BOOK REVIEW: The Narrative Poems by William Shakespeare

The Narrative Poems (The Pelican Shakespeare)The Narrative Poems by William Shakespeare
My rating: 5 of 5 stars

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While William Shakespeare is overwhelmingly known as a playwright who also wrote a collection of sonnets, back in his day some of his poetic stories were quite well-received. This volume collects the five narrative poems that Shakespeare is believed to have authored (or partially authored.)

Venus and Adonis: This is one of the two long-form narrative poems of Shakespeare. It tells the tale of the goddess Venus’s obsession with Adonis, her many attempts to woo the hunky lad, and the tragedy that befalls him, breaking her heart. It’s written in six-line stanzas of iambic pentameter with a quatrain of alternating line rhymes and an end couplet of a third rhyme.

The Rape of Lucrece: This is the other long narrative poem of Shakespeare. Lucrece’s husband, Collatine, is off on campaign and brags about how perfect is his wife, Lucrece. The “gentleman” he is telling this to is Tarquin, and the high-praise of Lucrece sets the seed of obsession in Tarquin’s mind. When he then finds himself in Collatine’s neighborhood (with Collatine still off to war,) he pays Lucrece a visit and is invited to stay over. That night he breaks into her bedchambers and – after threatening to kill her and a random male servant whose corpse he’ll shove into bed with her – Tarquin rapes her. After mulling over her options, Lucrece calls for Collatine’s return and after getting the promise of Collantine and his fellow soldiers to have revenge for her, she tells them who raped her immediately before ending her own life by dagger.

It’s written in the rhyme royal seven-line stanzas of iambic pentameter made famous by Chaucer.

The Phoenix and the Turtle: This is a very different poem from the others. In terms of format, it abandons iambic pentameter in favor of shorter, punchier lines. Stylistically, it’s a bit more obscure and allegorical than most Shakespearean poetry.

The gist of the tale is the description of a funeral for the perfect couple. [I guess that an important thing to know is that “Turtle” is used as short for turtledove, and so it’s not a tale of bestial interspecies lovin’.] Besides the lines being shorter, the entire poem is short and sweet, ending with a philosophical lament about truth and beauty.

The Passionate Pilgrim: While we’re back to iambic pentameter (and mostly sonnets) this work is a departure other ways. First, rather than being a narrative poem proper, this is really a love poetry collection. Second, while the collection consists of twenty poems, Shakespeare is believed to have only written five of them (I, II, III, V, and XVI.) Of those, the first four are sonnets, and the last is an eighteen-line poem. Third, this is not new or exclusive material. The first two sonnets came to be included in the 154-sonnet collection of Shakespeare (138 and 144,) and the other verse is from “Love’s Labour’s Lost.”

A Lover’s Complaint: The weeping of a maiden attracts the attention of a passerby, who she tells her tale of woe, having been wooed by a young man who got his milk and high-tailed it before he was forced to buy the cow. Besides being a woman’s tale of woe, it also shares with “The Rape of Lucrece” the fact that it is written in rhyme royal. It’s much shorter than “The Rape of Lucrece.”

I would highly recommend poetry readers dig into these lesser know Shakespearean works.


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POEM: Escaping Isolation [PoMo Day 17 – Ottava Rima]

In isolation, I took to story,
and traipsed through worlds impossible yet true,
living life from infantile thru hoary,
under skies: gunmetal to deepest blue,
in lands where trucks were known to be lorries,
and ancient cities breathed as though brand new.
Where neither time nor bars could imprison,
I found my phoenix had now arisen.

