Must be a group member before inviting friends
Ian Dawson's Blog
October 23, 2025
The Outline: Your Roadmap to Story Success
It’s easy to read a novel, see a movie, or watch a TV show, and get overwhelmed by how much work goes into crafting an idea into a completed project.
While the finished manuscript, screenplay, or teleplay is the primary goal of the writer, it isn’t easy to get to a completed, coherent version without one piece of the creative puzzle: The Story Outline.
Story outlines come in a variety of styles and methodologies, but no matter what type of outline you choose, the goal of each of them is to assist you in getting your story constructed from start to finish.
The outline is where a lot of the heavy lifting is done, where it’s easier to brainstorm and change ideas and plot points before they’re embedded in thousands of words of manuscript.
Whether you prefer to write a simple or detailed outline, it’s an essential tool that will aid you once you sit down to write your novel or screenplay. It’s hard to get writer’s block or get stuck on a story point if it’s all laid out before you in chronological order, allowing you to write a draft with ease instead of dread.
I get it. We all want to dive right into the fun of writing the story. The excitement of delving into description, dialogue, character arcs, and plot twists is what all writers live to do.
However, it’s hard to get to any of that if you’re stuck after a few thousand words without a clear path forward for your story and its characters to take.
I encourage everyone who reads this to research the various outlining methods used for their particular project, then experiment and find the outlining strategy that works best for you. While it may take time to get used to this pre-writing process, in the end, you and your story will benefit many times over.
So, the next time you have a great idea that you want to develop and craft into a compelling narrative, take the time to outline it from beginning to end. The final product will be even better than you imagined.
Happy Outlining, and I’ll see you next time!
While the finished manuscript, screenplay, or teleplay is the primary goal of the writer, it isn’t easy to get to a completed, coherent version without one piece of the creative puzzle: The Story Outline.
Story outlines come in a variety of styles and methodologies, but no matter what type of outline you choose, the goal of each of them is to assist you in getting your story constructed from start to finish.
The outline is where a lot of the heavy lifting is done, where it’s easier to brainstorm and change ideas and plot points before they’re embedded in thousands of words of manuscript.
Whether you prefer to write a simple or detailed outline, it’s an essential tool that will aid you once you sit down to write your novel or screenplay. It’s hard to get writer’s block or get stuck on a story point if it’s all laid out before you in chronological order, allowing you to write a draft with ease instead of dread.
I get it. We all want to dive right into the fun of writing the story. The excitement of delving into description, dialogue, character arcs, and plot twists is what all writers live to do.
However, it’s hard to get to any of that if you’re stuck after a few thousand words without a clear path forward for your story and its characters to take.
I encourage everyone who reads this to research the various outlining methods used for their particular project, then experiment and find the outlining strategy that works best for you. While it may take time to get used to this pre-writing process, in the end, you and your story will benefit many times over.
So, the next time you have a great idea that you want to develop and craft into a compelling narrative, take the time to outline it from beginning to end. The final product will be even better than you imagined.
Happy Outlining, and I’ll see you next time!
Help! My Story Isn’t Working! – Thank You
Anyone can write a story. To write one well requires time, passion, energy, and an attention to detail and craft. Over the past series of posts, I intended to give you some tools and tips to apply to problematic elements of your stories to help you move past any roadblocks and achieve your goal of finishing a draft.
Much of the writing process involves trial and error, taking the time to work through problems and trouble spots to find the perfect solution for what ails your narrative.
The problems we discussed in these posts – Story, Plot, Character, Conflict, and Stakes – are all elements that require your complete focus, and should be 100% in place during the Outline phase of your writing project.
It doesn’t mean things won’t change and evolve as you flesh out your story, but having this complete road map at your side as you write will prevent frustration and writer’s block in the future.
If your problem wasn’t covered in one of these posts, please leave a comment at the bottom of this post or on social media. I will address your question or topic in an upcoming post.
Thank you for taking the time to read my Help! My Story Isn’t Working! Series.
Until next time, Happy Writing!
Much of the writing process involves trial and error, taking the time to work through problems and trouble spots to find the perfect solution for what ails your narrative.
The problems we discussed in these posts – Story, Plot, Character, Conflict, and Stakes – are all elements that require your complete focus, and should be 100% in place during the Outline phase of your writing project.
It doesn’t mean things won’t change and evolve as you flesh out your story, but having this complete road map at your side as you write will prevent frustration and writer’s block in the future.
If your problem wasn’t covered in one of these posts, please leave a comment at the bottom of this post or on social media. I will address your question or topic in an upcoming post.
Thank you for taking the time to read my Help! My Story Isn’t Working! Series.
Until next time, Happy Writing!
October 21, 2025
Help! My Story Isn’t Working! – Is It the Stakes?
What will it cost your Main Character if they don’t achieve their goal? How do you keep ramping up the tension and suspense as your story unfolds, making the Main Character’s goal more difficult to attain? Both of these questions involve raising the Stakes of your story, causing the Main Character to fight elevated conflicts and problems as they get closer to their goal.
Often, it can be difficult for writers to pummel their sainted Main Character with conflicts, stakes, an Antagonist, and other factors that beat up the lead in their story. Writers choose their Main Character for a reason, so to see a speck of dirt on them can be akin to treason.
I, however, believe that you should put your Main Character through the wringer, making them fight for what they are after and not letting up throughout the story. Even small victories should have the looming reality that there’s more danger ahead, and that they aren’t out of trouble until they’ve defeated the Antagonist, achieved their goal, and can get back to some semblance of a normal life.
With that in mind, let’s explore a few problems and potential solutions related to Stakes.
Problem: Things are too easy for my Main Character
Possible Solution #1: Re-Evaluate your Main Character’s primary goal.
What does your Main Character want to achieve by the end of the story? If the goal is too easy to reach, then the stakes aren’t high enough. The primary goal should be something that they cannot simply order on Amazon or resolve by making a phone call. It needs to be something that, if they fail, their world comes crashing down.
During the brainstorming and outlining phases, take the time to ensure the goal is a formidable and seemingly insurmountable one for the Main Character.
Possible Solution #2: You may need a stronger Antagonist.
The Antagonist can’t be a pushover or someone you’re Main Character can get rid of easily. This character needs to be a constant problem for your Main Character, a person who will do whatever it takes to prevent them from reaching their goal.
Who have you chosen as your Antagonist? Why? Are they a significant enough obstacle that the only option for your Main Character is to defeat them so they can reach their goal? Are they or their minions a constant presence that reminds the Main Character at every turn that one wrong move will result in failure or worse?
Look at the goal you’ve established for your Main Character. How can the Antagonist do everything possible to prevent them from reaching their goal? How can the Antagonist’s actions raise the stakes for the Main Character as they move closer to their goal?
Possible Solution #3: Obstacles, obstacles, obstacles.
These should be developed in the early phases of the writing process. Throw as many on the table as you can think of. Brainstorm as many as you want and sort through them later.
Next, organize them in a way that causes the maximum amount of trouble for your Main Character. Ensure their primary goal appears impossible as they struggle through the story and its numerous obstacles, ensuring that each obstacle they overcome leads to more trouble and higher stakes.
Problem: I’ve painted my Main Character into a corner and don’t know how to get them out.
Possible Solution #1: Plant a setup for their escape earlier in the story or sequence.
Stories are about setups and payoffs, so it’s always acceptable to have a setup established that can help your Main Character out of a jam later on. Think about James Bond’s gadgets. Q gives them to him with a brief description, then we don’t see them again until Bond is in dire need of an escape. Luckily, the gadgets he’s been given for that particular mission help save the day.
Possible Solution #2: If they have a sidekick, mentor, or love interest, consider using them here.
If the Main Character isn’t on their journey alone, you can have one of the secondary characters come to their aid. It doesn’t make the Main Character weak or passive if they need help in a bad situation.
A good example is from Star Wars: A New Hope. When Luke, Leia, Han, and Chewie are trapped in the Garbage Compactor, it’s C-3PO and R2-D2 that come to the rescue. The hero, Luke, is in a literal jam and needs assistance to escape and keep going on his quest.
Possible Solution #3: Just delete the problem.
If all else fails, cut the scene and write something new and less difficult for the Main Character to get through. It should still be a challenge, but one that you can come up with a plausible escape from.
Possible Solution #4: Work backwards.
What do you see as the scene or chapter right after the one where your Main Character is trapped? The beauty of being a writer is that you can move about in time and plan out all aspects of the sequence backwards, forwards, or from the middle.
Brainstorm ways they can get out of their predicament and see which one works best for your story. You may have to alter elements to get to the chosen outcome, but you’ll be able to unstick them and move to the next part of the story.
Problem: I’ve thrown too many obstacles at my Main Character.
Possible Solution #1: Analyze all stakes and obstacles on a scale of 1 (simple) to 10 (could cause death).
Write all your stakes and obstacles on notecards, then rank them from easiest to overcome to impossible. Organize them in a way that presents your Main Character with a genuine challenge to achieve their goal. You can have some easier-to-beat obstacles here and there, but the 8s, 9s, and 10s should outweigh the 1s, 2s, and 3s.
Possible Solution #2: Go through and cut obstacles or stakes that seem cliché or easy to defeat.
You’ve seen enough movies, TV shows, and read enough books to see clichéd stakes and ways to overcome them. Do your best to ferret these types of obstacles and stakes out of your story. Obviously, specific genres lend themselves to particular kinds of stakes, so you may find a few clichéd elements that you can give a unique spin to.
Also, as you work through your list of possible stakes and obstacles, toss out ones that are ridiculously easy to overcome. The more challenging the better.
Brainstorming & Outlines
Some dread these elements of the writing process, but they are MANDATORY pieces of the creative writing puzzle. Both of these aspects give you the freedom to play around and experiment with your story before you commit to drafting your manuscript.
You’ll be in a much better position when you go into your initial draft with a plan than if you go in blindly with no direction.
Next Time…
We’ll wrap up the series with some parting thoughts!
Happy Writing, and I’ll see you next time!
