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Great Stories Don't Write Themselves
One of the most common questions new writers ask professionals is how they wrote their book—what was their process for storytelling? Did they use an outline to plan the book, or write it from the seat of their pants? But really the question should be about the general principles and nature of storycraft—does every part of a story have what it needs to keep readers turning the pages?Bestselling author and creator of StoryFix.com Larry Brooks changes the sound of the writing conversation by introducing a series of detailed criteria for novelists of every level and genre to refer to while writing, regardless of their preferred writing method. Beginning with the broadest part of the story, the early checklists help writers to ensure that their novel is based on a premise rather than an idea, and gradually hones in on other elements to keep the story moving forward · dramatic tension · narrative strategy · scene constructionReaders won't know or care about the process. But what Brooks offers here is a chance for readers to make the most of whichever process they choose, and in doing so cut years off their learning curve.
- GenresWritingNonfiction
256 pages, Kindle Edition
Published November 12, 2019
57 people are currently reading
152 people want to read
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Displaying 1 - 16 of 16 reviews
March 30, 2020
This book took me a while to get into. The first part dragged and seemed to fly over my head. But I’m glad I hung in there and ventured into the next parts, which made sense of the first part for me when the material began to gel in my brain. I liked the Story Engineering and Physics books of his better, but this helped me cement those rules into a deeper meaning for what a story should be. I believe the author is right, in that whether you’re a pantser or plotter, you need to have the criteria of what a story should be firmly in your conscious mind before you begin to write as a pantser—and to help you form an organized strong story outline if you’re a plotter. I’m super glad I read this book. It started off hard, but became very pertinent to my goals as a storyteller. It's super useful information for any author.
September 1, 2021
This book isn’t BAD, but it isn’t GOOD. The importance of premise and plot is solid, but this book could’ve been a third of its size. It feels like the author’s been traumatized by decades of workshops and having to argue with people who aren’t yet sold on the core point of the book. If you want to read a manifesto on premise, go for it. In my opinion, the introduction of this book sold me on these ideas, and then I felt like the author spent an entire quarter of the book arguing with me about something I was already on board with, with confusingly-structured sentences, picky terminology that didn’t click, and without actually telling me how to pull it all off.
While I agree with the importance of premise, a strong idea, and a working plot structure and actual STORY, I think there are better books.
To get a WAY better book on plot structure, read Save The Cat! Writes a Novel.
I don’t have a definitive best recommendation for the rest, but a single chapter of Write Your Novel in a Month by Jeff Gerke explained the same things simpler, faster, and in a way that actually helped walk you through how to pull it off.
While I agree with the importance of premise, a strong idea, and a working plot structure and actual STORY, I think there are better books.
To get a WAY better book on plot structure, read Save The Cat! Writes a Novel.
I don’t have a definitive best recommendation for the rest, but a single chapter of Write Your Novel in a Month by Jeff Gerke explained the same things simpler, faster, and in a way that actually helped walk you through how to pull it off.
December 10, 2019
Once again Brooks delivers a book that will help writers bring their work to a new level. It all starts with the story idea, and Brooks discusses how to make sure your idea has strong enough legs to carry a whole story. This leads to premise and the importance of nailing one down before you start writing the first word. He'll then give you the criteria that help ensure each part of the story packs a punch.
I've long been a fan of Brooks's books on the craft of writing. Story Engineering remains my writing "bible," and the follow-ups (Story Physics and Story Fix) are equally invaluable. If you want to get away from the fallacy that all first drafts are, by nature, "crap," then Brooks's books will help you do so. And you'll save a lot of time on rewrites.
I've long been a fan of Brooks's books on the craft of writing. Story Engineering remains my writing "bible," and the follow-ups (Story Physics and Story Fix) are equally invaluable. If you want to get away from the fallacy that all first drafts are, by nature, "crap," then Brooks's books will help you do so. And you'll save a lot of time on rewrites.
July 29, 2020
A must have!
Whether you've been writing for decades or just started, this book is required reading. Larry does it again and shares knowledge, that in many cases you didn't know that you didn't know. Elevate your understanding of the craft of writing with this book. Read it, study it, apply it.
