by Lisa Cron
CHAPTER 8: CAUSE AND EFFECT
1. J. P. Wright, The Skeptical Realism of David Hume (Manchester: Manchester University Press, 1983), 209.
2. Damasio, Self Comes to Mind, 133 (see ch. 1, n. 4).
3. Gazzaniga, Human, 262 (see introduction, n. 1).
4. K. Schulz, “On Being Wrong,” TED2011, March 2011, transcript and video, http://www.ted.com/talks/kathryn_schulz_on_being_wrong.html.
5. Damasio, Self Comes to Mind, 173.
6. Boyd, On the Origin of Stories, 89 (see ch. 1, n. 8).
7. L. Neary, “Jennifer Egan Does Avant-Garde Fiction—Old School,” NPR, Morning Edition, July 6, 2010, http://www.npr.org/templates/story/story.php?storyId=128702628.
8. A. Chrisafis, “Overlong, Overrated, and Unmoving: Roddy Doyle’s Verdict on James Joyce’s Ulysses,” The Guardian, February 10, 2004, http://www.guardian.co.uk/uk/2004/feb/10/booksnews.ireland.
9. J. Franzen, “Q. & A. Having Difficulty with Difficulty,” New Yorker Online Only, September 30, 2002.
10. A. S. Byatt, “Narrate or Die,” New York Times Magazine, April 18, 1999, 105–107.
11. Neary, “Jennifer Egan.”
12. For the original translation of this phrase from Chekhov’s letter to his brother, see W. H. Bruford, Anton Chekhov (New Haven, CT: Bowes and Bowes, 1957), 26.
13. Boyd, On the Origin of Stories, 91.
14. Damasio, Self Comes to Mind, 211.
15. The Isaiah Berlin Literary Trust, “Anton Chekhov,” The Isaiah Berlin Virtual Library, 2011, quoted from S. Shchukin, Memoirs, 1911, http://berlin.wolf.ox.ac.uk/lists/quotations/quotations_by_ib.html.
16. D. Gilbert, “He Who Cast the First Stone Probably Didn’t,” New York Times, July 24, 2006, The Opinion Pages.
17. M. Twain, The Complete Letters of Mark Twain (Teddington, UK: Echo Library, 2007), 415.
18. J. Boswell, The Life of Samuel Johnson (New York: Oxford University Press USA, 1998), 528.
CHAPTER 9: WHAT CAN GO WRONG, MUST GO WRONG—AND THEN SOME
1. Restak, The Naked Brain, 216 (see ch. 1, n. 2).
2. R. I. M. Dunbar, “Why Are Good Writers So Rare? An Evolutionary Perspective on Literature,” Journal of Cultural and Evolutionary Psychology, 3, no. 1 (2005): 7–21.
3. Gazzaniga, Human, 220 (see introduction, n. 1).
4. Pinker, How the Mind Works, 541 (see introduction, n. 4).
5. R. A. Mar et al., “The Function of Fiction Is the Abstraction and Simulation of Social Experience,” Perspectives on Psychological Science 3, no. 3 (2008): 173–192.
6. P. Sturges, Five Screenplays by Preston Sturges (Berkeley, CA: University of California Press, 1986), 541.
7. Schulz, Being Wrong, 26 (see ch. 8, n. 4).
8. H. Vendler, Dickinson: Selected Poems and Commentaries (Cambridge: Belknap Press of Harvard University Press, 2010), 54.
9. Eagleman, Incognito, 145 (see ch. 1, n. 3).
10. J. W. Pennebaker, “Traumatic Experience and Psychosomatic Disease: Exploring the Roles of Behavioural Inhibition, Obsession, and Confiding,” Canadian Psychology/Psychologie canadienne 26, no. 2 (1985): 82–95.
11. Damasio, Self Comes to Mind, 121 (see ch. 1, n. 4).
12. Pinker, How the Mind Works, 540.
13. P. McGilligan, Backstory: Interviews with Screenwriters of Hollywood’s Golden Age (Berkeley and Los Angeles: University of California Press, 1986), 238.
14. T. Carlyle, The Best Known Works of Thomas Carlyle: Including Sartor Resartus, Heroes and Hero Worship and Characteristics (Rockville, MD: Wildside Press, 2010), 122.
15. Plutarch, Plutarch’s Lives, Volume 3 (Cambridge, MA: Harvard University Press, 1967), 399.
16. C. G. Jung, Alchemical Studies (Collected Works of C. G. Jung, vol. 13) (Princeton, NJ: Princeton University Press, 1983), 278.
CHAPTER 10: THE ROAD FROM SETUP TO PAYOFF
1. Boyd, On the Origin of Stories, 89 (see ch. 1, n. 8).
2. S. J. Gould, Bully for Brontosaurus: Reflections in Natural History (New York: W. W. Norton, 1991), 268.
3. Damasio, Self Comes to Mind, 64 (see ch. 1, n. 4).
4. Gazzaniga, Human, 226 (see introduction, n. 1).
5. Heath and Heath, Made to Stick, 286 (see ch. 3, n. 16).
6. D. Rock and J. Schwartz, “The Neuroscience of Leadership with David Rock and Jeffrey Schwartz,” Strategy + Business, webinar, November 2, 2006, http://www.strategy-business.com/webinars/webinar/webinar-neuro_lead?gko=37c54.