BOOK REVIEW: The Art of X-Ray Reading by Roy Peter Clark

The Art of X-Ray ReadingThe Art of X-Ray Reading by Roy Peter Clark
My rating: 5 of 5 stars

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If one asks a group of people whether a story worked or not, one is likely to hear widespread agreement, but if one asks them why it worked [or didn’t,] one is likely to get a hodgepodge of murky conclusions. The average person will struggle to put together a coherent explanation for failed stories, an explanation which may or may not be grounded in paydirt. That’s because whether writing works or not is a matter of emotional resonance, and what delivers that emotional experience is almost as hidden as the pipes and wires in the walls that deliver water and electricity. Clark’s purpose with this book is to show the reader some of the characteristics they can read for, features which may not be readily apparent when one is lost in a good book, but which make the difference between a masterpiece and a ho-hum work.

While I referred to “story” a lot in the preceding paragraph, it’s worth noting that Clark’s book does cover the gambit of creative writing activities – including a few poets, essayists, non-fiction authors, and repeated references to one very famous playwright. That said, the bulk of the works under discussion are fiction — be it a novel, short story, epic poem, or play.

The book consists of twenty-five chapters, and the subtitle is a little bit deceptive because not all of the chapters take a single work as a focal point. Each of the chapters has a core concept to convey, using one or more authors (and one or more of each writer’s works) to do so. Some of these lessons are at the level of language, such as Nabokov’s playfully poetic alliteration and assonance, Hemingway’s sparse prose, or Toni Morrison’s effective use of repetition. Other chapters explore how intrigue can be set up and sustained: such as in Shirley Jackson’s foreshadowing of the twist in her story “The Lottery,” or the way “Sir Gawain and the Green Night” turns a non-event into unexpected chills, or how Harper Lee uses the slowed experience of time to build tension. Still other chapters present techniques such as placing texts within the text as done in “A Visit from the Goon Squad,” zooming in or out with perspective as is done in Homer’s “Odyssey,” or Shakespeare’s rejection of conventions in his sonnets. Some chapters investigate how a tone is established such as in Gabriel Garcia Marquez’s magical realism, and one other focuses on intertextuality – i.e. the borrowing of ideas from past masters in a non-plagiaristic sort of way.

The authors and works selected are popular and will generally be a least familiar to avid readers of English language literature, and most readers will have read at least a few of the works under consideration. A few of my personal favorites were explored including Shakespeare, Yeats, and Hemingway, and I suspect that will be true of most readers. There was only one author of whom I had no knowledge, M.F.K. Fisher, a writer who is well-known to mid-twentieth century cookbook fans, but who is a little obscure today. Having said that, I did come away with an interest in reading the book under discussion – i.e. “How to Cook a Wolf.”

While this book is marketed towards writers, I think any serious reader would find it an interesting and worthwhile read. If you want a better understanding of what succeeds in the world of writing, you should take a look at this book.


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BOOK REVIEW: The Neil Gaiman Library, Vol. 3 by Neil Gaiman

The Neil Gaiman Library Volume 3The Neil Gaiman Library Volume 3 by Neil Gaiman
My rating: 5 of 5 stars

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Out: June 1, 2021

 

This series collects short fiction of Neil Gaiman and presents it via the medium of the graphic novel. While there are four works listed, because two of these works contain multiple stories, there are actually eight stories contained in this volume. The selection is diverse both in terms of genre and artistic style. With respect to genre, the stories cut across fairy tale, fantasy, horror, supernatural, and tales of the weird. The artistic styles range from art nouveau to comic strip style. While this is the third volume, the included stories all stand on their own, and so there is no necessity to have read previous volumes. Because Gaiman draws heavily on fairy tale source material, parents might assume these are kid-friendly stories, but you should check them out first yourself as “Snow, Glass, Apples” and “The Daughter of Owls” both present somewhat sexually explicit content (the former both graphically and with respect to story events and the latter only with respect to story,) and while the horror stories are pretty calm as horror stories go, they are still works of horror.

“Snow, Glass, Apples” is a dark take on the princess-centric fairy tale. It imagines a vampiric young nymph who appears as challenger to the Queen. This is probably the most visually impressive work, being illustrated in a style that mixes art nouveau with Harry Clark’s stain glass artworks. It is definitely not the run-of-the mill graphic novel, graphically speaking. The art is exceptionally detailed and stunning.