Often, it can be difficult for writers to pummel their sainted Main Character with conflicts, stakes, an Antagonist, and other factors that beat up the lead in their story. Writers choose their Main Character for a reason, so to see a speck of dirt on them can be akin to treason.
I, however, believe that you should put your Main Character through the wringer, making them fight for what they are after and not letting up throughout the story. Even small victories should have the looming reality that there’s more danger ahead, and that they aren’t out of trouble until they’ve defeated the Antagonist, achieved their goal, and can get back to some semblance of a normal life.
With that in mind, let’s explore a few problems and potential solutions related to Stakes.
Problem: Things are too easy for my Main Character
Possible Solution #1: Re-Evaluate your Main Character’s primary goal.
What does your Main Character want to achieve by the end of the story? If the goal is too easy to reach, then the stakes aren’t high enough. The primary goal should be something that they cannot simply order on Amazon or resolve by making a phone call. It needs to be something that, if they fail, their world comes crashing down.
During the brainstorming and outlining phases, take the time to ensure the goal is a formidable and seemingly insurmountable one for the Main Character.
Possible Solution #2: You may need a stronger Antagonist.
The Antagonist can’t be a pushover or someone you’re Main Character can get rid of easily. This character needs to be a constant problem for your Main Character, a person who will do whatever it takes to prevent them from reaching their goal.
Who have you chosen as your Antagonist? Why? Are they a significant enough obstacle that the only option for your Main Character is to defeat them so they can reach their goal? Are they or their minions a constant presence that reminds the Main Character at every turn that one wrong move will result in failure or worse?
Look at the goal you’ve established for your Main Character. How can the Antagonist do everything possible to prevent them from reaching their goal? How can the Antagonist’s actions raise the stakes for the Main Character as they move closer to their goal?
Possible Solution #3: Obstacles, obstacles, obstacles.
These should be developed in the early phases of the writing process. Throw as many on the table as you can think of. Brainstorm as many as you want and sort through them later.
Next, organize them in a way that causes the maximum amount of trouble for your Main Character. Ensure their primary goal appears impossible as they struggle through the story and its numerous obstacles, ensuring that each obstacle they overcome leads to more trouble and higher stakes.
Problem: I’ve painted my Main Character into a corner and don’t know how to get them out.
Possible Solution #1: Plant a setup for their escape earlier in the story or sequence.
Stories are about setups and payoffs, so it’s always acceptable to have a setup established that can help your Main Character out of a jam later on. Think about James Bond’s gadgets. Q gives them to him with a brief description, then we don’t see them again until Bond is in dire need of an escape. Luckily, the gadgets he’s been given for that particular mission help save the day.
Possible Solution #2: If they have a sidekick, mentor, or love interest, consider using them here.
If the Main Character isn’t on their journey alone, you can have one of the secondary characters come to their aid. It doesn’t make the Main Character weak or passive if they need help in a bad situation.
A good example is from Star Wars: A New Hope. When Luke, Leia, Han, and Chewie are trapped in the Garbage Compactor, it’s C-3PO and R2-D2 that come to the rescue. The hero, Luke, is in a literal jam and needs assistance to escape and keep going on his quest.
Possible Solution #3: Just delete the problem.
If all else fails, cut the scene and write something new and less difficult for the Main Character to get through. It should still be a challenge, but one that you can come up with a plausible escape from.
Possible Solution #4: Work backwards.
What do you see as the scene or chapter right after the one where your Main Character is trapped? The beauty of being a writer is that you can move about in time and plan out all aspects of the sequence backwards, forwards, or from the middle.
Brainstorm ways they can get out of their predicament and see which one works best for your story. You may have to alter elements to get to the chosen outcome, but you’ll be able to unstick them and move to the next part of the story.
Problem: I’ve thrown too many obstacles at my Main Character.
Possible Solution #1: Analyze all stakes and obstacles on a scale of 1 (simple) to 10 (could cause death).
Write all your stakes and obstacles on notecards, then rank them from easiest to overcome to impossible. Organize them in a way that presents your Main Character with a genuine challenge to achieve their goal. You can have some easier-to-beat obstacles here and there, but the 8s, 9s, and 10s should outweigh the 1s, 2s, and 3s.
Possible Solution #2: Go through and cut obstacles or stakes that seem cliché or easy to defeat.
You’ve seen enough movies, TV shows, and read enough books to see clichéd stakes and ways to overcome them. Do your best to ferret these types of obstacles and stakes out of your story. Obviously, specific genres lend themselves to particular kinds of stakes, so you may find a few clichéd elements that you can give a unique spin to.
Also, as you work through your list of possible stakes and obstacles, toss out ones that are ridiculously easy to overcome. The more challenging the better.
Brainstorming & Outlines
Some dread these elements of the writing process, but they are MANDATORY pieces of the creative writing puzzle. Both of these aspects give you the freedom to play around and experiment with your story before you commit to drafting your manuscript.
You’ll be in a much better position when you go into your initial draft with a plan than if you go in blindly with no direction.
Next Time…
We’ll wrap up the series with some parting thoughts!
Happy Writing, and I’ll see you next time!
September 30, 2025
Help! My Story Isn’t Working! – Is It the Characters?
After a brief break, we’re back and talking about one of the key aspects of any story: the Characters. Think about your favorite movie, TV series, or novel, and it’s the characters populating the story that immediately pop into memory. They are the driving force of any narrative and the primary reason we keep watching.
However, it’s possible to run into challenges when creating and crafting characters for a story. Let’s look at some potential problems and their solutions.
But first…
Who Are These People?
Fictional characters come in all shapes and sizes, but they also have their own assigned roles in a story. Here’s a quick run-down of how you should look at each character that lives in your fictional world:
Main Character: They drive the story forward; without them actively pursuing a goal, the story has nowhere to go.
Antagonist: The person opposing the main character and trying to prevent them from reaching their stated goal.
Secondary Characters: These can include friends, love interests, sidekicks, pets, or anyone who is associated with the main character or antagonist, offering them advice, support, or assistance.
Tertiary Characters: Minor characters your main character meets along their journey. They may be in only one chapter or scene, but the information they provide or the actions they take assist the main character positively or negatively and can contribute to the story’s direction.
Utility Characters: A crowd at a concert. Protesters. Campers. Patrons at a biker bar. These are usually nameless characters that help give a location atmosphere and personality. These are extras (aka background artists) that can be described to enhance the location currently inhabited by your other characters.
Now, let’s dive into a few possible problems you may encounter as you work with your characters.
Problem: My Main Character is boring.
Possible Solution #1: Make sure they have a Character Arc.
Your Main Character should evolve over the course of your story. They should have problems, issues, conflicts, and relationships established at the start that they can then work on and resolve as the story unfolds, develops, and wraps up.
It’s easy to fall into the trap of being afraid to have your Main Character have problems or conflicts. You might be fearful that readers will turn against them or not like them as the Main Character. But flaws add depth to a character and make them more relatable to the audience than being the poster child for perfection.
As you develop your Main Character, focus on how they change over the course of the story. What events take place around them or to characters in their circle that help them change as a person? These are pieces of the puzzle that can give your Main Character more depth and make them less boring.
Possible Solution #2: Consider Recasting
Okay. You’ve taken the first step and admitted your Main Character is dull. What character in the story do you enjoy writing about? What is it about them that makes you excited to get to their chapters? That is who should be helming your story, and it may be time to either cut your original Main Character completely or move them to a secondary role.
No matter what type of story you’re writing, your Main Character needs to be compelling, interesting, and engaging to the reader. Often, we relegate that type of character to the role of second banana, thinking they are too zany to work as the story’s protagonist.
However, it is worth considering the idea of having them take on that role. Or, you may consider another alternative…
Possible Solution #3: Merge your Main Character with the fun one.
Blend the aspects of the Main Character with those of the fun character and see what new energy and life is injected into your story. Now you have a Main Character with some zip to them, and you can have some fun and let them not be so rigid and boring as they once were.
Problem: My Main Character is too passive.
Possible Solution #1: It’s all about choices.
If your Main Character is passive, this means things are happening to them; they are not making things happen. And while it’s okay for your Main Character to get into situations beyond their control, it’s how they react to those situations that determines if they are being passive or active.
And you definitely want your Main Character to be ACTIVE and MAKING CHOICES that help move the story forward.
All stories are like Choose Your Own Adventure books. As authors, we are the ones making the choices for the reader. We must choose actions that propel the story forward while also putting the Main Character in control of the action. Even if their choices are wrong and lead to tragedy, they must be at the center of those choices and actions.
As you work through your story, think about your Main Character’s choices. Their choices reveal aspects of their personality to the reader. If they are passive and allow others to make decisions for them, the reader will lose interest.
Possible Solution #2: Do they have a strong goal?
Your Main Character needs a reason to exist. That reason is a GOAL they need to achieve by the end of the story. The goal can be a person, a location, or an object. It’s whatever exists at the end of the journey that motivates the Main Character to keep going.
It also has to be on a scale where if they fail to achieve their goal, there are literal or figurative life-or-death consequences associated with it. This means the goal you pick for your Main Character should motivate them into action, which should eliminate any passive tendencies they may have.
Throw in a ticking clock, where they only have a limited amount of time to reach their goal, and it adds another layer of suspense to help drive the Main Character into being active in their pursuit of the goal.
Possible Solution #3: Who’s the opposition?
There needs to be someone in your story trying to prevent your Main Character from reaching their goal. Your Main Character must be willing to confront this person to achieve that goal, and the only way to do that is by being active.
It’s important that the opposition – also known as the Antagonist – has a direct link to the Main Character in some way, and that their defeat is crucial as part of reaching the goal at the end of the story. This defeat can be literal or figurative, but it’s crucial that it takes place as part of your Main Character’s journey.
The need to defeat the Antagonist and reach the final goal must motivate your Main Character to take action and propel their arc and the storyline forward. These elements should leave no room for your Main Character to be passive during their quest.
Problem: I keep losing track of all my characters.
