So Many Books, So Little Time
A column by Dale Ketcham

This is column #2 in a series that resulted from my efforts to thin out my collection of how-to writing books. Before I list each on my favorite used book site, I’m sharing points of wisdom from each book. This month the book is…

WRITING FOR STORY by Jon Franklin

My highlighter went crazy in this book. Jon comes up with so many quotable lines. Here are just a few: “Simplicity, carried to an extreme, becomes elegance.” “Sad endings are tricky, tricky, tricky.” “As [story] length grows linearly, complexity expands exponentially” “..the finished product has all the life and vitality of a squashed armadillo on the Dallas Freeway.” Okay, that last one is taken out of context, but it does “stick” with you, doesn’t it?

At one point in the book, he defines a story that “works” for an editor. “It will consist of a real person who is confronted with a significant problem who struggles diligently to solve that problem, and who ultimately succeeds–and in doing so becomes a different character.” The most satisfying stories are those where the reader learns right along with the character and also becomes a better and wiser person. An artificial experience that teaches.

Franklin has a unique way of breaking down “story” into its functional components, but what I’ll always think of when someone mentioned this book is his term “spaghettiing.” I suppose because I’ve done it so often.

I sense you’d like an explanation….?

Here goes. You start with a great idea and a lot of enthusiasm. Words pour out, and they’re all wonderful until you run into problems. Something’s wrong; you’re not sure what. Your brain clouds over with a mild case of confusion, enthusiasm wanes a tad. So it will need a rewrite. You push on. Another glitch, another inconsistency arises. You’ve forgotten to put things in. Should you go back? If you do, you’ll lose your place and forward momentum. You load one more problem into your brain and then it happens. The whole story structure splits and falls apart. Your face becomes a blank stare, your mind is rubberized. Drawl collects at the corner of your mouth.

THAT’S spaghettiing.

His point being, “if you begin your story without knowing precisely where you’re going, any mistakes you make at first, any small omissions, take on added significance as you proceed. … Story is not a line of dominoes, it is a web, and tugging on any filament causes the whole thing to vibrate.”

Naturally we may conclude from this that Jon is in favor of first writing an outline. “The most valuable thing about the outline isn’t the outline itself but the fact that you thought the problem through thoroughly enough to create one.” Smart man, Jon.

If you’re interested in purchasing this book [ISBN 0-451-62555-2] , I believe it’s still in print. If not, you may be able to locate a used copy for sale on www.Half.com where lots of folks are clearing out their bookshelves, making room for more books.

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