Whether you've been writing for decades or just started, this book is required reading. Larry does it again and shares knowledge, that in many cases you didn't know that you didn't know. Elevate your understanding of the craft of writing with this book. Read it, study it, apply it.
December 15, 2021
I've read and done a deep-dive into Story Engineering, and kinda found this was more of the same. If you haven't read any of his other craft books, it's probably revolutionary, but I was already converted and didn't need the pages of defense of his methods. He was preaching to the choir.
June 3, 2024
Larry Brooks is my go-to writing craft guru. He gets it, and I "think" I get his ideas after reading all four of his craft books (and referring to them when I need help with an outline, plot structure, and all the other critical components of a successful story.
His concepts aren't easy to understand. The book is dense--lots of material to digest. But the wisdom is there. And if it were easy to do, there would be a far greater number of outstanding books being written and published.
My greatest compliment to Larry is to say that my books are so much better because of what I've learned from his writing. I don't claim to have mastered story structure, or that my books are the equal of any bestseller in recent years, but I know they're works I'm proud to have written and that tell an entertaining story because I constructed them correctly.
If you're a novelist struggling to find an agent or just trying to write a book that people will want to read, and you know something's missing in your plot or character arcs or scene choices, this book will open your eyes to what you might be missing. However, I'd recommend his other writing books first because this book builds on what he teaches you in the first three.
His concepts aren't easy to understand. The book is dense--lots of material to digest. But the wisdom is there. And if it were easy to do, there would be a far greater number of outstanding books being written and published.
My greatest compliment to Larry is to say that my books are so much better because of what I've learned from his writing. I don't claim to have mastered story structure, or that my books are the equal of any bestseller in recent years, but I know they're works I'm proud to have written and that tell an entertaining story because I constructed them correctly.
If you're a novelist struggling to find an agent or just trying to write a book that people will want to read, and you know something's missing in your plot or character arcs or scene choices, this book will open your eyes to what you might be missing. However, I'd recommend his other writing books first because this book builds on what he teaches you in the first three.
November 28, 2021
Brooks should have taken his advice he had on prose: “Less is more.” This book would have been better if it lost 100+ pages. It has some strong parts but too many words, too much caution about what not to do and far too many numbering systems with advice.
The book did provide some basics of story writing that was sound. He speaks about the premise of the story is the appetizer and needs to draw in the reader. He also has an interesting section speaking about “what if?” to lead to a more powerful premise. There is also a useful portion speaking to the first paragraph of the story.
This book provides some basics that are helpful but takes far to long for the information contained in the book.
The book did provide some basics of story writing that was sound. He speaks about the premise of the story is the appetizer and needs to draw in the reader. He also has an interesting section speaking about “what if?” to lead to a more powerful premise. There is also a useful portion speaking to the first paragraph of the story.
This book provides some basics that are helpful but takes far to long for the information contained in the book.
Read
May 26, 2025**Great Stories Don’t Write Themselves: Criteria-Driven Strategies for More Effective Fiction** by Larry Brooks provides a structured, principle-based approach to writing compelling fiction. Rather than relying on inspiration or instinct alone, Brooks argues for the importance of story architecture, conceptual clarity, and character-driven plotting. The book lays out practical criteria to evaluate and guide storytelling at every stage.
Key ideas and actionable strategies:
* **Stories Must Be Concept-Driven, Not Just Character-Driven**
* A strong concept is the backbone of compelling fiction—it introduces something fresh, provocative, or high-stakes.
* Concepts must create inherent dramatic tension, not just describe a situation or theme.
* Before developing plot or characters, define what makes your story’s premise powerful or intriguing.
* **Criteria-Based Evaluation Improves Storytelling Quality**
* Use objective standards to assess whether key elements of your story are working.
* Define clear benchmarks for concept, theme, structure, stakes, and character arc.
* Replace vague notions like “feel” or “flow” with deliberate, testable story mechanics.
* **Structure Is Not Optional**
* Follow a four-part narrative structure: Setup, Response, Attack, and Resolution.