Possible Solution #1: More characters = More problems
If you’re writing your first novel, I highly recommend that you limit the number of characters that populate your story. This will not only make your writing life easier, but it will also help keep the story on track and focus your attention on the main storyline and its characters.
While novels can have dozens of characters, it should be noted that each character should exist to serve the story. If they’re just there, they need to go. It’s as simple as that.
Plus, once they are introduced and named, they need a description, a link to the Main Character or the overall storyline, and are now another person you have to keep track of as you write.
Don’t stress; streamline instead. Merge characters. Cut characters who add nothing to the story. Eliminate subplots that have no value to what’s happening in the main narrative.
Possible Solution #2: Make a spreadsheet
Of course, if you must have a lot of characters, it’s time to do the technical work and create a spreadsheet. This will provide a visual breakdown of each character, their relationship to the Main Character, their purpose in the story, and a brief description.
Now you don’t have to remember if Bob is Dave’s cousin or Dale’s, and if he was the tall cousin or the short one. You have a reference guide to help you as you write.
Possible Solution #3: Outline, Outline, Outline.
Before you sit down to write a single chapter, I strongly advise you to outline your story so you know all the ins and outs of what’s going to happen, which characters are where, and how everything fits together. This will prevent headaches down the line as you are knee deep in the manuscript. It’s a lot easier to track where a character is in an outline than in a 100,000-word document.
I recommend outlining any story you want to write so you have a complete picture available before you begin writing. You can always alter the outline, but you’ll have access to how everything unfolds and evolves in your story before things become too difficult to fix.
Just the Tip of the Iceberg
There are so many aspects to character that we didn’t cover here, but I hope these tips give you a starting point to get your Main Character back on the right track. There are hundreds of books available that delve even deeper into the world of character development, so if you are interested in exploring this topic further, I highly recommend seeking those out.
Next Time…
We briefly talked about the story’s Antagonist, and with an Antagonist comes Conflict! We’ll talk about that in the next post!
Happy Writing, and I’ll see you next time!
However, it’s possible to run into challenges when creating and crafting characters for a story. Let’s look at some potential problems and their solutions.
But first…
Who Are These People?
Fictional characters come in all shapes and sizes, but they also have their own assigned roles in a story. Here’s a quick run-down of how you should look at each character that lives in your fictional world:
Main Character: They drive the story forward; without them actively pursuing a goal, the story has nowhere to go.
Antagonist: The person opposing the main character and trying to prevent them from reaching their stated goal.
Secondary Characters: These can include friends, love interests, sidekicks, pets, or anyone who is associated with the main character or antagonist, offering them advice, support, or assistance.
Tertiary Characters: Minor characters your main character meets along their journey. They may be in only one chapter or scene, but the information they provide or the actions they take assist the main character positively or negatively and can contribute to the story’s direction.
Utility Characters: A crowd at a concert. Protesters. Campers. Patrons at a biker bar. These are usually nameless characters that help give a location atmosphere and personality. These are extras (aka background artists) that can be described to enhance the location currently inhabited by your other characters.
Now, let’s dive into a few possible problems you may encounter as you work with your characters.
Problem: My Main Character is boring.
Possible Solution #1: Make sure they have a Character Arc.
Your Main Character should evolve over the course of your story. They should have problems, issues, conflicts, and relationships established at the start that they can then work on and resolve as the story unfolds, develops, and wraps up.
It’s easy to fall into the trap of being afraid to have your Main Character have problems or conflicts. You might be fearful that readers will turn against them or not like them as the Main Character. But flaws add depth to a character and make them more relatable to the audience than being the poster child for perfection.
As you develop your Main Character, focus on how they change over the course of the story. What events take place around them or to characters in their circle that help them change as a person? These are pieces of the puzzle that can give your Main Character more depth and make them less boring.
Possible Solution #2: Consider Recasting
Okay. You’ve taken the first step and admitted your Main Character is dull. What character in the story do you enjoy writing about? What is it about them that makes you excited to get to their chapters? That is who should be helming your story, and it may be time to either cut your original Main Character completely or move them to a secondary role.
No matter what type of story you’re writing, your Main Character needs to be compelling, interesting, and engaging to the reader. Often, we relegate that type of character to the role of second banana, thinking they are too zany to work as the story’s protagonist.
However, it is worth considering the idea of having them take on that role. Or, you may consider another alternative…
Possible Solution #3: Merge your Main Character with the fun one.
Blend the aspects of the Main Character with those of the fun character and see what new energy and life is injected into your story. Now you have a Main Character with some zip to them, and you can have some fun and let them not be so rigid and boring as they once were.
Problem: My Main Character is too passive.
Possible Solution #1: It’s all about choices.
If your Main Character is passive, this means things are happening to them; they are not making things happen. And while it’s okay for your Main Character to get into situations beyond their control, it’s how they react to those situations that determines if they are being passive or active.
And you definitely want your Main Character to be ACTIVE and MAKING CHOICES that help move the story forward.
All stories are like Choose Your Own Adventure books. As authors, we are the ones making the choices for the reader. We must choose actions that propel the story forward while also putting the Main Character in control of the action. Even if their choices are wrong and lead to tragedy, they must be at the center of those choices and actions.
As you work through your story, think about your Main Character’s choices. Their choices reveal aspects of their personality to the reader. If they are passive and allow others to make decisions for them, the reader will lose interest.
Possible Solution #2: Do they have a strong goal?
Your Main Character needs a reason to exist. That reason is a GOAL they need to achieve by the end of the story. The goal can be a person, a location, or an object. It’s whatever exists at the end of the journey that motivates the Main Character to keep going.
It also has to be on a scale where if they fail to achieve their goal, there are literal or figurative life-or-death consequences associated with it. This means the goal you pick for your Main Character should motivate them into action, which should eliminate any passive tendencies they may have.
Throw in a ticking clock, where they only have a limited amount of time to reach their goal, and it adds another layer of suspense to help drive the Main Character into being active in their pursuit of the goal.
Possible Solution #3: Who’s the opposition?
There needs to be someone in your story trying to prevent your Main Character from reaching their goal. Your Main Character must be willing to confront this person to achieve that goal, and the only way to do that is by being active.
It’s important that the opposition – also known as the Antagonist – has a direct link to the Main Character in some way, and that their defeat is crucial as part of reaching the goal at the end of the story. This defeat can be literal or figurative, but it’s crucial that it takes place as part of your Main Character’s journey.
The need to defeat the Antagonist and reach the final goal must motivate your Main Character to take action and propel their arc and the storyline forward. These elements should leave no room for your Main Character to be passive during their quest.
Problem: I keep losing track of all my characters.
Possible Solution #1: More characters = More problems
If you’re writing your first novel, I highly recommend that you limit the number of characters that populate your story. This will not only make your writing life easier, but it will also help keep the story on track and focus your attention on the main storyline and its characters.
While novels can have dozens of characters, it should be noted that each character should exist to serve the story. If they’re just there, they need to go. It’s as simple as that.
Plus, once they are introduced and named, they need a description, a link to the Main Character or the overall storyline, and are now another person you have to keep track of as you write.
Don’t stress; streamline instead. Merge characters. Cut characters who add nothing to the story. Eliminate subplots that have no value to what’s happening in the main narrative.
Possible Solution #2: Make a spreadsheet
Of course, if you must have a lot of characters, it’s time to do the technical work and create a spreadsheet. This will provide a visual breakdown of each character, their relationship to the Main Character, their purpose in the story, and a brief description.
Now you don’t have to remember if Bob is Dave’s cousin or Dale’s, and if he was the tall cousin or the short one. You have a reference guide to help you as you write.
Possible Solution #3: Outline, Outline, Outline.
Before you sit down to write a single chapter, I strongly advise you to outline your story so you know all the ins and outs of what’s going to happen, which characters are where, and how everything fits together. This will prevent headaches down the line as you are knee deep in the manuscript. It’s a lot easier to track where a character is in an outline than in a 100,000-word document.
I recommend outlining any story you want to write so you have a complete picture available before you begin writing. You can always alter the outline, but you’ll have access to how everything unfolds and evolves in your story before things become too difficult to fix.
Just the Tip of the Iceberg
There are so many aspects to character that we didn’t cover here, but I hope these tips give you a starting point to get your Main Character back on the right track. There are hundreds of books available that delve even deeper into the world of character development, so if you are interested in exploring this topic further, I highly recommend seeking those out.
Next Time…
We briefly talked about the story’s Antagonist, and with an Antagonist comes Conflict! We’ll talk about that in the next post!
Happy Writing, and I’ll see you next time!
August 26, 2025
Help! My Story Isn’t Working! – Is It the Plot?
Last time, we explored ways to make a lackluster story stronger and more interesting for both yourself as a writer and for your future readers. Today, we’ll explore ways to strengthen your story’s plot.
But wait, you may be saying. Aren’t story and plot the same thing? While they are directly related, they both serve different functions. Think of the story as the overarching concept of what happens in your narrative, while the plot is all the moments and events that happen to get us from beginning to end.
For example, National Lampoon’s Vacation is about the Griswold family’s trip from Chicago to Walley World in California. That’s the story. The plot includes all the wacky misadventures, disasters, ups, and downs that plague the family during their travels. While it’s essential to start with a strong story, a strong plot is the key to keeping readers turning the page, wanting to know what happens next.
Plotting the Plot
Many writing tools and templates exist that break down the key plot elements that can help you craft your narrative from start to finish before you sit down to write your first draft. I like to think of these as the can’t-miss stops along your story’s journey.
Here’s a breakdown of the fundamental plot elements that should be present in your story:
ACT ONE
Inciting Incident: “a single event that either happens directly to the protagonist or is caused by the protagonist” (McKee 190).
Plot Point/Stunning Surprise 1: “the arrival of some event or dramatic reversal that creates a moment of shock for the Hero and drops the curtain on the first act – while immediately raising is again on the second act” (Edson 118).
