Pride and Prejudice - The STORY GRID edition - Annotated by SHAWN COYNE




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ARCHIVES OF February, 2016

What It Takes

What It Takes

The Magic of Snow (and Emerging Stories)

By Callie Oettinger | Published: February 26, 2016

This piece hit about this time two years ago. Bringing it back today as the days grow longer and the snow days (hopefully) shorter. 

Ezra Jack Keats clipped a strip of four images from Life magazine in 1940. One child. Four endearing expressions and poses.

As the next two decades passed, the little boy in the images remained the same age, with the pursed lips and ballooned cheeks so often worn by children no more than three years old. Bundled up in a long puffy jacket and pants, he lived on Keats’ wall as the artist illustrated one children’s book after another.

In 1962 the child left his static black and white life behind when he woke within the vibrant, adventure-filled pages of The Snowy Day, wondering where the snowball he’d tucked into his pocket the night before had disappeared. The sweetness, innocence, confidence and strength captured within the old images came alive within the book. He’d been given a name, too: Peter.

In 1963 The Snowy Day was awarded the Caldecott Medal.

Finding the Story

There’s a practice in the reality TV world known as “frankenbiting.” Defined by one reality TV editor, frankenbites occur when “you put together one sentence from one answer, another couple words from another answer, another sentence from another day, and make it look like one interview.”

Like reality TV editors, documentary film makers face real people and events. The difference—aside from topic—is found in the editing. Rather than forcing a story—frakenbiting—they help a story emerge. Often, the filmmakers start with one story in mind, only to emerge with another in the end.


Posted in What It Takes

Writing Wednesdays

Writing Wednesdays

The Truth is Out There

By Steven Pressfield | Published: February 24, 2016


As writers we want a big theme. A theme with power and scale.

David Duchovny and Gillian Anderson. The truth is out there -- on at least six levels.

David Duchovny and Gillian Anderson. The truth is out there — on at least six levels.

But, even more, we want a theme with depth, a theme that has level after level of meaning.

The theme in Jurassic World, we said last week, is “Don’t mess with Mother Nature.” Let’s examine how deep that theme goes. How many levels does it work on?

On the surface, on Level #1, what Jurassic’s theme means is “Don’t resurrect and genetically mutate creatures with very large teeth and extremely aggressive carnivorous instincts—and, if you do, pen them up very, very securely.”

Level #2 of the same theme is “Arrogance produces calamity.” Pride goeth before the fall, or, as the ancient Greeks would’ve said, “Hubris produces Nemesis.”

This second level takes the theme significantly beyond dinosaurs and theme parks. It could be speaking of the U.S. invasion of Iraq. It could have resonance with global climate change and mankind’s contribution to it.

Level #3 goes even deeper. On the spiritual level, “Don’t mess with Mother Nature” becomes, “There exists a proper relationship between the human and the divine. Heed, O Man, and transgress not.”

Readers and audiences feel these levels, even if they can’t articulate them. Even if they’re completely unconscious of these layers of meaning, the audience senses the depth of the material (yes, even in a dino flick) and this adds to the emotional wallop of the story.

Worldwide, the four Jurassic Park movies have made $3.5 billion. Yeah, the rush of watching dinosaurs on a rampage may account for 90% of that. But depth of theme is contributing too. It helps.

Consider another runaway hit: The X-Files.

What is The X-Files about? We could say it’s about the search for extraterrestrial invaders, or about the relationship between Scully and Mulder. That would be the subject, but it’s not the theme.

The theme is conspiracy—and paranoia spawned by the fear of conspiracy. The ad line says it all:


The Truth is Out There.


That theme is much bigger than the content of the X-Files show or movies, and it resonates for the viewer at a far deeper level.

Level #1 is personal. It’s Mulder’s (David Duchovny) individual paranoia and belief in conspiracy. His sister vanished when he was a child. He’s convinced she was abducted by aliens, but he can’t get anyone in authority to believe him or to take his conviction seriously.

Level #2 is the political. Aliens have indeed landed (or crashed) on Earth many times. The government has evidence of this but, for its own nefarious reasons, is keeping it secret from the public.

Now we’re getting into juicy paranoia and conspiracy. Let’s go deeper.

Level #3 is the darker political. Beyond its knowledge of UFO crashes and alien apprehensions, the government is covering up all kinds of evil truths and events. Who killed Kennedy? Why did we go to war in Vietnam? What forces lurk behind the Wall Street cabal?

Level #4: Authority in all forms is hiding stuff from us. Our parents. Our schools. Our institutions. The world is not as we have been told it is (it’s worse … and we’re getting screwed by it big-time!)—and no one in authority will break silence to confirm this.

