I think useful. If you pick this up, do yourself a favor and don't quit before you get to that section. He's got a bit talking about Freud's ID/Super-Ego stuff early on, and if you're like me your eyes roll of their own accord at any mention of Freud not immediately followed by the words "was a drug-addled pervert". But bear with it. I think it's worth it.
Your mileage may vary as they say, maybe you've already read something like this and it'll be just another tool for procrastination. Maybe all the good stuff's over there on the screenwriting shelf I've been ignoring. But for me anyway this was a really refreshing change of pace as far as books on writing go, much more the sort of thing I'm actually looking for than anything else I've read to date.
So why 5 stars for this one? Is it the magical one? No, don't be ridiculous. And on top of that the kindle edition has some formatting issues and probably could have used another pass by the copy editor's desk. There a couple times where he uses the wrong word, like "sequence" when he clearly means act. Or 1985 when he clearly means 1955. So why 5 stars? Well, despite it's flaws, this book is the first writing book I've ever read that comes anywhere close to being the sort of book I'm always hoping to find when I pick up a book on writing, narrative, or literary theory: an actually analysis and theory about what makes specific stories "work" or fail. I'd have liked more depth, and he uses the terms subplot and subtext in ways that don't 100% align with they way I've generally found them used, but Baboulene's "knowledge gap" idea, which is the heart of this book, is fascinating, and I think useful. If you pick this up, do yourself a favor and don't quit before you get to that section. He's got a bit talking about Freud's ID/Super-Ego stuff early on, and if you're like me your eyes roll of their own accord at any mention of Freud not immediately followed by the words "was a drug-addled pervert". But bear with it. I think it's worth it.
Your mileage may vary as they say, maybe you've already read something like this and it'll be just another tool for procrastination. Maybe all the good stuff's over there on the screenwriting shelf I've been ignoring. But for me anyway this was a really refreshing change of pace as far as books on writing go, much more the sort of thing I'm actually looking for than anything else I've read to date.
April 22, 2011
I’ve not read many books on writing. To be honest, I have tried, but never managed to complete some of them. Some are too prescriptive, resulting in creative limitations, and many just state the bleeding obvious, much of which is common sense anyway! I find trawling the Internet for tips on writing much more useful.
Having said that, I’ve really enjoyed David’s book. As he is completing a PhD in story theory, he includes in his book some research into the history of storytelling, and the psychology of the reader, which I found totally fascinating! Tips of the trade are gleaned from interviews with the big names of the publishing and film industries, including Lee Child, author of the Jack Reacher novels; Bob Gales, scriptwriter for the Back to the Future trilogy; Willy Russell, the theatre legend who brought us Blood Brothers and Shirley Valentine, to name a few; and Stewart Ferris, MD of Summersdale, one of the leading UK independent publishers.
David’s advice on writing is insightful without being too prescriptive, and he constantly gives useful examples from the movies, particularly from Back to the Future. His observations are grounded, realistic, and though the statistics quoted on success rates is a bit depressing, his final message is one we no doubt all subscribe to: write what you love; the structure, subtext, and everything else will come in time.
For a taster of what the book offers, check out David’s guest post on my blog: “The Top Ten Tips to Make Stories that Grip!“.
*oroginally reviewed on J.C. Martin, Fighter Writer*
Having said that, I’ve really enjoyed David’s book. As he is completing a PhD in story theory, he includes in his book some research into the history of storytelling, and the psychology of the reader, which I found totally fascinating! Tips of the trade are gleaned from interviews with the big names of the publishing and film industries, including Lee Child, author of the Jack Reacher novels; Bob Gales, scriptwriter for the Back to the Future trilogy; Willy Russell, the theatre legend who brought us Blood Brothers and Shirley Valentine, to name a few; and Stewart Ferris, MD of Summersdale, one of the leading UK independent publishers.
David’s advice on writing is insightful without being too prescriptive, and he constantly gives useful examples from the movies, particularly from Back to the Future. His observations are grounded, realistic, and though the statistics quoted on success rates is a bit depressing, his final message is one we no doubt all subscribe to: write what you love; the structure, subtext, and everything else will come in time.
For a taster of what the book offers, check out David’s guest post on my blog: “The Top Ten Tips to Make Stories that Grip!“.
