K. Murphy Wilbanks

“To go back to the game metaphor from before, there exists a component of storytelling where it is you and the reader (or viewer, or whoever) sitting on opposite sides of a chessboard. You’re always trying to outwit each other. And sometimes you need them to outwit you—the audience needs that power, needs to be invested. They want to do work, and they want (sometimes) to be victorious. Other times, they want the shock of loss, the joy at being outplayed. And at those times you misdirect and distract, and as they’re thinking you’re moving your piece one way, you move it another and shock them with your prowess. But the trick is making all of this organic. It has to unfold naturally from the story—it’s not JUST you screwing with them. It’s you fucking with them within a framework that you built and agreed upon, a framework you’ve shown them, a place of rules and decorum. In this context, consider the game space. Like, say, a chessboard, or a D&D dungeon. The game space is an agreed-upon demesne. It has rules. It has squares. Each piece or character moves accordingly within those squares. It has a framework that everyone who has played the game understands. And yet, the outcome is never decided. The game is forever uncertain even within established parameters. Surprises occur. You might win. Maybe I win. That’s how storytelling operates best—we set up rules and a storyworld and characters, and you try to guess what we’re going to do with them. We as storytellers shouldn’t ever break the rules. Note: Breaking the rules in this context might mean conveniently leaving out a crucial storyworld rule (“Oh, vampires don’t have to drink blood; they can drink Kool-Aid”), or solving a mystery with a killer who the audience couldn’t ever have guessed (“It was the sheriff from two towns over who we have never before discussed or even mentioned”), or invoking a deus ex machina (“Don’t worry, giant eagles will save them. It’s cool”). You can still have chaos and uncertainty within the parameters—creating a framework, like building a house, doesn’t mean it cannot contain secrets and surprises—but you stay within the parameters that you created. Again, it’s why stage magic works as a metaphor when actual wizard magic does not. With stage magic—tricks and illusions!—you can’t really violate the laws of reality. But it damn sure feels like you do. Stories make you believe in wizard magic, but really it’s just a clever, artful trick. The storyworld is bent and twisted, but never broken. And, of course, your greatest touchstone for all of this is the characters, and their problems and places inside the storyworld. The characters will forever be your guide, if you let them. They are the tug-of-war rope, the chess pieces, the D&D characters that exist as a connection between you and the audience. They are your glorious leverage.”
― Chuck Wendig, Damn Fine Story: Mastering the Tools of a Powerful Narrative

“At its most basic and bare bones, a story is this: Characters do shit. Characters say shit. Repeat until end. And even in that, there maybe exists a needless deviation—we often separate action and dialogue but, really, dialogue is action. Talk is a verb. To communicate is to do something, perhaps one of the most vital forms of “doing something” that we have available to us as humans. We often dismiss that, though, right? Oh, that’s just talk. We pretend like words are not meaningful, like they’re just hot air. But that’s not true at all. Dialogue and communication are as vital as any other action, and in fact contain layers—because dialogue can be savvier, more sinister, more affecting.”
― Chuck Wendig, Damn Fine Story: Mastering the Tools of a Powerful Narrative

“A year after the gold lamé shoe, the gift basket I received from Donald and Ivana hit the trifecta: it was an obvious regift, it was useless, and it demonstrated Ivana’s penchant for cellophane. After unwrapping it, I noticed, among the tin of gourmet sardines, the box of table water crackers, the jar of vermouth-packed olives, and a salami, a circular indentation in the tissue paper that filled the bottom of the basket where another jar had once been. My cousin David walked by and, pointing at the empty space, asked, “What was that?” “I have no idea. Something that goes with these, I guess,” I said, holding up the box of crackers. “Probably caviar,” he said, laughing. I shrugged, having no idea what caviar was. I grabbed the basket handle and walked toward the pile of presents I’d stacked next to the stairs. I passed Ivana and my grandmother on the way, lifted the basket, said, “Thanks, Ivana,” and put it on the floor. “Is that yours?” At first I thought she was talking about the gift basket, but she was referring to the copy of Omni magazine that was sitting on top of the stack of gifts I’d already opened. Omni, a magazine of science and science fiction that had launched in October of that year, was my new obsession. I had just picked up the December issue and brought it with me to the House in the hope that between shrimp cocktail and dinner I’d have a chance to finish reading it. “Oh, yeah.” “Bob, the publisher, is a friend of mine.” “No way! I love this magazine.” “I’ll introduce you. You’ll come into the city and meet him.” It wasn’t quite as seismic as being told I was going to meet Isaac Asimov, but it was pretty close. “Wow. Thanks.” I filled a plate and went upstairs to my dad’s room, where he’d been all day, too sick to join us. He was sitting up, listening to his portable radio. I handed the plate to him, but he put it on the small bedside table, not interested. I told him about Ivana’s generous offer. “Wait a second; who does she want to introduce you to?” I would never forget the name. I’d looked at the magazine’s masthead right after speaking to Ivana, and there he was: Bob Guccione, Publisher. “You’re going to meet the guy who publishes Penthouse?” Even at thirteen I knew what Penthouse was. There was no way we could be talking about the same person. Dad chuckled and said, “I don’t think that’s such a good idea.” And all of a sudden, neither did I.”
― Mary L. Trump, Too Much and Never Enough: How My Family Created the World's Most Dangerous Man