ACT TWO
Mid-Point: “The Hero reaches a Point of No Return beyond which turning back is no longer an option…Conflict with the Adversary becomes deeply personal…A ‘ticking clock’ time limit is set in motion…An unmasking takes place, literally or figuratively, and an inner truth gets revealed” (Edson 219-220).
Plot Point/Stunning Surprise 2: “comes out of the blue and changes everything. It signals the end of Act Two and the beginning of Act Three…frequently the primary additional punch of Stunning Surprise #2 is that it completely destroys the Hero’s plan for victory and announces that sweeping improvisation will now be required for the Hero to have any chance of besting the Adversary” (Edson 129).
ACT THREE
Climax/Obligatory Scene: “third-act final showdown between Hero and Adversary that resolves the main plot question once and for all” (Edson 137).
Denouement: “wraps up the plot loose ends and relationships” (Edson 137).
With these concepts in mind, let’s explore some possible problems and potential solutions to help you improve your plot.
Problem: I have a great idea, and I jumped right into writing it, but I have no idea where I’m going with the story, and I’m ready to walk away.
Possible Solution #1: Stop writing the manuscript and start writing your outline.
It’s a story I heard in all my writing classes: A person has an idea. That person jumps headfirst into writing the story based on the concept. They then lose focus, eventually stopping writing and forgetting what they were once so excited about.
Now, if you’re in the same boat, take a step back and plan out where your story is headed. Break things down and really work on what the key plot elements are before you jump back into the manuscript phase. This will be helpful for two reasons: 1) You now have a roadmap for where the story is going; and 2) You don’t have to guess where the story is headed, it’s already mapped out.
Possible Solution #2: Figure out where things fell off, and build from there.
How far did you get before the story fizzled? Did you have a solid inciting incident that got things moving? If you did, figure out what made it such a solid event for your story to launch from, then brainstorm ways to escalate the conflict to hit the next major plot point forward.
Again, step back from the drafting process and stick with the fundamentals: the outline. I know it can be hard to sit down and work these things out, but once you’re embedded in the world of the story, you’re definitely going to want your outline by your side.
Problem: The outline I’ve written isn’t working for me. My plot isn’t exciting or interesting.
Possible Solution #1: Toss and reset.
When in doubt, throw it out. No rule says you can’t chuck a plot point that isn’t working or doesn’t help add momentum to your storyline. That’s the beauty of starting with an outline; you can brainstorm, experiment, and play around with things before there are thousands of words and choices made that would now have to be scrapped.
All novels are Choose Your Own Adventure books for the author, but we get to make the final decision of where the reader goes in the final plotting of the story. If your plot isn’t making you want to write and see what happens next, it’s time to try something new.
Possible Solution #2: What would make it interesting to you?
As I said in the first post about Story, you are the first audience for your work. If you aren’t into it, the audience will have just as hard a time, if not harder, getting into what you’ve written.
If you were reading this book, what plot elements, twists, and turns would keep you reading? What can you do to increase the energy, the stakes, and the problems faced by the main character to keep yourself and readers engaged and focused on each page?
Possible Solution #3: When in doubt, brainstorm it out.
Taking the time to brainstorm and come up with multiple ideas for each major plot element will give you a variety of options to pick from to craft the most compelling plot you can.
Nothing is set in stone until you want it to be, and you have the power and control over the story and plot to make decisions that will prevent what you’re writing from becoming dull and uninteresting.
Problem: My plot is too predictable.
Possible Solution #1: Predictable to whom?
If you’ve lived with a story and plot inside your head for a while, it can feel like what you’re working on is predictable and all your twists are easy for a reader to see coming a mile away. However, this may not be the case. Since you’ve lived in your fictional world for so long, you know what’s going to happen, but other people don’t.
While you may prefer people read your novel and not an outline, take the time to craft a complete outline of your story, then have a trusted person read it and give you honest feedback. If they tell you they figured out who the killer was as soon as the character was introduced, that’s a clear sign that others may find the story too predictable.
However, if they don’t figure it out and are glued to the outline, you may be overthinking the predictability concern, and should keep moving forward with the outline and book.
Possible Solution #2: Why zig, when you can zag?
The opening sequence to the movie, The Other Guys, is a perfect example of this concept. Two cops, played by The Rock and Samuel L. Jackson, are in pursuit of a gang of robbery suspects. The duo chase them onto a roof, where the robbers escape using a zipline. Our two cocky cops decide to “aim for the bushes,” fist bump, and jump off the building, only to fall to their deaths. It comes out of left field, is unpredictable, and is one of those moments that you can’t believe just happened.
https://youtu.be/MvkN3003iU4?si=-ra-r...
As you work on revising your plot outline, ask yourself what the opposite of what you have written down happened instead? How would that impact your story? What direction would things go? Would it take things in a direction that readers would never see coming? Experiment with this idea of trying the opposite of what you would typically think of doing.
Hey, it worked for George Costanza!
https://youtu.be/CizwH_T7pjg?si=7RISv...
It’s All Part of the Process
It’s okay to get frustrated and feel stuck as you work through crafting a solid set of plot points to get your story and its characters from Point A to Point Z. It’s just how the creative process is. In the end, you’ll have a stronger finished product having taken the time to work on and develop a solid plot for your story.
The above problems and suggested solutions are provided as a guide to help you make your creative writing project the best it can be.
Next Time...
We’ve tackled story and plot; now it’s time to see what problems can arise with your characters.
Happy Writing, and I’ll see you next time!
Check out my blog post on Plot by clicking HERE!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
McKee, Robert. Story. Harper Collins, 1997.
But wait, you may be saying. Aren’t story and plot the same thing? While they are directly related, they both serve different functions. Think of the story as the overarching concept of what happens in your narrative, while the plot is all the moments and events that happen to get us from beginning to end.
For example, National Lampoon’s Vacation is about the Griswold family’s trip from Chicago to Walley World in California. That’s the story. The plot includes all the wacky misadventures, disasters, ups, and downs that plague the family during their travels. While it’s essential to start with a strong story, a strong plot is the key to keeping readers turning the page, wanting to know what happens next.
Plotting the Plot
Many writing tools and templates exist that break down the key plot elements that can help you craft your narrative from start to finish before you sit down to write your first draft. I like to think of these as the can’t-miss stops along your story’s journey.
Here’s a breakdown of the fundamental plot elements that should be present in your story:
ACT ONE
Inciting Incident: “a single event that either happens directly to the protagonist or is caused by the protagonist” (McKee 190).
Plot Point/Stunning Surprise 1: “the arrival of some event or dramatic reversal that creates a moment of shock for the Hero and drops the curtain on the first act – while immediately raising is again on the second act” (Edson 118).
ACT TWO
Mid-Point: “The Hero reaches a Point of No Return beyond which turning back is no longer an option…Conflict with the Adversary becomes deeply personal…A ‘ticking clock’ time limit is set in motion…An unmasking takes place, literally or figuratively, and an inner truth gets revealed” (Edson 219-220).
Plot Point/Stunning Surprise 2: “comes out of the blue and changes everything. It signals the end of Act Two and the beginning of Act Three…frequently the primary additional punch of Stunning Surprise #2 is that it completely destroys the Hero’s plan for victory and announces that sweeping improvisation will now be required for the Hero to have any chance of besting the Adversary” (Edson 129).
ACT THREE
Climax/Obligatory Scene: “third-act final showdown between Hero and Adversary that resolves the main plot question once and for all” (Edson 137).
Denouement: “wraps up the plot loose ends and relationships” (Edson 137).
With these concepts in mind, let’s explore some possible problems and potential solutions to help you improve your plot.
Problem: I have a great idea, and I jumped right into writing it, but I have no idea where I’m going with the story, and I’m ready to walk away.
Possible Solution #1: Stop writing the manuscript and start writing your outline.
It’s a story I heard in all my writing classes: A person has an idea. That person jumps headfirst into writing the story based on the concept. They then lose focus, eventually stopping writing and forgetting what they were once so excited about.
Now, if you’re in the same boat, take a step back and plan out where your story is headed. Break things down and really work on what the key plot elements are before you jump back into the manuscript phase. This will be helpful for two reasons: 1) You now have a roadmap for where the story is going; and 2) You don’t have to guess where the story is headed, it’s already mapped out.
Possible Solution #2: Figure out where things fell off, and build from there.
How far did you get before the story fizzled? Did you have a solid inciting incident that got things moving? If you did, figure out what made it such a solid event for your story to launch from, then brainstorm ways to escalate the conflict to hit the next major plot point forward.
Again, step back from the drafting process and stick with the fundamentals: the outline. I know it can be hard to sit down and work these things out, but once you’re embedded in the world of the story, you’re definitely going to want your outline by your side.
Problem: The outline I’ve written isn’t working for me. My plot isn’t exciting or interesting.
Possible Solution #1: Toss and reset.
When in doubt, throw it out. No rule says you can’t chuck a plot point that isn’t working or doesn’t help add momentum to your storyline. That’s the beauty of starting with an outline; you can brainstorm, experiment, and play around with things before there are thousands of words and choices made that would now have to be scrapped.
All novels are Choose Your Own Adventure books for the author, but we get to make the final decision of where the reader goes in the final plotting of the story. If your plot isn’t making you want to write and see what happens next, it’s time to try something new.
Possible Solution #2: What would make it interesting to you?
As I said in the first post about Story, you are the first audience for your work. If you aren’t into it, the audience will have just as hard a time, if not harder, getting into what you’ve written.
If you were reading this book, what plot elements, twists, and turns would keep you reading? What can you do to increase the energy, the stakes, and the problems faced by the main character to keep yourself and readers engaged and focused on each page?
Possible Solution #3: When in doubt, brainstorm it out.
Taking the time to brainstorm and come up with multiple ideas for each major plot element will give you a variety of options to pick from to craft the most compelling plot you can.
Nothing is set in stone until you want it to be, and you have the power and control over the story and plot to make decisions that will prevent what you’re writing from becoming dull and uninteresting.
Problem: My plot is too predictable.
Possible Solution #1: Predictable to whom?