“The Problem with Susan and Other Stories”: As the title suggests, this is one of the two multi-story entries in the collection. The titular main story features a retired Professor who is plagued by Narnia-like dreams, and who receives a visit from a reporter for a college paper. The art for this one is much more reminiscent of the typical graphic novel of today. There are three other stories included. “Locks,” the comic strip-esque illustrated story, is a take on “Goldilocks and the Three Bears” as it’s being told to – and imagined by – a little girl. “October in the Chair” imagines a kind of story competition taking place around a campfire by anthropomorphized “months.” It’s a bit more artistically rendered than the other stories in this [sub-] collection (although that may have to do with the dark tone that is used to reinforce that the stories are being told in the middle of the night in the middle of a woods.) The final story is a brief, but artistically dense, story that imagines a day in which everything goes wrong at once.

The sixth story, “Only the End of the World Again,” revolves around a man / werewolf who wakes up to find that he has clearly turned in the preceding night. The tale is set in a small and remote village, where everyone seems to know everything about everyone, and it doesn’t shock the man when select people let slip that they know his secret. As the story unfolds, it’s clear that the man / werewolf is caught up in something bigger than his own tragedy.

The last entry is a two-parter. The first is one of my favorite Neil Gaiman short stories; entitled, “The Price,” it offers an answer to the question of why some indoor / outdoor cats constantly come home battered and bleeding. The second story, “The Daughter of Owls,” revolves around “the baby left on the church steps” plot mechanism. Because the girl is enveloped in owl accoutrements, she is shunned by the village and forced into exile at a dilapidated former abbey. Both of these stories have a more brush-painted style that the usual graphic novel.

I enjoyed this collection immensely. While not all of the stories were new to me, the way they were illustrated shone a new light on the familiar tales. All of the stories are masterfully crafted and illustrated. While Gaiman draws heavily on well-known fairy tales, there is nothing banal about these stories. I’d highly recommend this book, even if you’ve read some of the stories already.

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BOOK REVIEW: Best Fairy Stories of the World ed. by Marcus Clapham

Best Fairy Stories of the WorldBest Fairy Stories of the World by Marcus Clapham
My rating: 5 of 5 stars

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This book collects sixty-two well-known fairy and folk tales. While the bulk of the stories are European, there are a few entries from Indian, Japanese, Aussie, Slavic, and Middle Eastern folklore. There are several stories which will be familiar to all readers (often by virtue of their Disney adaptations,) such as: “Aladdin and the Wonderful Lamp,” “Beauty and the Beast,” “Cinderella,” “Jack and the Beanstalk,” “Sleeping Beauty,” and “Snow White.” There are others that are widely known as go-to bedtime stories, e.g. “Little Red Riding Hood,” “Goldilocks and the Three Bears,” and “The Three Little Pigs.” Then there are others that are likely to be – at most – vaguely familiar to any reader who is not a specialist in global oral storytelling traditions, some because they are anachronistic and relate less well in the modern world and others because they are not well-known in the Western world (e.g. Japanese and Indian stories.)

For the most part, the selection of tales is not surprising. As mentioned, the collection is European-centric with all but about a dozen entries being from Europe. However, given the book is directed toward the English-speaking market, that narrow focus is to be expected. In fact, stories from the Brothers Grimm and Hans Christian Anderson together make up about one-third of the included works. Some readers may take umbrage that the proposed “Best Fairy Stories of the World” includes examples from so little of the world (ignoring Africa, the Western Hemisphere, and the vast majority of Asia, altogether.)