* Key turning points (Plot Point 1, Midpoint, Plot Point 2) should be carefully positioned to maximize tension and narrative momentum.
* Each part of the story should serve a defined function, moving the protagonist through escalating challenges.
* **The Protagonist Must Drive the Plot**
* Your main character must have a clear goal, strong motivation, and evolving agency.
* Passive protagonists weaken narrative impact—ensure they take meaningful action and make key decisions.
* Character arc and plot arc must be interdependent: the external journey changes the internal character and vice versa.
* **Theme Emerges Through Story Execution**
* Avoid forcing a moral or message early—theme should arise naturally through conflict, consequence, and character evolution.
* Let the reader infer deeper meaning rather than explaining it directly.
* Trust the structure to help deliver thematic resonance.
* **Concept vs. Idea vs. Theme—Know the Difference**
* *Idea:* A starting point or “what if” scenario.
* *Concept:* A dramatic situation with inherent conflict or stakes.
* *Theme:* The underlying message or human truth explored through the story.
* Strong stories link these elements but don’t confuse them.
* **Avoid Common Pitfalls of "Organic" Writing**
* Discovery writing can work, but only if it eventually aligns with strong structure and purpose.
* Writing without a conceptual foundation leads to meandering or unfocused stories.
* Use the drafting process to clarify, not to discover what your story is about.
* **Revisions Should Be Criteria-Driven**
* Evaluate drafts against structural benchmarks and narrative clarity.
* Don’t rely on guesswork—identify which key elements (e.g., stakes, midpoint tension, character arc) need reinforcement.
* Efficient revision is strategic, not just cosmetic.
* **The Writer’s Role Is Both Creative and Architectural**
* Writing fiction is both an art and a craft; you must embrace the role of both artist and engineer.
* Emotion, voice, and originality matter—but only when anchored in sound storytelling principles.
* Mastery comes from understanding what a story must do, not just what you want it to say.
The book argues that great fiction doesn’t emerge from inspiration alone, but from applying proven narrative principles with intention. Writers are encouraged to elevate their storytelling by holding their work to high, structured standards—resulting in stories that resonate, engage, and endure.
Key ideas and actionable strategies:
* **Stories Must Be Concept-Driven, Not Just Character-Driven**
* A strong concept is the backbone of compelling fiction—it introduces something fresh, provocative, or high-stakes.
* Concepts must create inherent dramatic tension, not just describe a situation or theme.
* Before developing plot or characters, define what makes your story’s premise powerful or intriguing.
* **Criteria-Based Evaluation Improves Storytelling Quality**
* Use objective standards to assess whether key elements of your story are working.
* Define clear benchmarks for concept, theme, structure, stakes, and character arc.
* Replace vague notions like “feel” or “flow” with deliberate, testable story mechanics.
* **Structure Is Not Optional**
* Follow a four-part narrative structure: Setup, Response, Attack, and Resolution.
* Key turning points (Plot Point 1, Midpoint, Plot Point 2) should be carefully positioned to maximize tension and narrative momentum.
* Each part of the story should serve a defined function, moving the protagonist through escalating challenges.
* **The Protagonist Must Drive the Plot**
* Your main character must have a clear goal, strong motivation, and evolving agency.
* Passive protagonists weaken narrative impact—ensure they take meaningful action and make key decisions.
* Character arc and plot arc must be interdependent: the external journey changes the internal character and vice versa.
* **Theme Emerges Through Story Execution**
* Avoid forcing a moral or message early—theme should arise naturally through conflict, consequence, and character evolution.
* Let the reader infer deeper meaning rather than explaining it directly.
* Trust the structure to help deliver thematic resonance.
* **Concept vs. Idea vs. Theme—Know the Difference**
* *Idea:* A starting point or “what if” scenario.
* *Concept:* A dramatic situation with inherent conflict or stakes.
* *Theme:* The underlying message or human truth explored through the story.
* Strong stories link these elements but don’t confuse them.