*oroginally reviewed on J.C. Martin, Fighter Writer*
April 14, 2012
Aside from the evolutionist/Freudian claptrap at the very beginning of the book, I enjoyed this book very much. The author clearly has a masterful grasp on the art of the story, and how best to tell one, especially in the form of a motion picture. Using the well known "Back to the Future" as his primary example, he shows how a premise is developed from a simple concept into a detailed outline of the plot with rich characterization.
The main idea the author continually stresses is that the best stories are moved along and conveyed in the subtext, and that the subtext is presented by the use of "knowledge gaps": the character knows something the audience doesn't, or the audience knows something the character doesn't, or one character knows something another character doesn't, and so on. This, he maintains, provides for a more satisfying experience for the audience.
One point the author veers away from that other screenwriting how-to authors seem to stress is "structure". The author says that in beginning to write don't worry about the three-act structure or plot points or other "mechanical" issues of writing, but to get on with writing the story and being as creative as you can be. Once those juices have been squeezed, you can edit and streamline your story into the structure if need be.
If one is new to writing or struggling with a story, this book is a fine reference for figuring out the problems and how to fix them. I would recommend it as required reading for any aspiring writer.
The main idea the author continually stresses is that the best stories are moved along and conveyed in the subtext, and that the subtext is presented by the use of "knowledge gaps": the character knows something the audience doesn't, or the audience knows something the character doesn't, or one character knows something another character doesn't, and so on. This, he maintains, provides for a more satisfying experience for the audience.
One point the author veers away from that other screenwriting how-to authors seem to stress is "structure". The author says that in beginning to write don't worry about the three-act structure or plot points or other "mechanical" issues of writing, but to get on with writing the story and being as creative as you can be. Once those juices have been squeezed, you can edit and streamline your story into the structure if need be.
If one is new to writing or struggling with a story, this book is a fine reference for figuring out the problems and how to fix them. I would recommend it as required reading for any aspiring writer.
August 28, 2023
Even though I'm not planning to become a writer, this book became most helpful (book) source on how to tell better stories in my personal projects.
September 5, 2023
Hands-on nuts and bolts manual on storywriting. On narratology be sure to check out ‘Into the woods’ by John Yorke and ‘Narrotology’ by Mieke Bal.
July 6, 2012
A fantastically useful piece of kit. Like 'Save the Cat,' it's primarily geared towards screenwriting but applies equally to fiction generally. It's about storytelling rather than language use, and is mainly concerned with analysis of structure. This material is presented in a very clear and accessible way, complete with examples from Back to the Future, which make it very easy to relate. Also like STC, it's geared towards 'family' films, uplifting ones (like BTTF, and Toy Story) where the hero beats the bad guys, learns a valuable life lesson and ends in a better place than he starts. Which isn't necessarily my cup of tea as a writer (although I take his point, because I do enjoy that kind of film), but the principles can easily be flipped or subverted to make a darker story--which, of course, you can get away with as a short story writer way more than anyone else.
Although Baboulene is at pains to point out that structure shouldn't be the driver or creative force behind a story (rather a means to check and fix problems), I have found that absorbing the principles of structure has made the creative ideas easier to focus and handle. I have found it tremendously useful to build a framework at the same time as I build the story.
I liked the point that character is plot and vice versa (a character's nature makes them do things, which creates plot, and events make then react, which shows character) and the listing of the four main types of conflict (and the idea of triangulating it, by making each choice have both benefits and costs) was also very valuable.
Some writing books I have read seem to have lots of great thoughts but it's not always easy to see how to apply them--this was the reverse: everything here became instantly, practically, usable.
Although Baboulene is at pains to point out that structure shouldn't be the driver or creative force behind a story (rather a means to check and fix problems), I have found that absorbing the principles of structure has made the creative ideas easier to focus and handle. I have found it tremendously useful to build a framework at the same time as I build the story.
I liked the point that character is plot and vice versa (a character's nature makes them do things, which creates plot, and events make then react, which shows character) and the listing of the four main types of conflict (and the idea of triangulating it, by making each choice have both benefits and costs) was also very valuable.
Some writing books I have read seem to have lots of great thoughts but it's not always easy to see how to apply them--this was the reverse: everything here became instantly, practically, usable.
