Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

by Lisa Cron

The goal is to set the pace so each burst of intense conflict in the main storyline—each sudden sprint, each unexpected twist—is fueled by the information and insight that’s been building since the previous twist.

Each time the conflict peaks, you want to back off a bit to give the reader time to take it in, process it, and speculate on its implications, which is often where subplots come in.

all subplots must eventually merge into—and affect—the main storyline, either literally or metaphorically,

mirroring subplots reveal alternate ways in which the story question could be resolved. Thus they either serve as a cautionary tale or a validation or provide a fresh perspective.

subplots (ditto flashbacks) sometimes give the reader a breather from the main storyline, often following a strong scene such as a major turning point, sudden revelation, or surprising twist.

The only reason to go into a flashback is that, without the information it provides, what happens next won’t make sense. Thus there is a specific need—or cause—that triggers the flashback.

we know, from the second the flashback begins, why we’re going into it. We must have a pretty good sense of why we need this information now.

When the flashback ends, the information it provided must immediately—and necessarily—affect how we see the story from that point on.

Beneath your overarching timeline, make a corresponding timeline for each major character, charting what they believe is true throughout the story.

Ask yourself, scene by scene: what does the reader believe is happening?

As Jack London famously said, “Don’t loaf and invite inspiration; light out after it with a club.”