If you’ve lived with a story and plot inside your head for a while, it can feel like what you’re working on is predictable and all your twists are easy for a reader to see coming a mile away. However, this may not be the case. Since you’ve lived in your fictional world for so long, you know what’s going to happen, but other people don’t.
While you may prefer people read your novel and not an outline, take the time to craft a complete outline of your story, then have a trusted person read it and give you honest feedback. If they tell you they figured out who the killer was as soon as the character was introduced, that’s a clear sign that others may find the story too predictable.
However, if they don’t figure it out and are glued to the outline, you may be overthinking the predictability concern, and should keep moving forward with the outline and book.
Possible Solution #2: Why zig, when you can zag?
The opening sequence to the movie, The Other Guys, is a perfect example of this concept. Two cops, played by The Rock and Samuel L. Jackson, are in pursuit of a gang of robbery suspects. The duo chase them onto a roof, where the robbers escape using a zipline. Our two cocky cops decide to “aim for the bushes,” fist bump, and jump off the building, only to fall to their deaths. It comes out of left field, is unpredictable, and is one of those moments that you can’t believe just happened.
https://youtu.be/MvkN3003iU4?si=-ra-r...
As you work on revising your plot outline, ask yourself what the opposite of what you have written down happened instead? How would that impact your story? What direction would things go? Would it take things in a direction that readers would never see coming? Experiment with this idea of trying the opposite of what you would typically think of doing.
Hey, it worked for George Costanza!
https://youtu.be/CizwH_T7pjg?si=7RISv...
It’s All Part of the Process
It’s okay to get frustrated and feel stuck as you work through crafting a solid set of plot points to get your story and its characters from Point A to Point Z. It’s just how the creative process is. In the end, you’ll have a stronger finished product having taken the time to work on and develop a solid plot for your story.
The above problems and suggested solutions are provided as a guide to help you make your creative writing project the best it can be.
Next Time...
We’ve tackled story and plot; now it’s time to see what problems can arise with your characters.
Happy Writing, and I’ll see you next time!
Check out my blog post on Plot by clicking HERE!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
McKee, Robert. Story. Harper Collins, 1997.
August 24, 2025
The Naked Gun (2025) – Spoiler-Filled Review
In 1994, I had the exciting experience of seeing Naked Gun 33 1/3: The Final Insult at the dollar theater in Redding, California. This was a significant rite of passage for me; it was the first movie I had ever seen by myself. In fact, I quite literally saw it by myself since I was the only person in the theater.
Prior to this, the first two Naked Gun films and the Police Squad! TV series held a special place in my comedy heart, along with Airplane!, the Hot Shots! movies, and the many Mel Brooks spoofs that had been released up to that point. I had grown up with this style of humor, and am still a die-hard fan of it today.
When I initially heard that they were making a fourth Naked Gun movie, I was extremely skeptical. I honestly couldn’t see how you could make a movie in this series without Leslie Nielsen, a man who carved a lucrative comedy career playing straight-laced characters who were on their own special level of incompetence. What was even more baffling was the casting choice for Frank Drebin, Jr.: Liam Neeson.
One of the obvious issues is the age disparity between Frank Drebin, Jr.’s age and Neeson’s. Given that Frank and Jane had their son at the end of the 1994 film, it stands to reason that he would be 31. Neeson is 73. For some context, Leslie Nielsen was only 68 when Naked Gun 33 1/3: The Final Insult was released. Given one of the blink-and-you’ll-miss-it cameos in the film, it’s clear this movie doesn’t take place in the future.
Again, this isn’t an ageist screed against Liam Neeson. I’m merely pointing out my initial thoughts upon hearing him cast in the role.
And he does a damn fine job playing this style of comedy.
Liam Neeson embraces the role of Frank Drebin, Jr., and provides the deadpan incompetence required for this type of character. While he may not be Leslie Nielsen, he does honor his style and his character in his performance while making the character his own.
Within the Naked Gun universe, there are always levels of stupidity that are dialed up and down as the story unfolds. In the previous trilogy, the villains were always the smartest characters, followed by whatever authority figure was tasked with dealing with Police Squad, followed by Jane, then Captain Ed Hocken, then Frank, and finally, Nordberg, the dumbest of the dumb.
In this movie, most of the characters are on the same level of stupidity, which causes some frustration since you need those differences to add conflict, keep the story humming along, and give the main character a chance to evolve as the story unfolds. And you definitely want the villain to feel like they are not only smarter than Frank, but that they are a real threat.
This comedy style and the Naked Gun franchise are fairly sacred to those who grew up with those comedy films, and I totally understand the hesitancy to want to support or even watch The Naked Gun. But the filmmakers did a pretty decent job capturing the essence of the Naked Gun world, even if there are plenty of missed opportunities, several jokes that fall flat, and even some gags that go on for one cycle too many.
However, there are more hits than misses, and there are some inspired one-liners and sight gags that will make you laugh out loud if you keep your eyes glued to the screen. It’s clear that there was a strong attempt to honor the legacy of the franchise, but also take things in a new direction to avoid being handcuffed by the past. For the most part, they succeeded in making it work by keeping fans of the old engaged while bringing in new viewers.
One of my main gripes is the absence of the classic police car bubble light driving through absurd locations at the start of the film. It was sorely missed, and even though they do pay homage to it at the end of the movie with footage from the original trilogy, it would have been nice to see an updated version. I could imagine the car driving through a supermarket during the early days of COVID, or through a random protest march, or through Comic-Con. Again, another missed opportunity.
The film score is excellent. Lorne Balfe does a fantastic job updating elements of Ira Newborn’s original score, while adding an epic feel to other moments in the film. It’s definitely a highlight for me.
Another highlight, along with Neeson, is the cast, which includes a hilarious Pamela Anderson, who plays the femme fatale role with gusto and has some of the funniest one-liners in the movie. Paul Walter Hauser plays Captain Ed Hocken’s son, Ed Hocken, Jr. He and Frank are partners in this film, and they have solid chemistry throughout. CCH Pounder, a staple in police procedurals, does a great job as Police Squad’s Chief Davis. Our villain, the megalomanic tech billionaire, Richard Crane, is played with gusto by Danny Huston.
Speaking of the villain, let’s talk about his evil plan. Spoiler Alert: If you’ve seen Kingsman: The Secret Service, you already know his plan since it’s the same plan Valentine has in that film. As Crane unveiled his plot, I found myself thinking I had heard it before. As he continued speaking, I was struck by the fact that no one working on the film, including Paramount executives, had noticed the striking similarities between Crane’s plan and Valentine’s.
The plan? In The Naked Gun, tech billionaire Richard Crane has a device (literally called the P.L.O.T. Device) that, when it emits a signal, causes those impacted to lash out violently against those around them. Meanwhile, the wealthy, elites, and celebrities will be out of harm’s way, hidden in bunkers carved into the mountains.
In Kingsman: The Secret Service? Tech billionaire Valentine has a phone SIM card that, when it emits a signal, causes those impacted to lash out violently against those around them. Meanwhile, the wealthy, elites, and celebrities will be out of harm’s way, hidden in bunkers carved into the mountains.
I would have understood if The Naked Gun had spoofed Kingsman in some capacity, but the movie doesn’t fall into the lazy trope of spoofing other movies to get through the story. But this was such a glaringly obvious copy-and-paste situation that I’m amazed I haven’t seen others comment on it.
Despite this oddly specific villain motivation, it didn’t detract from my overall enjoyment of the movie.
I was also happy that the humor wasn’t topical, political, or dated. There was a Cosby-related joke, but other than that, the jokes don’t take you out of the film and toss you back into the real world. It’s a nice 85-minute comedy escape with enough going on to hold your attention and keep you waiting for the next gag.
Overall, I give The Naked Gun a B. Everyone involved had some huge comedy shoes to fill, and they did a solid job making it work. If they do a sequel, I’m sure it will be even stronger, and hopefully they won’t lift the villain’s plot again from another movie.
What did you think of The Naked Gun? Leave a comment and let me know!
Prior to this, the first two Naked Gun films and the Police Squad! TV series held a special place in my comedy heart, along with Airplane!, the Hot Shots! movies, and the many Mel Brooks spoofs that had been released up to that point. I had grown up with this style of humor, and am still a die-hard fan of it today.
When I initially heard that they were making a fourth Naked Gun movie, I was extremely skeptical. I honestly couldn’t see how you could make a movie in this series without Leslie Nielsen, a man who carved a lucrative comedy career playing straight-laced characters who were on their own special level of incompetence. What was even more baffling was the casting choice for Frank Drebin, Jr.: Liam Neeson.
One of the obvious issues is the age disparity between Frank Drebin, Jr.’s age and Neeson’s. Given that Frank and Jane had their son at the end of the 1994 film, it stands to reason that he would be 31. Neeson is 73. For some context, Leslie Nielsen was only 68 when Naked Gun 33 1/3: The Final Insult was released. Given one of the blink-and-you’ll-miss-it cameos in the film, it’s clear this movie doesn’t take place in the future.
Again, this isn’t an ageist screed against Liam Neeson. I’m merely pointing out my initial thoughts upon hearing him cast in the role.
And he does a damn fine job playing this style of comedy.
Liam Neeson embraces the role of Frank Drebin, Jr., and provides the deadpan incompetence required for this type of character. While he may not be Leslie Nielsen, he does honor his style and his character in his performance while making the character his own.
Within the Naked Gun universe, there are always levels of stupidity that are dialed up and down as the story unfolds. In the previous trilogy, the villains were always the smartest characters, followed by whatever authority figure was tasked with dealing with Police Squad, followed by Jane, then Captain Ed Hocken, then Frank, and finally, Nordberg, the dumbest of the dumb.
In this movie, most of the characters are on the same level of stupidity, which causes some frustration since you need those differences to add conflict, keep the story humming along, and give the main character a chance to evolve as the story unfolds. And you definitely want the villain to feel like they are not only smarter than Frank, but that they are a real threat.