April 8, 2011
I’ve not read many books on writing. To be honest, I have tried, but never managed to complete some of them. Some are too prescriptive, resulting in creative limitations, and many just state the bleeding obvious, much of which is common sense anyway! I find trawling the Internet for tips on writing much more useful.
Having said that, I’ve really enjoyed David’s book. As he is completing a PhD in story theory, he includes in his book some research into the history of storytelling, and the psychology of the reader, which I found totally fascinating! Tips of the trade are gleaned from interviews with the big names of the publishing and film industries, including Lee Child, author of the Jack Reacher novels; Bob Gales, scriptwriter for the Back to the Future trilogy; Willy Russell, the theatre legend who brought us Blood Brothers and Shirley Valentine, to name a few; and Stewart Ferris, MD of Summersdale, one of the leading UK independent publishers.
David’s advice on writing is insightful without being too prescriptive, and he constantly gives useful examples from the movies, particularly from Back to the Future. His observations are grounded, realistic, and though the statistics quoted on success rates is a bit depressing, his final message is one we no doubt all subscribe to: write what you love; the structure, subtext, and everything else will come in time.
***originally reviewed on J.C. Martin, Fighter Writer***
Having said that, I’ve really enjoyed David’s book. As he is completing a PhD in story theory, he includes in his book some research into the history of storytelling, and the psychology of the reader, which I found totally fascinating! Tips of the trade are gleaned from interviews with the big names of the publishing and film industries, including Lee Child, author of the Jack Reacher novels; Bob Gales, scriptwriter for the Back to the Future trilogy; Willy Russell, the theatre legend who brought us Blood Brothers and Shirley Valentine, to name a few; and Stewart Ferris, MD of Summersdale, one of the leading UK independent publishers.
David’s advice on writing is insightful without being too prescriptive, and he constantly gives useful examples from the movies, particularly from Back to the Future. His observations are grounded, realistic, and though the statistics quoted on success rates is a bit depressing, his final message is one we no doubt all subscribe to: write what you love; the structure, subtext, and everything else will come in time.
***originally reviewed on J.C. Martin, Fighter Writer***
May 22, 2011
Anyone who wants to develop their story writing skills will want to read this book. That’s not the what author David Baboulene calls the ‘log line’ that hooks you in - it is my own view after reading The Story Book.
An interesting exploration of the roots of story making is developed through clever and detailed analysis of some unexpected works, such as character development in Toy Story and plot structure in Back to the Future.
David enjoys challenging the reader (yes I fell for most of the set ups), making you want to return to earlier sections and re-read them. If you want to be provoked into really thinking about your approach to writing stories, this is definitely the book for you.
An interesting exploration of the roots of story making is developed through clever and detailed analysis of some unexpected works, such as character development in Toy Story and plot structure in Back to the Future.
David enjoys challenging the reader (yes I fell for most of the set ups), making you want to return to earlier sections and re-read them. If you want to be provoked into really thinking about your approach to writing stories, this is definitely the book for you.
October 15, 2016
Baboulene's work made me question every aspect of my writing, which wasn't a particularly pleasant set of feelings have, but he did it gently. Using Back to the Future as a meta example, Baboulene pulls everything apart, hold it to the dullest light and keeps the reader entertained while showing how things work. This is a brilliant book. There's also a section of conversations with creatives at the back, with least one proclaiming you spells ignore everything in the book. You know, this was a fun helpful pleasure to read, as to if it was any good, that depends whether I use it on my own books.
June 6, 2011
Most how to books for writers cover a whole range of topics. This one is different because, as the title suggests, it concentrates on one thing, the story.
It does this by deconstructing well known stories - mostly Back to the Future - to see what makes them work at both the overall level and at the nuts and bolts scene level. All of this is backed up by interviews with leading film writers, novelists and playwrights.
It's an interesting approach and one which is easy to apply to your own work. Well worth a read of you're serious about improving your writing craft.
It does this by deconstructing well known stories - mostly Back to the Future - to see what makes them work at both the overall level and at the nuts and bolts scene level. All of this is backed up by interviews with leading film writers, novelists and playwrights.
It's an interesting approach and one which is easy to apply to your own work. Well worth a read of you're serious about improving your writing craft.