7. R. Chandler, Raymond Chandler Speaking (Berkeley and Los Angeles, CA: University of California Press, 1997), 65.
8. A. Gorlick, “Media Multitaskers Pay Mental Price, Stanford Study Shows,” Stanford Report, August 24, 2009, http://news.stanford.edu/news/2009/august24/multitask-research-study-082409.
9. Boyd, On the Origin of Stories, 90.
10. J. Stuart and S. E. de Souza, Die Hard, directed by J. McTiernan. Silver Pictures and Gordon Company, 20th Century Fox, 1988.
11. C. Leavitt, Girls in Trouble (New York: St. Martin’s Griffin, 2005), 98.
CHAPTER 11: MEANWHILE, BACK AT THE RANCH
1. S. B. Klein et al., “Decisions and the Evolution of Memory: Multiple Systems, Multiple Functions,” University of California, Santa Barbara Psychological Review 109, no. 2 (2002): 306–329.
2. Damasio, Self Comes to Mind, 211 (see ch. 1, n. 4).
3. Gazzaniga, Human, 187–88 (see introduction, n. 1).
4. Ibid., 224.
5. Pinker, How the Mind Works, 540 (see introduction, n. 4).
6. D. Chase, R. Green, and M. Burgess, “All Due Respect,” The Sopranos, season 5, episode 13, directed by J. Patterson, aired June 6, 2004 (HBO, Chase Films, and Brad Grey Television).
7. Lehrer, How We Decide, 237 (see ch. 1, n. 9).
8. N. Bransford, “Setting the Pace,” March 5, 2007, http://blog.nathanbransford.com/2007/03/setting-pace.html.
9. Boyd, On the Origin of Stories, 90 (see ch. 1, n. 8).
10. G. Lucas, G. Katz, and W. Huyck, American Graffiti, directed by G. Lucas. American Zoetrope and LucasFilm, Universal Pictures, 1973.
11. W. Mosley, Fear Itself (New York: Little, Brown & Company, 2003), 140.
12. Gazzaniga, Human, 190.
CHAPTER 12: THE WRITER’S BRAIN ON STORY
1. Restak, Naked Brain, 23 (see ch. 1, n. 2).
2. P. C. Fletcher et al., “On the Benefits of Not Trying: Brain Activity and Connectivity Reflecting the Interactions of Explicit and Implicit Sequence Learning,” Cerebral Cortex 15, no. 7 (2005): 1002–1015.
3. Restak, Naked Brain, 23.
4. H. A. Simon, Models of Bounded Rationality, Vol 3: Empirically Grounded Economic Reason (Cambridge, MA: MIT Press, 1997), 178.
5. Damasio, Self Comes to Mind, 275 (see ch. 1, n. 4).
6. J. Irving, Trying to Save Piggy Sneed (New York: Arcade Publishing, 1996), 5.
7. S. Silverstein, Not Much Fun: The Lost Poems of Dorothy Parker (New York: Scribner, 2009), 47.
8. Dunbar, Why Are Good Writers So Rare? (see ch. 9, n. 2).
9. Based on a concurring opinion by Justice P. Stewart, Jacobellis v. Ohio, 378 U.S. 184 (1964).
10. D. G. Dutton et al., “Some Evidence for Heightened Sexual Attraction under Conditions of High Anxiety,” Journal of Personality and Social Psychology 30, no. 4 (1974): 510–517.
11. A. O. Scott, “ ‘Da Vinci Code’ Enters Yawning,” New York Times, May 17, 2006, http://www.nytimes.com/2006/05/17/arts/17iht-review.1767919.html?scp=7&sq=goldsman%20da%20vinci%20brown&st=cse.
12. D. Stevens, Slate, March 22, 2005, http://www.slate.com/articles/news_and_politics/surfergirl/2005/03/what_have_you
_done_with_my_office.single.html#pagebreak_anchor_2.
13. M. Cervantes Saavedra, The Life And Exploits of the Ingenious Gentleman Don Quixote De La Mancha, vol. 2 (Charleston, SC: Nabu Press, 2011), 104.
14. Wikipedia, s.v. “Michael Arndt,” accessed October 25, 2011, http://en.wikipedia.org/wiki/Michael_Arndt.
15. A.
Thompson, “ ‘Closet screenwriter’ Arndt Comes into Light,” Hollywood Reporter, November 17, 2006.
16. J. London, “Getting into Print,” The Editor, March 1903.
17. B. Strickland, ed., On Being a Writer (Cincinnati, OH: Writers Digest Books, 1992).
18. Eagleman, Incognito (see ch. 1, n. 3).
If there’s one thing I’ve learned, first from story and then from neuroscience, it’s that every decision we make is based on everything that’s happened to us up to that moment. So it’s no surprise that this book owes its existence to many, many people who have graciously given me their encouragement, expertise, and support.