What is strange about the collection is that there are just a few pairs of stories for which both stories in the pair are structurally identical. I’m not talking about having a common theme or moral. The common objectives of these stories often result in them having thematic overlap, but that is not necessarily a problem for readers. For example, there are several “rags to riches” type stories. However, these stories are widely different in story events and characters, such that reading them does not leave one with the feeling of having reread the same story. Instead, I’m talking about instances like the inclusion of both “Rumpelstiltskin” and “Tom Tit Tot.” In both of these stories, the lead is charged with a task they cannot complete, and some magic creature comes along and says they will do the work and, if the person can guess their name, it’s a done deal, but if they can’t guess their rescuer’s name, they will be owned by said savior. Even how the two stories’ endings unfold is identical except in the finest granularity of detail. On one hand, I can see how including overlapping tales would give readers some indication of how these tales spread and became adapted by other cultures. However, on the other hand, I would have preferred that the editor selected the better of the two and use the freed-up space to include, say, some Native American or African stories.

I enjoyed this collection. It took me back to my youth, and also exposed me to some stories with which I was unfamiliar. I do believe the title could have been better worded because to call these the best in the world and then to make them almost entirely from northern Europe could be interpreted as being pretty conceited. However, I doubt there was any such conceit, just a desire to sell stories that would appeal to a particular readership, and then to hype it in as big a way as possible.

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POEM: The Philosopher [Day 16 NaPoMo: Narrative]

Said a man, standing on a crate,
“Thought and comfort are species that cannot mate.”

This philosopher continued:
“An idea unchallenged can’t claim merit. Sacred stories are paper tigers.

“Anything sanctified may lead to murder. For one person’s sacred object will bump into that of another, and it’s only by brute force that such conflicts are resolved. ”

The mayor was captivated by the philosopher’s words, and thought:
The youth are lumps, existing free…
-of challenge
-of thought
-of dignity
-of power

So the mayor invited the philosopher to his town.

The townsfolk were not pleased.

The philosopher’s first act was the erection of a sign that read,

Your god is the wrong God!

One resident said, “How can you make such a statement?”

“I’m not here to offer instruction about how language works, but — rather — about how  a thoughtfully lived life can be achieved.”

The first man kicked the philosopher in his left shin, and stormed off.

The second shouted, “But what gives you the right?”

“The right to what? To write a statement? To expose it to public scrutiny?”

“To make claims about which god is the true God.”

“I make no such claims.”

“But your sign says so.”

“Do you claim the sign is wrong, or that I have no right to make the comment — regardless whether it is true or false?”

“Well, mostly, the first one. The sign is not right,”

“Perhaps the sign IS untrue, and if proven so, I would certainly have to remove it. So tell me, is your counter-claim that your god is truly God?”

“It most certainly is,”

“Then tell me, how can I know that your claim is the correct one?”

“It is written in the scriptures.”

“So anything that is written in a religion’s scripture is true?”

“No. Not just any religion’s scriptures, just ours.” said, the man, thinking he’d anticipated the philosopher’s argument about how mutually exclusive statements can be true.

“And why just yours?”

“Because ours were written by the hand of God,”

“And how could a person such as myself be convinced of the truth of such a statement?”

“Because it is written…”

“So the scriptures of other religions don’t say they are the truth from God?”

“They may say it, but it’s not true.”

“So do you have more of an argument than that you believe something written centuries before your birth must be true and statements contrary to it must be false? If not, I must maintain that the statement on the sign has as much validity as your counterclaim. Both statements may or may not be true and with unassignable probabilities.”

And so the second man punched the philosopher in his right eye, and walked off in a huff.

A third man, a missionary, said, “That man was wrong,”

“I agree,” said the philosopher holding his palm over his eye, “violence is not a winning argument,”

“No,” said the third man, “not about punching you. He was wrong that what matters is the scriptures. I know my god is the God because I feel it’s true.”

“I had vertigo once. It felt like the room was spinning and like I would fall over, but neither was true. So, I can’t say that I put much faith in what I feel as arbiter of truth, but I definitely don’t have any feeling about the existence of your god — one way or the other. Are you saying he might be god to you — who feel this presence — and not to me, and to all those others, who don’t have such a feeling?”