* **Avoid Common Pitfalls of "Organic" Writing**
* Discovery writing can work, but only if it eventually aligns with strong structure and purpose.
* Writing without a conceptual foundation leads to meandering or unfocused stories.
* Use the drafting process to clarify, not to discover what your story is about.
* **Revisions Should Be Criteria-Driven**
* Evaluate drafts against structural benchmarks and narrative clarity.
* Don’t rely on guesswork—identify which key elements (e.g., stakes, midpoint tension, character arc) need reinforcement.
* Efficient revision is strategic, not just cosmetic.
* **The Writer’s Role Is Both Creative and Architectural**
* Writing fiction is both an art and a craft; you must embrace the role of both artist and engineer.
* Emotion, voice, and originality matter—but only when anchored in sound storytelling principles.
* Mastery comes from understanding what a story must do, not just what you want it to say.
The book argues that great fiction doesn’t emerge from inspiration alone, but from applying proven narrative principles with intention. Writers are encouraged to elevate their storytelling by holding their work to high, structured standards—resulting in stories that resonate, engage, and endure.
June 13, 2020
An effective (for me) tutorial on some aspects of story that had been eluding me. Most of the focus is on understanding the criteria involved in the macro aspects of story: premise and concept, along with the related concepts of character, setting and plot.
Then he uses those criteria to present and break down story structure in way shows why even an organic writer eventually succumbs to structure in order to succeed (as a opposed to a outliner who struggles with the structure up front).
It's all nicely down-to-Earth and friendly and something that can be referred to again and again. There are no real surprises here. It's all been said before. But the author presents it in a way where several light bulbs finally illuminated for me.
Then he uses those criteria to present and break down story structure in way shows why even an organic writer eventually succumbs to structure in order to succeed (as a opposed to a outliner who struggles with the structure up front).
It's all nicely down-to-Earth and friendly and something that can be referred to again and again. There are no real surprises here. It's all been said before. But the author presents it in a way where several light bulbs finally illuminated for me.
May 25, 2021
Brooks makes the point many times that the problem for many writers is that they didn't know what they didn't know. True in my case, and there is a great deal of knowledge in here about the craft of story that will balance that equation more in favour of knowing than ignorance. It's a little heavy going at times, especially when he delves into quartiles and percentages etc., and in term of non-genre fiction, some of it is open to a certain amount of licence, as he admits himself. However the essence of it is sound in terms of what makes stories work and what makes them fail.
February 9, 2020
I don’t dislike this book, I just feel that it may have been more helpful to me earlier in my writing career. At this point, I’ve read enough writing craft books that this doesn’t teach me anything new. I picked it up mainly because it claimed it would unveil something I hadn’t/couldn’t find in other craft books, so I am a little let down in that regard. But the info isn’t bad and if you didn’t know it before reading this you’d probably consider it a holy grail.
July 13, 2020
Amazing book. One of the best books about writing I've ever read.
Brooks talks about how to craft and cultivate your story idea. Not the prose. Not the dialog. Not even developing the character, etc...
It's about the idea.
I've taken classes from Larry Brooks for years. He's a powerful force in the story world and this book only solidifies that notion. He is the person to go to if you're stuck on how to get your story going.
Brooks talks about how to craft and cultivate your story idea. Not the prose. Not the dialog. Not even developing the character, etc...
It's about the idea.
I've taken classes from Larry Brooks for years. He's a powerful force in the story world and this book only solidifies that notion. He is the person to go to if you're stuck on how to get your story going.
September 12, 2022
Brooks' explanation of story criteria was (and still is) very useful in my own writing! The only criticism I have is that about half of the book is Brooks explaining why criteria is necessary in multiple different ways. Writers who already know about story criteria do not need to be told for multiple chapters that it is important for writing a good story.
February 10, 2020
If you're looking for a guide on plot structure, check this out.
April 25, 2022
This only took me a year to read. It's good stuff, just hard to get through.
August 4, 2025
This is possibly the third time I've read this book and it never disappoints. If you're looking for a book to help you learn plot and structure, look no further. This is one of my favorites.
Displaying 1 - 16 of 16 reviews