Story Nerd

In this episode, Melanie takes us on a deep dive of spy stories, their conventions and subgenres. It turns out that what we usually think of as spy stories might not be spy stories at all! Meanwhile, Valerie examines the testing plot and offers advice about how to write historical fiction that works. -V.

The Hook Formula: the works-every-time method for describing your book in a way that captivates readers and makes them beg for mo...

Not gonna lie ... this episode kinda went off the rails. We're supposed to talk about why Hitchcock's Vertigo is such a fabulous story — after all, it is lauded as one of his greatest films. Buuuut ... I didn't watch it before I recommended it for our What Went Right episode. Yes, the narrative drive works well in places. No question. However, to say this movie doesn't age well is an understatement and Melanie lets Hitchcock ...

How do you know if you're ready to query? The short answer is: when you've finished your manuscript. But could there be more to it than that? Do you need to run it past beta readers first, or is that a waste of time? If it's a good idea, then who do you choose to be on your beta reader team? We discuss all this and more on today's Hook Your Reader episode. Enjoy! -V.

The Hook Formula: the works-every-time method for describing you...

How did such a successful franchise get the last Bourne film wrong? There’s a simple answer - repetition and forgetting the rules of the world. This is an episode about the details, and it’s perfect for those writing a series because there’s a lot of good lessons to learn. - M

The Hook Formula: the works-every-time method for describing your book in a way that captivates readers and makes them beg for more.

Submi...

Genre is a funny topic in our business because nobody can seem to agree on it. That makes querying agents a particularly tricky situation ... what if the agent has a different perspective of your story's genre than you do? What happens then? In today's Hook Your Reader episode, we offer our take on a horror story with fantasy elements that may, or may not, actually be an action story or a haunted house story or even a global intern...

In this episode we share our lessons learned and a-ha moments about the 4 Types of Protagonists and the Premise statement. The ability to summarize your story in one sentence is an absolute must and over the course of the season, Melanie explored several different methods for doing just that. Which one was her favourite and why? This week, she reveals all. And for my part, I explored the 4 different types of protagonists and was ha...

Steven Spielberg listens to Story Nerd. My proof? In a recent interview with The New York Times, he said, "The first thing I look for [in a story] is a very compelling premise. The second thing is a character we can hitch our wagons to." THIS is exactly what Melanie and I have been discussing all season. So yeah, he MUST be listening to us, right? ;-) Seriously though, you want to tune into this episode to hear why Spielberg thinks...

Serenity is the follow-on movie from Joss Whedon’s series, Firefly. While the movie had a guaranteed audience, the story suffers because the main protagonist doesn’t have a clear object of desire, however, the antagonist’s OOD is super clear and it saves the movie. Valerie’s exceptional study of the four types of protagonist moves up a notch again, as she explores the ‘lost soul’ theory for the a...

Querying agents can be a daunting task but there's a way to do it effectively! Agents want to love your book but you have to know how to present it to them. Query letters aren't simply cover letters. They're sales letters and their job is to convince an agent to ask for more. Putting a query package together is a skill, and if you want to get an agent, it's a skill you must master! The Query Starter Kit available at learn.storynerd...

What's the key to choosing comp (comparative) titles that pique an agent's curiosity? Should you use films or tv shows? What about huge bestsellers — would those make good comps, and if so, in which circumstances? In today's episode, Kathleen and I discuss an upmarket speculative thriller and discuss comp title choices, killer opening lines and, you guessed it ... exposition! And if you want to read the query letters and firs...

How do you create an emotional connection between a reader and an unlikeable character? That's one of the most common questions we get as editors. The answer lies in understanding the anti-hero protagonist and Birds of Prey offers up a whole group of them to study. And where there are multiple protagonists, there are multiple plotlines. And each of those plotlines needs its own premise statement. It's a full episode this week! Enjo...

Nothing is what it seems in this mercenary mystery. I discovered a way to use two premises to create mystery and a twist - a great find for everyone writing mysteries or spy stories. Valerie works out what type of protagonist Sam is, and it’s not what I thought! -M

The Hook Formula: the works-every-time method for describing your book in a way that captivates readers and makes them beg for more.

Submit your query letter and ...

What kind of story are you writing? That question is actually much trickier to answer than it seems, and that's because writers and agents look at genre differently. What happens if, after reading the query letter, an agent isn't clear on your story's genre? What role do comp titles play in explaining genre? We answer these questions and many more in today's Hook Your Reader episode. Enjoy! -V.

The Hook Formula: the works-every-ti...

Well, well, well ... this has to be THE most interesting presentation of an underdog protagonist that I've ever come across. Not only have the filmmakers gone above and beyond with respect to their audience's expectations, but they've innovated the heck out of the underdog. This you've got to see! And if you're not sure whether you've written a logline or a premise statement for your story (or why you'd need both and when you'd use...

This week I practised writing a premise for each of the characters in Notting Hill and I experimented with the ending to see if this tool helps writers evaluate writing ideas. Valerie studied the value of the “everyman” punching above his weight in a romance - a winning formula if ever there was one! - M.

The Hook Formula: the works-every-time method for describing your book in a way that captivates readers and makes t...

What happens when a story is pitched in the query letter as a mystery, but doesn't read like one in the opening pages? Where did the confusion creep in and how can you avoid a genre mismatch? We discuss this and much more (including writing unnamed protagonists and passive characters) in today's Hook Your Reader episode. Enjoy! -V.

The Hook Formula: the works-every-time method for describing your book in a way that captivates read...

Of all the types of protagonists, audiences/readers love the underdog the most, and our discussion of this beloved archetype led us down all kinds of interesting story theory roads including tension, stakes, objects of desire, the use of consequences as plot devices, suspension of disbelief and the Disneyfication of fairy tales! Meanwhile, Melanie continues her study of the premise statement and logline — what the difference ...

Sicario presented us with a few surprises this week. Valerie thought she’d be analysing a hero, but Kate is an underdog. She’s not presented as a typical underdog, nor does she have the typical underdog resolution. On my end, the logline for the movie misses some essential information. I try a new method of creating a premise that clarifies the conflict and story climax, and it delivers a surprising discovery about the ...