“I’m not saying that…”

“Oh, good, because I was going to ask why you make so much effort to convert people to a subjective god?”

The third man kicked the philosopher in the right shin, shook his head, and walked off.

A fourth man approached and said, “Your sign is wrong because I have no god. I don’t believe in such hokum.”

The philosopher took out a marker and made some editorial changes. He wedged a large “V” in between the word “Your” and the word “god” and wrote “lack of” above it. He then crossed out the words “the” and “God.” The edited sign read:

Your lack of god is wrong!

“Surely, you aren’t going to attempt a proof for the existence of god after what you told your previous conversant?”

“I am not. You watched the previous discussions and should realize that I claim no more than that my statement holds as much validity as yours. Unless, that is, you are more successful at proving the non-existence of a god than the previous individuals did at proving its existence.”

“I cite Occam’s razor,” the fourth man said smugly, adding, “are you familiar with it?”

The philosopher said, “Indeed I am. But I wonder, why is it not called ‘Occam’s Law?’ Is it always the case that the simplest explanation is invariably true? Could we not find in the natural world instances in which the explanation for an observed phenomena was more complicated than an explanation we could theoretically imagine?”

“Not invariably, but a good rule…”

“So you base an absolute conclusion on a ‘good rule of thumb?’ Isn’t there potential for…”

The fourth man socked the philosopher in his left eye.

The philosopher, blinded with two swollen eyes and with a knob under each knee, sat by his sign, awaiting more takers.

The mayor came by and said, “I’m afraid this hasn’t worked out as I’d hoped. I’ve gotten so many complaints. Perhaps, it would be best if you move along.”

So, the philosopher grabbed his meager possessions, and limped one painful step at a time out of town.

***

Two weeks later, a colonizing army invaded.

The officers told the residents that they must convert.

The townsfolk all said that they would never convert.

The generalissimo said, “Convert or die. Those are your options.”

“That’s unfair,” said one man.

“What gives you the right?” said a woman.

The generalissimo then said, “OK. OK. If any of you can give me a sound reason why your religion cannot be supplanted by our own, I will reconsider…”

BOOK REVIEW: The Science of Storytelling by Will Storr

The Science of StorytellingThe Science of Storytelling by Will Storr
My rating: 5 of 5 stars

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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.

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My Year of Discovering How Weird the Mind Gets, Part XII [Narrative Transportation]

This is the belated final posted of my 2019 project on altered states of consciousness. I was traveling during the latter half of December and, hence, my tardiness.

During 2019, each month I gave special attention to studying some state of consciousness that exists outside of the normal waking state. (Of course, the folly of believing that there is one “normal waking state of consciousness” is one of the major lessons learned from this exercise.) My investigations included: meditation, hypnosis, lucid dreaming, sensory deprivation, psilocybin consumption, and various others — a number of which were variations on inducing a Flow state.

In December, because I was traveling so much I was reading even more than usual, and it occurred to me that there is a kind of reading in which the mind behaves differently from the norm. I’m not talking about all reading, but — specifically — when one gets lost in story. There’s run-of-the-mill reading, and then there’s the reading in which a hundred pages seem to fly by in minutes, but you realize you’ve lost a lot more time than that. This topic might seem like a dull ending to this project. Being absorbed in story might not appear as enthralling or “sexy” as mushroom tripping or floating in sensory deprivation tank, but the experience can be just as profound.

As I was looking into this, I discovered that there is a term that addresses what I’m talking about, “narrative transportation.” Narrative transportation relates to absorption, which I learned is a factor in hypnosis. That is, how easily does one become completely mentally occupied with an object of contemplation such that one loses awareness of the passage of time and external stimuli.  In this type of reading, one is mentally reconstructing the world and events of a story, and that process is demanding of one’s attention. Furthermore, there is an intense emotional experience that one is feeling simultaneous to this mental construction. This doesn’t leave much room for the mind to wander — if the story is intriguing enough to hold one’s attention.