For one thing, I wouldn’t know nearly as much about story if not for a gifted group of friends, family, and colleagues: Jeannie Luciano, Paul F. Abrams, Mona Friedman, Judy Toby, Bill Contardi, Pamela Katz, Richard Walter, Amy Bedik, Sara Cron, Judy Nelson, Edith Barshov, Martha Thomas, LaDonna Mabry, Abra Bigham, Brett Hudson, Doug Michael, Vicky Choy, Iris Chayet, Marnie McLean, Angela Rinaldi, Frances Phipps, Mark Poucher, A. Karno, and Newman Wolf.
I’m grateful to Linda Venis, mastermind of the phenomenal UCLA Extension Writers’ Program, and her fabulous staff: Mae Respicio, Kathryn Flaherty, and Sara Bond to name a few. Teaching in the Writers’ Program allowed me to expand and refine my ideas, thanks to spot-on feedback from the most inspiring and talented students anywhere. Thanks especially to Michele Montgomery, who turned to me one night after class and said, “You’re always telling everyone they have time to write a book; why aren’t you writing one?” And to students Tommy Hawkins, Jill Beyer, and Sheel Kamal Seidler, whose wry, spirited questions always kept me on track.
I owe a special debt of gratitude to those who read the manuscript over the course of its many iterations and generously took the time to give me much-needed feedback. It has been improved immensely thanks to Lynda Weinman, Caroline Leavitt, Lisa Doctor, Rachel Kann, Colin Kindley, Carlyn Robertson, Michelle Fiordaliso, Charlie Peters, Randy Lavender, Jon Keeyes, Cherilyn Parsons, Dr. Ronald Doctor, Murray Nosel, Chris Nelson, Wendy Taylor, Robert Rotstein, Karen Karl, Robert Wolff, and Leigh Leveen.
Story has long been my profession, but I’ve come to neuroscience more recently. I was more than humbled that Michael Gazzaniga, cofounder of the field of cognitive neuroscience, took the time to read the manuscript and pronounce it fit. Thank you.
To the indefatigable, insightful, beautifully brutally honest freelance editor Jennie Nash: what would I have done without you? Undying thanks to my daughter Annie, who cheerfully read the manuscript countless times, always with the uncanny knack of finding obvious-when-pointed-out-but-otherwise-invisible logic glitches that no one else noticed, especially me. Many of my ideas were sharpened during conversations with my son Peter, whose love of story is as keen as mine. There is no one I’d rather talk story with, and no one I learn more from. Thanks to writers Jason Benlevi, for always believing in me, especially when I didn’t, and Thomas Koloniar, for invaluable lessons in grit, perseverance, and loyalty.
Words don’t do justice to how grateful I am to my supportive, savvy, brilliant agent, Laurie Abkemeier of DeFiore & Company. Somehow, she magically made the whole process stress-free. How often can you say that about anything? This book would be vastly different (read: not nearly as complete) if not for the shrewd wisdom of my whip-smart editor, Lisa Westmoreland. Thanks to her and the crackerjack team at Ten Speed Press, this book is infinitely better than it would otherwise have been.
Deepest heartfelt gratitude to my husband, Stuart Demar, who lovingly cooked every meal and did all the housework on top of his busy schedule, so I could keep writing into the wee hours. Only a true tough guy would do that. And finally, everlasting thanks to my lifelong best friend, Don Halpern, who makes everything possible. Damon never had a truer Pythias.
A graduate of UC Berkeley, LISA CRON spent a decade in publishing—first at W. W. Norton in New York, then at John Muir Publications in Santa Fe, New Mexico—before turning to television, where among other things she’s been supervising producer on shows for Court TV and Showtime. She’s been a story consultant for Warner Brothers and the William Morris Agency in New York City and for Village Roadshow, Icon, the Don Buchwald Agency, and others in Los Angeles. Lisa is featured in the book Ask the Pros: Screenwriting (Lone Eagle, 2004). Her personal essays have appeared on Freshyarn.com and the Huffington Post, and she has performed them at the 78th Street Playhouse in NYC, and in Los Angeles at Sit ’n Spin, Spark!, Word-A-Rama, Word Nerd, and Melt in Your Mouth (a monthly personal essay series she coproduced). For years she’s worked one-on-one with writers, producers, and agents developing book and movie projects. Lisa has also been a literary agent at the Angela Rinaldi Literary Agency. She is currently an instructor in the UCLA Extension Writers’ Program. She lives in Santa Monica, California, with her husband, two scruffy but well-loved cats, and a mischievous dog. Visit wiredforstory.com.
Table of Contents
Cover
Title Page
Copyright
Dedication
Introduction
How to Hook the Reader
How to Zero In on Your Point
I’ll Feel What He’s Feeling
What Does Your Protagonist Really Want?
Digging Up Your Protagonist’s Inner Issue
The Story Is in the Specifics
Courting Conflict, the Agent of Change
Cause and Effect
What Can Go Wrong, Must Go Wrong—and Then Some
The Road from Setup to Payoff
Meanwhile, Back at the Ranch
The Writer’s Brain on Story
Endnotes
Acknowledgments
About the Author