This comedy style and the Naked Gun franchise are fairly sacred to those who grew up with those comedy films, and I totally understand the hesitancy to want to support or even watch The Naked Gun. But the filmmakers did a pretty decent job capturing the essence of the Naked Gun world, even if there are plenty of missed opportunities, several jokes that fall flat, and even some gags that go on for one cycle too many.
However, there are more hits than misses, and there are some inspired one-liners and sight gags that will make you laugh out loud if you keep your eyes glued to the screen. It’s clear that there was a strong attempt to honor the legacy of the franchise, but also take things in a new direction to avoid being handcuffed by the past. For the most part, they succeeded in making it work by keeping fans of the old engaged while bringing in new viewers.
One of my main gripes is the absence of the classic police car bubble light driving through absurd locations at the start of the film. It was sorely missed, and even though they do pay homage to it at the end of the movie with footage from the original trilogy, it would have been nice to see an updated version. I could imagine the car driving through a supermarket during the early days of COVID, or through a random protest march, or through Comic-Con. Again, another missed opportunity.
The film score is excellent. Lorne Balfe does a fantastic job updating elements of Ira Newborn’s original score, while adding an epic feel to other moments in the film. It’s definitely a highlight for me.
Another highlight, along with Neeson, is the cast, which includes a hilarious Pamela Anderson, who plays the femme fatale role with gusto and has some of the funniest one-liners in the movie. Paul Walter Hauser plays Captain Ed Hocken’s son, Ed Hocken, Jr. He and Frank are partners in this film, and they have solid chemistry throughout. CCH Pounder, a staple in police procedurals, does a great job as Police Squad’s Chief Davis. Our villain, the megalomanic tech billionaire, Richard Crane, is played with gusto by Danny Huston.
Speaking of the villain, let’s talk about his evil plan. Spoiler Alert: If you’ve seen Kingsman: The Secret Service, you already know his plan since it’s the same plan Valentine has in that film. As Crane unveiled his plot, I found myself thinking I had heard it before. As he continued speaking, I was struck by the fact that no one working on the film, including Paramount executives, had noticed the striking similarities between Crane’s plan and Valentine’s.
The plan? In The Naked Gun, tech billionaire Richard Crane has a device (literally called the P.L.O.T. Device) that, when it emits a signal, causes those impacted to lash out violently against those around them. Meanwhile, the wealthy, elites, and celebrities will be out of harm’s way, hidden in bunkers carved into the mountains.
In Kingsman: The Secret Service? Tech billionaire Valentine has a phone SIM card that, when it emits a signal, causes those impacted to lash out violently against those around them. Meanwhile, the wealthy, elites, and celebrities will be out of harm’s way, hidden in bunkers carved into the mountains.
I would have understood if The Naked Gun had spoofed Kingsman in some capacity, but the movie doesn’t fall into the lazy trope of spoofing other movies to get through the story. But this was such a glaringly obvious copy-and-paste situation that I’m amazed I haven’t seen others comment on it.
Despite this oddly specific villain motivation, it didn’t detract from my overall enjoyment of the movie.
I was also happy that the humor wasn’t topical, political, or dated. There was a Cosby-related joke, but other than that, the jokes don’t take you out of the film and toss you back into the real world. It’s a nice 85-minute comedy escape with enough going on to hold your attention and keep you waiting for the next gag.
Overall, I give The Naked Gun a B. Everyone involved had some huge comedy shoes to fill, and they did a solid job making it work. If they do a sequel, I’m sure it will be even stronger, and hopefully they won’t lift the villain’s plot again from another movie.
What did you think of The Naked Gun? Leave a comment and let me know!
August 19, 2025
Help! My Story Isn’t Working! – Is It the Story?
We all tell stories every day. Whether it’s an event that happened to us on the way to work or something that happened to someone else, stories are how we communicate and connect with those around us. When it comes to fiction, the same adage holds: our goals with fiction are to communicate and connect with readers.
When anyone sits down to craft a fictional narrative, many challenges can arise, even if they have a solid idea to work from. It’s okay. There’s no reason to panic, fling yourself on the bed, and cry into your pillow about how the creative Muses have abandoned you.
All writers – yes, even pros – can have problems getting a story to work. And a story problem should have a solution. Today, we’ll explore three possible story problems and three possible solutions to try with each.
But first…
What’s Your Story?
We all have story ideas written down. They can be simple or complex, but there’s something about those ideas that compels you to jot them down for later. You might have one in mind that you really like, but something is nagging at the back of your mind that makes you wonder if there’s trouble ahead before you even start.
Identifying potential story problems early will save you greater headaches in the long run since you can address and fix those issues before you’re 10,000 or even 100,000 words into a manuscript.
The story itself tells us the basics. Let’s look at a few examples:
The Shining by Stephen King
Jack Torrance's new job at the Overlook Hotel is the perfect chance for a fresh start. As the off-season caretaker at the atmospheric old hotel, he'll have plenty of time to spend reconnecting with his family and working on his writing. But as the harsh winter weather sets in, the idyllic location feels ever more remote...and more sinister. And the only one to notice the strange and terrible forces gathering around the Overlook is Danny Torrance, a uniquely gifted five-year-old.
Beloved by Toni Morrison
Sethe was born a slave and escaped to Ohio, but eighteen years later, she is still not free. Sethe has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. And Sethe’s new home is haunted by the ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved.
Where the Red Fern Grows by Wilson Rawls
Billy, Old Dan and Little Ann -- a Boy and His Two Dogs...
A loving threesome, they ranged the dark hills and river bottoms of Cherokee country. Old Dan had the brawn, Little Ann had the brains -- and Billy had the will to train them to be the finest hunting team in the valley. Glory and victory were coming to them, but sadness waited too. And close by was the strange and wonderful power that's only found...
These three examples draw the reader into the world of the story that awaits. We’re given several intriguing aspects of each narrative and its main character or characters that lead readers to want to know more and dive into the story to find out what happens.
Now, let’s explore ways to help your story become more substantial and more compelling.
Problem: My Story Is Boring
Possible Solution #1: Develop a Story That Excites You
Nothing causes a writer to lose interest more than writing a story they aren’t enthused about. Just going through the motions and writing to write is a good way to cause a reader to feel the same way you do about the story. If you’re not excited about what’s happening, why should anyone else be?
Anytime you develop an idea, it should be something you are passionate about and are ready to commit a lot of time, effort, and energy to, along with losing plenty of sleep as your mind keeps writing long after you’ve finished for the night.
If your story lacks this level of creative excitement, consider revising the initial idea to craft a story that sparks your interest in its direction and character development throughout the narrative.
Possible Solution #2: Share It with Others; What Do They Think?
You’re in the early stages, you’re unsure of your story idea, and you have no emotional stake in the game at this point. If you feel your story is lacking, consider sharing it with a few people to get their perspective. For this to work, you’ll need people who will give you honest feedback. It’s the only way to improve the story and make it worth working on.
Show it to five people. If no one seems interested in the story, ask them why. Their feedback and input will be valuable to you as you move forward and continue to develop the story.
Possible Solution #3: Ask Yourself What Intrigued You About the Story Originally
This ties into #1, but there had to be a reason you thought this was an idea worthy of writing down. We all have dozens of ideas that pass through our brains every hour of the day, so what made this one stand out? Was it connected to an event you experienced? Is it something that happened to someone you know?
Is there an emotional connection to the story that’s now missing because time has passed? Can you revisit that emotional point as you reflect on the events that led to this story idea?
Working to recapture that initial moment may give you the clarity and motivation you need to see the story from a better perspective and help it get out of feeling bland and boring.
Problem: My Story Doesn’t Have a Solid Hook
Possible Solution #1: As a Reader, What Would Motivate You to Read the Book?
We are our first audience. Even before we sit down to develop the story’s outline, we’re flipping through events that might take place as the story progresses. It makes sense that there is something about this story that makes you want to write it, and that is where the hook lies.
Re-read the blurbs for the novels presented earlier in this post. What aspects of them hook you in, grab your attention, make you want to know more? If you saw a blurb on the back of your book, what would get you to buy and read it as soon as you get home?
Possible Solution #2: Take a Step Back and Make a List
This is the perfect time in a story’s lifecycle to brainstorm and make lists of ideas. If you’re happy with the basic concept of your story but need a better hook, it’s time to sit down and write out as many story hooks as you can think of. Some will be great, some not so great, and some will make you cringe that you even wrote them down. It doesn’t matter. Write it down and filter through all the hooks you came up with and see if there are two or three that fit into your story and make it a novel you’d love to read.
Possible Solution #3: Do Some Hook Research
You read books, watch movies, and enjoy TV shows. All of them have a hook that intrigued you, pulled you in, and made you unable to look away. Go through your favorites and write down what the hook was for you that got you invested in these stories.
One of the greatest moments that hooked me and millions of viewers was the opening sequence of Breaking Bad. There was so much going on, so many questions, and so much kinetic energy emanating from the screen that it became impossible not to watch to see what happened next.
What shows, movies, or novels did this for you? How can you emulate that feeling in your story?
Problem: I Just Realized My Story’s Been Done Before
Possible Solution #1: Accept that Most Stories Have Been Told Before
With a few rare exceptions, most stories have been told in some form at least once. But that shouldn’t discourage you; that should encourage you. Since similar stories – also known as antecedents – exist, you can see how others have worked within your genre and make the changes necessary to make your story unique to you and your voice.
There’s a reason Westerns, superhero movies, horror movies, and romantic comedies are standard film genres. Many of these films follow a similar template, but it's the ones with their own unique style of storytelling that truly stand out.
Possible Solution #2: Making Your Story Unique
What makes you, you? What life experiences, conversations, skills, quirks, and other aspects of your life make up who you are? These are all things that can be mined and utilized for story ideas and character traits that can make your story more than just a run-of-the-mill genre piece.
Larry David, co-creator of Seinfeld, carries around a small notebook and pen wherever he goes. He has used the story ideas based on things that have happened to him and others as launching points for stories on Seinfeld and Curb Your Enthusiasm. He used his life experiences to give his stories a unique voice that made both shows stand out.