As a reader, one facilitates narrative transportation largely by picking stories that are appealing to one, and by finding extended time periods to read without distraction. However, what’s really interesting is how a writer can facilitate this state through his or her style and method. The most commonly discussed aspects of this facilitation are: the story arc (i.e. arranging events to create and maintain excitement) and building lovable or loathsome characters (either way, just as long as they aren’t tedious or boring.)

But there is another aspect that I think of as readability. How easy does the storyteller make it for the reader to create their own mental story-world? In large part, this has to do with the art of finding the Goldilocks Zone of description. If one describes too little one creates “floating head syndrome” in which the reader (if they continue reading at all) may imagine floating heads conversing in a blank white room. On the other hand, if one spends twelve pages describing the drapes or the weather, one is unlikely to keep readers engaged.  Coincidentally, one of the books that I read in December that was educational (though not transportational) was Milan Kundera’s “The Art of the Novel.” In it, Kundera bemoans the tendency to over-describe characters such that one interferes in the reader’s imaginings. He points out that readers learn almost nothing about the physical description and background of some of the most important characters in literature.

And so concludes my year of altered states as I look forward to new adventures in 2020.

5 of My Favorite Books on Writing [So Far]

I’ve read enough books about writing to make it a challenge to pick a top five, but not so many that I would dare consider this list definitive. I know there are many great books on the subject that I’ve missed or are yet to come. I’m always interested in hearing about the picks of others, so feel free to comment.



5.) Writing Fiction from the Gotham Writers’ Workshop: This book is one-stop shopping for the fiction writer. Besides offering lessons on writing, it presents exercises to help one get down to the nitty-gritty. It explores character development, plotting, pacing, dialogue, revising — i.e. the whole ball of wax. While the book offers the advice of many and varied experts, it uses a Raymond Carver story [which is included as an appendix] as a connective tissue across the various chapters.

 

4.) Wired for Story by Lisa Cron: Cron explores what it is about stories that appeal to the human brain, and how to take advantage of such knowledge in crafting effective stories.

 

3.) Building Great Sentences by Brooks Landon: I bought the audio course from The Great Courses that this book is based upon and listened to it many times over. Landon’s approach to sentence crafting resonated with me, and while it might seem overly technical as one is perusing the Table of Contents, the author’s use of examples and his manner of explanation is clear and informative.

 

2.) The Anatomy of Story by John Truby: Like the GWW book above, this is a guide to crafting stories. However, while Writing Fiction gets into a lot of concrete details, Truby keeps a systematic emphasis on taking a flawed character through a course of events and decisions that will result in the character coming out of the story changed. Writing Fiction presents a greater diversity of views about what is important, but The Anatomy of Story offers a more cohesive approach to building one’s story.

 

1.) Zen in the Art of Writing by Ray Bradbury: Ray Bradbury was, in my opinion, one of the best when it came to combining story-crafting and creative use of language. One gets a lot of the latter in this book. It’s not a guide in the sense that most of the books above are. It’s inspiration — explicitly, and by example.

BOOK REVIEW: Into the Woods by John Yorke

Into the Woods: A Five Act Journey Into StoryInto the Woods: A Five Act Journey Into Story by John Yorke
My rating: 5 of 5 stars

Amazon page

 

This is a book about story and story structure. While Yorke pokes fun at writers who have exacting structural formulae, one need not get past the subtitle to realize he’s advocating a form of structure himself: the five-act structure. And not just any old five-act structure, but Yorke proposes that there be symmetry around a third-act midpoint, and that the approach to story be fractal (to be elaborated upon below.)

