Many books have been published on the science of story since the realization that storytelling is as fundamental to humanity as tool-making and bipedalism. The first such book that I reviewed was Lisa Cron’s 2012 “Wired for Story.” So, the question of interest isn’t whether the topic is fascinating (it is) but – instead – whether Storr’s book offers value-added. I believe it does. While Cron and Storr cover some of the same territory, the differences in approach lead to variations in the material covered and the emphasis given. Storr orders his book around his particular method of story building, which he refers to as “the sacred flaw approach.” He proposes that at the heart of a story is an erroneous assumption to which the lead character wishes to cling. This is where he tries to stake his claim among the vast number of books offering advice on story – i.e. by focusing on character flaw, rather than on the sequence of events (i.e. plotting.)
The appeal of this topic will vary according to who’s asking, but for writers there’s certainly a desire to unravel the mystery of story. Every story builder would like to venture into new and uncharted territory, but there seem to be key criteria around which stories live or die. The most glaring illumination of this can be seen when filmmakers spend tens or hundreds of millions on films that utterly flop, and when they spend that much money and flop it’s not because the CGI was hinky. It’s inevitably because the story lacked appeal. At its worst, this has led to strategies such only rebooting films that have worked in the past, and at it’s best it results in following one of the many fixed patterns (e.g. Joseph Campbell’s “the hero’s journey.”) Understanding the science of story offers the hope of being able give one’s audience what they need to find a story fulfilling without following a beat-by-beat sequencing from a manual — in the manner of a pre-flight checklist.
The book is divided into four chapters that are designed to look at story through its various levels, and within each chapter there are many subsections. The chapters are: 1.) creating a world; 2.) the flawed self; 3.) the dramatic question; and 4.) plots, endings, and meaning. Chapter 1 isn’t just advice about how to build the story environment, but rather it looks at how our brains take in and model the world as written so that one can use that knowledge to more smartly approach presenting a world. As one might guess, chapter two is a crucial one because it introduces the study of characters and their flaws, and why said flaws are critical to the appeal of a story. The author also addressed differences between Eastern and Western approaches to story and I found the discussion of culture to be an intriguing inclusion. Chapter three continues the work of the second by focusing on how the interaction of subconscious and conscious minds contribute to a protagonist’s problems. In keeping with the coverage of culture, there’s a section that looks at stories as tribal propaganda that was quite insightful. The final chapter examines how plots and good endings arise as a logical result from setting up the character.
There’s an appendix that lays out Storr’s “Sacred Flaw Approach.” This is the approach that he teaches in his writing course. The book is also annotated, though it is text-centric and doesn’t employ much in the way of graphics.
I found this book fascinating. It does rehash some of the same examples as other books on story (e.g. “The Godfather” movie,) that’s simply because those stories are widely known and thus have broad usefulness. But there were plenty of insights to keep me intrigued, even having read other books on the topic. If you’re interested in the science of storytelling, this book is worth giving a look.