While it’s tempting to follow the trends, it can also be refreshing to readers to find a new voice that isn’t like all the rest.
Possible Solution #3: Mixing Genres
This is another excellent time to experiment and see if you can blend two genres to create a fresh take on a tried-and-true story. Play around and see what zany ideas you can come up with when playing with genres that aren’t typically blended together. Do any of the pairings intrigue you and make you curious about how they would function in your story? Does the new genre generate any new character ideas or story hooks?
In the mid- to late-1950s, American TV was populated with lots of traditional family shows like Father Knows Best, Leave It to Beaver, and The Donna Reed Show. This was a reliable genre of television that was a staple on the three networks.
In the mid-1960s, networks started to experiment and blend this family-oriented genre with the supernatural, giving audiences Bewitched, The Munsters, and The Addams Family. Suddenly, a fresh perspective and energy were injected into the traditional family series, satirizing aspects of it through humor and antics not seen in the previous iteration.
Consider what genres would make your story more interesting and make it stand out from the pack, and see what creative pathways you can explore.
Brainstorm, Brainstorm, Brainstorm
There are millions of story possibilities that exist in the universe and your imagination. As you work to improve your story, take the time to brainstorm and write down every possible story idea and thread you can think of, from the brilliant to the worst idea you could ever think of using.
It is within these brainstorming sessions that you may find the key to unlock your story and give it the power you’ve been looking for. It’s okay to list 20, 30, or even 50 ideas, then walk away and come back later to review and eliminate the useless ones. Within that list, you may find the idea that sparks something that begins to connect the creative dots that lead to your story going from dull and listless to energized and engaging.
Next Time…
The series has just begun! In my next post, we’ll dive into ways to improve your story’s plot.
Happy Writing, and I’ll see you next time!
When anyone sits down to craft a fictional narrative, many challenges can arise, even if they have a solid idea to work from. It’s okay. There’s no reason to panic, fling yourself on the bed, and cry into your pillow about how the creative Muses have abandoned you.
All writers – yes, even pros – can have problems getting a story to work. And a story problem should have a solution. Today, we’ll explore three possible story problems and three possible solutions to try with each.
But first…
What’s Your Story?
We all have story ideas written down. They can be simple or complex, but there’s something about those ideas that compels you to jot them down for later. You might have one in mind that you really like, but something is nagging at the back of your mind that makes you wonder if there’s trouble ahead before you even start.
Identifying potential story problems early will save you greater headaches in the long run since you can address and fix those issues before you’re 10,000 or even 100,000 words into a manuscript.
The story itself tells us the basics. Let’s look at a few examples:
The Shining by Stephen King
Jack Torrance's new job at the Overlook Hotel is the perfect chance for a fresh start. As the off-season caretaker at the atmospheric old hotel, he'll have plenty of time to spend reconnecting with his family and working on his writing. But as the harsh winter weather sets in, the idyllic location feels ever more remote...and more sinister. And the only one to notice the strange and terrible forces gathering around the Overlook is Danny Torrance, a uniquely gifted five-year-old.
Beloved by Toni Morrison
Sethe was born a slave and escaped to Ohio, but eighteen years later, she is still not free. Sethe has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. And Sethe’s new home is haunted by the ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved.
Where the Red Fern Grows by Wilson Rawls
Billy, Old Dan and Little Ann -- a Boy and His Two Dogs...
A loving threesome, they ranged the dark hills and river bottoms of Cherokee country. Old Dan had the brawn, Little Ann had the brains -- and Billy had the will to train them to be the finest hunting team in the valley. Glory and victory were coming to them, but sadness waited too. And close by was the strange and wonderful power that's only found...
These three examples draw the reader into the world of the story that awaits. We’re given several intriguing aspects of each narrative and its main character or characters that lead readers to want to know more and dive into the story to find out what happens.
Now, let’s explore ways to help your story become more substantial and more compelling.
Problem: My Story Is Boring
Possible Solution #1: Develop a Story That Excites You
Nothing causes a writer to lose interest more than writing a story they aren’t enthused about. Just going through the motions and writing to write is a good way to cause a reader to feel the same way you do about the story. If you’re not excited about what’s happening, why should anyone else be?
Anytime you develop an idea, it should be something you are passionate about and are ready to commit a lot of time, effort, and energy to, along with losing plenty of sleep as your mind keeps writing long after you’ve finished for the night.
If your story lacks this level of creative excitement, consider revising the initial idea to craft a story that sparks your interest in its direction and character development throughout the narrative.
Possible Solution #2: Share It with Others; What Do They Think?
You’re in the early stages, you’re unsure of your story idea, and you have no emotional stake in the game at this point. If you feel your story is lacking, consider sharing it with a few people to get their perspective. For this to work, you’ll need people who will give you honest feedback. It’s the only way to improve the story and make it worth working on.
Show it to five people. If no one seems interested in the story, ask them why. Their feedback and input will be valuable to you as you move forward and continue to develop the story.
Possible Solution #3: Ask Yourself What Intrigued You About the Story Originally
This ties into #1, but there had to be a reason you thought this was an idea worthy of writing down. We all have dozens of ideas that pass through our brains every hour of the day, so what made this one stand out? Was it connected to an event you experienced? Is it something that happened to someone you know?
Is there an emotional connection to the story that’s now missing because time has passed? Can you revisit that emotional point as you reflect on the events that led to this story idea?
Working to recapture that initial moment may give you the clarity and motivation you need to see the story from a better perspective and help it get out of feeling bland and boring.
Problem: My Story Doesn’t Have a Solid Hook
Possible Solution #1: As a Reader, What Would Motivate You to Read the Book?
We are our first audience. Even before we sit down to develop the story’s outline, we’re flipping through events that might take place as the story progresses. It makes sense that there is something about this story that makes you want to write it, and that is where the hook lies.
Re-read the blurbs for the novels presented earlier in this post. What aspects of them hook you in, grab your attention, make you want to know more? If you saw a blurb on the back of your book, what would get you to buy and read it as soon as you get home?
Possible Solution #2: Take a Step Back and Make a List
This is the perfect time in a story’s lifecycle to brainstorm and make lists of ideas. If you’re happy with the basic concept of your story but need a better hook, it’s time to sit down and write out as many story hooks as you can think of. Some will be great, some not so great, and some will make you cringe that you even wrote them down. It doesn’t matter. Write it down and filter through all the hooks you came up with and see if there are two or three that fit into your story and make it a novel you’d love to read.
Possible Solution #3: Do Some Hook Research
You read books, watch movies, and enjoy TV shows. All of them have a hook that intrigued you, pulled you in, and made you unable to look away. Go through your favorites and write down what the hook was for you that got you invested in these stories.
One of the greatest moments that hooked me and millions of viewers was the opening sequence of Breaking Bad. There was so much going on, so many questions, and so much kinetic energy emanating from the screen that it became impossible not to watch to see what happened next.
What shows, movies, or novels did this for you? How can you emulate that feeling in your story?
Problem: I Just Realized My Story’s Been Done Before
Possible Solution #1: Accept that Most Stories Have Been Told Before
With a few rare exceptions, most stories have been told in some form at least once. But that shouldn’t discourage you; that should encourage you. Since similar stories – also known as antecedents – exist, you can see how others have worked within your genre and make the changes necessary to make your story unique to you and your voice.
There’s a reason Westerns, superhero movies, horror movies, and romantic comedies are standard film genres. Many of these films follow a similar template, but it's the ones with their own unique style of storytelling that truly stand out.
Possible Solution #2: Making Your Story Unique
What makes you, you? What life experiences, conversations, skills, quirks, and other aspects of your life make up who you are? These are all things that can be mined and utilized for story ideas and character traits that can make your story more than just a run-of-the-mill genre piece.
Larry David, co-creator of Seinfeld, carries around a small notebook and pen wherever he goes. He has used the story ideas based on things that have happened to him and others as launching points for stories on Seinfeld and Curb Your Enthusiasm. He used his life experiences to give his stories a unique voice that made both shows stand out.
While it’s tempting to follow the trends, it can also be refreshing to readers to find a new voice that isn’t like all the rest.
Possible Solution #3: Mixing Genres
This is another excellent time to experiment and see if you can blend two genres to create a fresh take on a tried-and-true story. Play around and see what zany ideas you can come up with when playing with genres that aren’t typically blended together. Do any of the pairings intrigue you and make you curious about how they would function in your story? Does the new genre generate any new character ideas or story hooks?
In the mid- to late-1950s, American TV was populated with lots of traditional family shows like Father Knows Best, Leave It to Beaver, and The Donna Reed Show. This was a reliable genre of television that was a staple on the three networks.
In the mid-1960s, networks started to experiment and blend this family-oriented genre with the supernatural, giving audiences Bewitched, The Munsters, and The Addams Family. Suddenly, a fresh perspective and energy were injected into the traditional family series, satirizing aspects of it through humor and antics not seen in the previous iteration.
Consider what genres would make your story more interesting and make it stand out from the pack, and see what creative pathways you can explore.
Brainstorm, Brainstorm, Brainstorm
There are millions of story possibilities that exist in the universe and your imagination. As you work to improve your story, take the time to brainstorm and write down every possible story idea and thread you can think of, from the brilliant to the worst idea you could ever think of using.
It is within these brainstorming sessions that you may find the key to unlock your story and give it the power you’ve been looking for. It’s okay to list 20, 30, or even 50 ideas, then walk away and come back later to review and eliminate the useless ones. Within that list, you may find the idea that sparks something that begins to connect the creative dots that lead to your story going from dull and listless to energized and engaging.
Next Time…
The series has just begun! In my next post, we’ll dive into ways to improve your story’s plot.
Happy Writing, and I’ll see you next time!
August 7, 2025
Help! My Story Isn’t Working! – New Blog Post Series!
Every writer has been in this situation before. You have a great story idea. You’ve jotted down notes, snippets of dialogue, and even done some research on locations for the story to inhabit.