The book is divided into five “acts,” or parts, but the theme of each part isn’t related to the role of that particular act in a story or play. The first act consists of five chapters that explain what makes a story. Yorke describes the three-act structure as well as five-act structure, and then explains how these forms are connected — i.e. how five acts can be overlaid, or mapped to, the three-act structure. One chapter, Chapter 4, is devoted to the crucial topic of change. After all, in a story we have a character who wants something and is put through the wringer as he / she attempts to get it, and the moral and / or psychological change that they experience as a result is a major determinant of how satisfying the story feels.

“Act II” explores the components of story – acts and scenes – and how they are arranged into a story. The first of the five chapters describes fractal structure. For those who don’t deal in mathematical concepts on a regular basis, a fractal is a shape that — if one zooms in — one finds smaller and smaller copies of the original shape. This applies to story telling in that one wants acts and scenes to follow a progression that echoes the overall story. That is, a character (at the scene level it may or may not be your hero) wants something, confronts opposition, and this clash either results in more conflict or a resolution. There’s a chapter devoted to the “inciting incident,” which is sometimes called the “first doorway,” and is an event that forces the hero to make a key decision that will put him or on the road of story.

The third “act” consists of only one chapter, Chapter 11, that is entitled “Showing and Telling.” This obviously references one of the most oft-recited (and trite) pieces of writing advice: “show, don’t tell!” As most writers soon discover, this advice is a great rule of thumb but a poor law. Hence, the need to discuss what would otherwise be a simple idea over the course of an entire chapter.

The penultimate “act” is about character, characterization, dialogue, and background. Like most books on story, the emphasis on making memorable characters is more about determining their wants, needs, and weaknesses, rather than being about figuring out how one will dress them or what accent one will assign them. Not that studying the latter isn’t worthwhile, but it’s a common error to produce a muddled character because one hasn’t given enough thought to who they are at the most fundamental level.

Chapters 15 through 17, address the subjects that are probably most responsible for poor story writing: dialogue, exposition, and subtext. The central challenge is to tell the reader just the right amount, neither letting the story get bogged down in needless information, nor leaving the reader thinking the story unbelievable because they don’t have the requisite background to understand what motivates characters. From “as you know, Bob” dialogue to Bond-villain monologuing, there are many ways to ruin a good premise by botching these story elements.

The final “act” deals mostly with the challenge of writing series. Series writing presents a huge challenge unto itself. We are all familiar with examples — such as the television show “Lost” — that started out with great promise and devolved into a pile of rubble by the end. The first three of the five chapters in the final part discuss television and series writing challenges in detail. The last couple chapters close out the book.

The book has seven appendices. Five of these are examinations of the structures of stories known for being exemplary: “Raiders of the Lost Arc,” “Hamlet,” “Being John Malkovich,” “My Zinc Bed,” and “The Godfather.” [“Being John Malkovich” may be included because Charlie Kaufman was known for strongly rejecting “formulaic” approaches to story structure, but Yorke wanted to show that structure happens organically even if it might not be purposely pursued.] The sixth appendix considers first and last act parallels. As I mentioned in the first paragraph, Yorke proposes that there is a symmetry around the midpoint that occurs in the third-act of a five-act story. The final appendix is a handy table that shows how the structures taught by masters of screenwriting (e.g. John Truby, Robert McKee, as well as Joseph Campbell’s “Hero’s Journey” [which is referenced throughout Yorke’s book]) map to five-act structure.

I found this book interesting and informative. Like other great books on story, there is extensive use of well-known stories [particularly cinematic, e.g. “Star Wars,” “The Godfather,” “Casablanca,” etc.] to help clarify the author’s points. I would recommend this book for those is interested in story, and how stories are structured to be best received by an audience. The space the book occupies is bit different from Truby’s “The Anatomy of Story” [which I reviewed recently.] While Truby’s book is the kind one would sit down with as a reference after reading it in order to help one build one’s story structure and scene weave, Yorke’s book is less of a hands-on guide and more of a light read to improve one’s ideas about story more generally.

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