This sounds nuts, I know. But why are survivalists stocking up on beef jerky and .762 ammo? Why did gun-toting ranchers occupy Malheur Reserve in Oregon? In Texas the governor put the State Guard on alert just this past summer, fearing that an army training exercise was really a cover for the Feds to take over the state. On the left, the paranoia runs just as deep. Doesn’t the Trilateral Commission secretly control the universe? Or is that Fox News and the “vast right-wing conspiracy?”

Let’s dig even deeper.

Level #5: Our very conception of reality has been manipulated to render us passive and to control us. You and I are like the characters in 1984 or The Matrix. Unseen overlords have created an artificial environment and convinced us that it is real. They are duping us and exploiting us for their own profit.

Level #6: Life itself, by its very nature, is an illusion. More than that, built in to the nature of consciousness are factors invisible to us whose sole purpose is to make us believe in the reality of this surface illusion. A man has a dream in which he is a butterfly. Is he a man dreaming he’s a butterfly—or a butterfly dreaming he’s a man?

The truth is indeed out there, but we can’t get to it. “Help!”

But wait, there’s more!

The X-Files has a second prominent ad line:

I Want To Believe

Implicit in this line is Level #7: the Truth that is “out there” is indeed being hidden from us by corrupt, evil forces but, brothers and sisters, what if we could actually find out that truth? It could change our lives! Save our lives! You bet we want to believe!

The surface interpretation of Level #7 is, “We want to believe in UFOs and aliens, that they’ve visited the Earth and that we are not alone. Perhaps contact with their advanced intelligence will bring blessings to mankind.”

Beyond that (Level #8) is, “We want to believe that some higher power/consciousness exists and that we can contact it.” We want to believe because that truth, if it were true, would reassure us that our lives were not limited to the vain, petty, self-interested issues that consume our daily worlds. We want to believe in something greater, wiser, more significant—something that will give our lives true meaning.

How potent is this level? It’s the basis for every religion since animism and sun worship. No wonder people follow the adventures of Scully and Mulder. Their quest is resonating on at least eight levels.

The X-Files, if you’ve ever watched it, is not that great a show. But the theme is so big and it resonates at so many levels that millions of viewers became hopelessly addicted. They couldn’t live without it.

With all due respect to David Duchovny and Gillian Anderson (and hats off to Chris Carter, who created the show), this is the power of theme.

The bigger the theme, the more forceful the story’s impact. And the deeper the theme (that is, the more levels on which it resonates), the more it will get its hooks into the audience and the more powerfully it will bind them to the characters and to the story.



Posted in Writing Wednesdays

What It Takes

What It Takes

Literary and Commercial

By Shawn Coyne | Published: February 19, 2016

Five years ago, Steve, Callie, Jeff and I were in the throes of marketing Steve’s novel THE PROFESSION.  In order to attract more people to Steve’s work, and this website, we decided to launch a series of posts called WHAT IT TAKES, with Callie and I trading off on our theories about what it takes to publish and market a book in today’s brave new publishing world.

As I’m on my annual goof-off at the beach, I thought it would be fun to revisit one of those early posts.  And guess what?  Things haven’t really changed all that much…  There are still two publishing cultures…and you better know which one your world falls under, or you’ll have a very difficult time finding a tribe of readers to follow you. 

If you are a publisher or an editor today in traditional trade book publishing, you have to decide which of the two cultures you want to align yourself with.

The “literary” culture is represented by these publishers: Knopf, FSG, Scribner, Random House, Riverhead, Penguin Press and a number of other houses both independent and corporate owned. These houses are known for the high end literary stuff—Cormac McCarthy, Toni Morrison, Jonathan Franzen, Richard Powers, Zadie Smith, Don DeLillo, Thomas Pynchon, etc.

Young English Lit grad editorial assistant wannabes long to land a job at one of these houses. Working at these shops gives entrée to Paris Review parties and publishing street cred that says “I’m in it for the right reasons…to nurture tomorrow’s great American novelists.” Acquiring a writer who ends up on The New Yorker’s 20 under 40 can get you a promotion. A rave in The New York Review of Books or The Atlantic puts a swagger in your step.

On the other side of the street is the “commercial” culture, often referred to as genre fiction (even though every great story abides by genre conventions). Future editors in the commercial arena are the nerds you see reading The Hobbit, The Da Vinci Code, Jaws, Twilight, Lace or Dune on the beach while the other kids are body surfing. They often come from that wonderful crop of college graduates who don’t know what to do with their lives so decide to find work that pays them to read. They don’t care so much about line by line writing perfection, deep universal truths, or post-modern metafiction pyrotechnics, these editors are just addicted to narrative velocity—stories that grab you by the throat and won’t let you go.


Posted in What It Takes
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