Then, you sit down to flesh out the story, and…
It all falls apart!
I recently went through this process with a rom-com novella I was developing. I had many great ideas and situations, along with some fun dialogue and characters. But when I sat down to craft the initial outline, I kept running into issues that showed me what I had initially been planning just didn’t work.
And I wanted to know why.
Over the next few weeks, we’ll explore all the possible reasons why a story doesn’t work and examine some solutions to try and get things back on track.
Whether you are working on a novel, short story, screenplay, play, or other story-based work, I hope what’s offered over the next few weeks will be helpful and unlock your story’s full potential.
Get ready, get set, and get back on track with my new series, “Help! My Story
Isn’t Working!”
See you soon!
Then, you sit down to flesh out the story, and…
It all falls apart!
I recently went through this process with a rom-com novella I was developing. I had many great ideas and situations, along with some fun dialogue and characters. But when I sat down to craft the initial outline, I kept running into issues that showed me what I had initially been planning just didn’t work.
And I wanted to know why.
Over the next few weeks, we’ll explore all the possible reasons why a story doesn’t work and examine some solutions to try and get things back on track.
Whether you are working on a novel, short story, screenplay, play, or other story-based work, I hope what’s offered over the next few weeks will be helpful and unlock your story’s full potential.
Get ready, get set, and get back on track with my new series, “Help! My Story
Isn’t Working!”
See you soon!
Mark Twain by Ron Chernow (the Second Half)
As the years rolled by in Mark Twain’s life, he had what I can only describe as a late-life crisis. Following a series of personal and financial tragedies, Twain made a conscious decision to shut out any real-world responsibility, foisting it upon a woman who would be both his interim savior and his ultimate downfall.
Author Ron Chernow delivers a highly detailed account of one of Twain’s odd interests later in life: his fixation on pre-teen girls. While it’s alluded to in the first half of the biography, it’s during the second half that Twain’s obsessive interest in a slew of young girls is explored, analyzed, and explained to the best anyone could, given the situation.
It’s an aspect of Twain’s life that passive fans of this work know about, but the crazy part is that thanks to hundreds of letters between Twain and these girls, we can witness and attempt to unravel the reasons why he became so hyper-focused on them during the twilight years of his life.
Reading about his predilection for young girls is disturbing, and it should be noted that while some found his behavior charming, others – including his two daughters – found the whole situation odd and unsettling. Even given the time period and his level of celebrity, his persistence with these girls and even having them stay for weeks at his home is enough to make anyone take a step back and wonder what Twain was thinking.
Was this an old man trying to recapture his youth? Was this an attempt by Twain to manufacture grandchildren from fans of his work who were children? Chernow makes a valid point during his analysis that Twain was only interested in corresponding with and having young girls sleep over at his home; young boys were never mentioned or even part of the equation.
While Twain’s relationship with race and race relations will always be at the forefront of our discourse about him, this aspect of his life toward the end is worth learning about and trying to understand (and, personally, I think it’s REALLY creepy).
Aside from this, much of the latter half of Twain’s life plays out like a soap opera, with betrayals, double-crosses, lies, lawsuits, and deaths, along with a few international trips and Twain’s inevitable realization that his end was drawing near.
When I read biographies about figures who have passed long ago, I’m always waiting for the significant turning point in the subject’s life that signals that they are on a downhill slope toward the end. With Twain, so many tragic events transpired over his final years that it can be a challenge to pinpoint where things truly began to go south for him.
Ultimately, his lifelong smoking habit did him in, which makes me wonder if he hadn’t been a smoker, how much longer he might have lived.
Chernow does a superb job meticulously researching and decoding the man whose books would define American Literature for generations. This was no easy task to undertake, given the thousands of letters, articles, books, essays, and other media that have painted varying portraits of Mark Twain for decades.
I do feel that the author delivered a thorough and in-depth look at the man behind the mythic figure that existed even before he died in 1910. In the Acknowledgments section, we get to see just how extensive the research was, and how many places and people Ron Chernow interacted with to make this a strong and effective biographical sketch of Samuel Langhorne Clemens, aka Mark Twain.
I really enjoyed Mark Twain. It was the first biography I’ve read by Ron Chernow, and I know it will not be the last. I highly recommend Mark Twain by Ron Chernow.
Check out this interview with Ron Chernow at the link below:
https://youtu.be/VGtQgA9UROU?si=ZBmQu...
Author Ron Chernow delivers a highly detailed account of one of Twain’s odd interests later in life: his fixation on pre-teen girls. While it’s alluded to in the first half of the biography, it’s during the second half that Twain’s obsessive interest in a slew of young girls is explored, analyzed, and explained to the best anyone could, given the situation.
It’s an aspect of Twain’s life that passive fans of this work know about, but the crazy part is that thanks to hundreds of letters between Twain and these girls, we can witness and attempt to unravel the reasons why he became so hyper-focused on them during the twilight years of his life.
Reading about his predilection for young girls is disturbing, and it should be noted that while some found his behavior charming, others – including his two daughters – found the whole situation odd and unsettling. Even given the time period and his level of celebrity, his persistence with these girls and even having them stay for weeks at his home is enough to make anyone take a step back and wonder what Twain was thinking.
Was this an old man trying to recapture his youth? Was this an attempt by Twain to manufacture grandchildren from fans of his work who were children? Chernow makes a valid point during his analysis that Twain was only interested in corresponding with and having young girls sleep over at his home; young boys were never mentioned or even part of the equation.
While Twain’s relationship with race and race relations will always be at the forefront of our discourse about him, this aspect of his life toward the end is worth learning about and trying to understand (and, personally, I think it’s REALLY creepy).
Aside from this, much of the latter half of Twain’s life plays out like a soap opera, with betrayals, double-crosses, lies, lawsuits, and deaths, along with a few international trips and Twain’s inevitable realization that his end was drawing near.
When I read biographies about figures who have passed long ago, I’m always waiting for the significant turning point in the subject’s life that signals that they are on a downhill slope toward the end. With Twain, so many tragic events transpired over his final years that it can be a challenge to pinpoint where things truly began to go south for him.
Ultimately, his lifelong smoking habit did him in, which makes me wonder if he hadn’t been a smoker, how much longer he might have lived.
Chernow does a superb job meticulously researching and decoding the man whose books would define American Literature for generations. This was no easy task to undertake, given the thousands of letters, articles, books, essays, and other media that have painted varying portraits of Mark Twain for decades.
I do feel that the author delivered a thorough and in-depth look at the man behind the mythic figure that existed even before he died in 1910. In the Acknowledgments section, we get to see just how extensive the research was, and how many places and people Ron Chernow interacted with to make this a strong and effective biographical sketch of Samuel Langhorne Clemens, aka Mark Twain.
I really enjoyed Mark Twain. It was the first biography I’ve read by Ron Chernow, and I know it will not be the last. I highly recommend Mark Twain by Ron Chernow.
Check out this interview with Ron Chernow at the link below:
https://youtu.be/VGtQgA9UROU?si=ZBmQu...
July 29, 2025
Reader Question of the Week: How Many Books Do You Read At Once?
I love books. I have more books than I have places to put them, but I can only read one at a time. I know that some people can read multiple books simultaneously, so I thought we’d examine the pros and cons of both reading methods.
Reading One Book
Pros: You know exactly what you’ll be sitting down to read. You know where you left off in the story. And, at some point, you’ll be determined to hunker down and power through to the end so you can start the next book.
Cons: You might feel stuck in a book you can’t stand and want to escape, but don’t want to feel like a quitter and walk away. It’s a book that sounded interesting from the back cover, but now it’s a tough slog that keeps putting you to sleep. Frustrated, you hope the main character meets some horrible fate so you can get excited about the book once again.
Reading Multiple Books
Pros: Variety. Lots of options and choices for any mood you might be in at any time. You can have books for home, for your commute, for your breaks at work (or while you work), books for the weekend, books for vacation, and even a different book for each day of the week.
Cons: Narrative confusion. The storylines and characters begin to merge into one massive narrative blob, and you lose track of where you are and what happened in each book. Is Pennywise taking the One Ring to Mordor with Jon Snow and Atticus Finch? Or is Ramona Quimby stuck at the Overlook Hotel with Mark Twain and Frank Sinatra while a volcano erupts outside?
Final Thoughts…
Like everything related to reading, it ultimately comes down to personal preference. If you prefer staying focused on one story and reading one book at a time, this approach is right for you. If you like having options based on your mood, multiple books are the way to go.
The key is to read, keep reading, and never stop reading!
Happy reading, and I’ll see you next time!
Which reading method do you prefer? Leave a comment and let me know!
Reading One Book
Pros: You know exactly what you’ll be sitting down to read. You know where you left off in the story. And, at some point, you’ll be determined to hunker down and power through to the end so you can start the next book.
Cons: You might feel stuck in a book you can’t stand and want to escape, but don’t want to feel like a quitter and walk away. It’s a book that sounded interesting from the back cover, but now it’s a tough slog that keeps putting you to sleep. Frustrated, you hope the main character meets some horrible fate so you can get excited about the book once again.
Reading Multiple Books
Pros: Variety. Lots of options and choices for any mood you might be in at any time. You can have books for home, for your commute, for your breaks at work (or while you work), books for the weekend, books for vacation, and even a different book for each day of the week.
Cons: Narrative confusion. The storylines and characters begin to merge into one massive narrative blob, and you lose track of where you are and what happened in each book. Is Pennywise taking the One Ring to Mordor with Jon Snow and Atticus Finch? Or is Ramona Quimby stuck at the Overlook Hotel with Mark Twain and Frank Sinatra while a volcano erupts outside?
Final Thoughts…
Like everything related to reading, it ultimately comes down to personal preference. If you prefer staying focused on one story and reading one book at a time, this approach is right for you. If you like having options based on your mood, multiple books are the way to go.
The key is to read, keep reading, and never stop reading!
Happy reading, and I’ll see you next time!
Which reading method do you prefer? Leave a comment and let me know!