May 3, 2011
I've read a lot of 'How to Write' books and this is definitely the best. Some new thinking on what makes a story kick ass and a style and approach I really appreciated. Not patronising or 'teaching' really. More all about what makes a story work rather than telling me what to do.
Lots of great interviews with writers and there are examples to make everything really clear.
If you want to write you need to know story. This is the book to tell you and to give you the confidence to do it yourself from there.
Derren
Lots of great interviews with writers and there are examples to make everything really clear.
If you want to write you need to know story. This is the book to tell you and to give you the confidence to do it yourself from there.
Derren
February 7, 2015
This is one awesome book. Dave does a great job of explaining the obvious, which surprisingly many stories lack. While authors may not have put down terms for what they already do, for example, subtext/knowledge gaps, Dave's discussion of the issue forces an analysis of this important element.
Dave's book also helped me realize the degree of conflict one can and should generate should be based off of dilemma (what would the protagonist do when challenged to the core, rather than a hard challenge that does not make the protagonist challenge his/her beliefs)
Awesome Book. Read it.
Dave's book also helped me realize the degree of conflict one can and should generate should be based off of dilemma (what would the protagonist do when challenged to the core, rather than a hard challenge that does not make the protagonist challenge his/her beliefs)
Awesome Book. Read it.
February 7, 2017
To borrow a phrase from our cousins across the pond, "exactly what it says on the tin." Very strong in the story development area, maybe a little light on the marketing aspect. Includes relevant advice for both screenwriters and novelists. I especially appreciated the deep dive on subtext and knowledge gaps as a tool to maintain tension and audience interest. While we're all familiar with the results of subtext and knowledge gaps, Baboulene offers the most intentional analysis of it I've read.
Recommended for all my fellow wannabes.
Recommended for all my fellow wannabes.
August 20, 2012
A fabulous book for those who want to write but want some advice on structure. Baboulene uses clear, interesting examples to make his explanations easier to understand, including a lot of dissection of the Back to the Future films.
If I ever feel I need help with my writing, I know I can turn back to this book and refocus on the main frame of the story.
If I ever feel I need help with my writing, I know I can turn back to this book and refocus on the main frame of the story.
May 31, 2013
Talks about characters developing toward self-actualization, subtext through knowledge gaps, and setting up questions to make the reader curious. Need setup (act 1), ending on inciting incident. Then struggle (act 2), where it gets better and then much worse. Finally act 3 is climax and resolution. Empowering philosophy about what makes a writer stand out amongst the thousands.
October 12, 2013
His theory is that subtext is created through knowledge gaps, things we don't know. He explains the 10 ways it can be created: action, dialogue, promise, questions, subplot, implication, misinterpretation, subterfuge, subconscious aims, metaphor. His take on subtext is quirky but very useful. Recommended for intermediate to advanced writers.
May 18, 2012
Concise, fluid, and organized. Highly recommended for writers attempting to identify structural problems in their fiction. What makes a story memorable, or life-changing? Or simply brilliant? I read this book and the need for structure made its case.
July 28, 2012
Best book I've read to support me in editing my m/s. I wish I'd read this book two years ago, before I started my novel. Bought it for my Kindle and will buy a hard copy as well. It's a re-reader and a high lighter of a book.
August 29, 2012
The best "how to write at story" book I've come across. Down-to-earth and sensible and completely understandable. I found this book invaluable and refer to it often as I go through the creative writing process, particularly now I'm writing my first novel. If you write stories, buy it!
June 9, 2011
Fan-freaking-tastic.
Read my entire review here: http://margokelly.blogspot.com/2011/0...
:)
Read my entire review here: http://margokelly.blogspot.com/2011/0...
:)
December 18, 2012
One of the best and most useful books on writing that I've read. The author uses examples from actual books and movies to make his points. Very accessible.
December 29, 2014
This is an excellent 'how to' book for anyone writing a novel or screenplay. It proposes some useful analysis tools for authors to problem-solve their stories.
I would recommend it highly.
I would recommend it highly.
May 1, 2017
I appreciate writing books that are short. So many of them are padded out with pages of writing prompts that few people actually do. There are some interesting concepts here that are based on psychology. So it's a little different from the average book on writing.
Displaying 1 - 23 of 23 reviews