Chuck Wendig is a silly, silly man, who has written a number of bestselling books. My first introduction to Wendig was his book of goofy morning Twitter affirmations, You Can Do Anything, Magic Skeleton.
I recently finished Damn Fine Story, his book about storytelling (and yes, he calls out storytelling as a distinct craft from writing). The book delights in silliness, a sort of gonzo absurdism that lends flavor to the underlying soup of writing craft.
Wendig uses a handful of pop culture references like Die Hard, Star Wars, and Buffy the Vampire Slayer to illustrate and embellish his points, making the book fairly approachable. He also uses stories from his own life to illustrate a few of his points, proving that terrorists and lightsabers aren’t strictly necessary to craft an interesting narrative.
1 – Characters are the Nexus of Story Elements
If Wendig has a central thesis in Damn Fine Story, it is this: “Character is everything.” He makes a compelling argument that most of the elements of a story are derived or depend on the characters in that story.
The story starts with an interruption to the character’s status quo. Their main problem is this interruption, and it’s what drives the plot. Conflict and tension comes out of the character’s actions as they attempt to resolve that problem to their own satisfaction.
The plot should never control the characters. While unexpected things can, and should, happen to the characters, it’s how the characters act (and react) that makes the story. Characters must have some measure of agency, some ability to affect the world around them and fight for what they want. Characters fighting to overcome obstacles and achieve their goals is what makes plot happen.
2 – The Inner Emotional Story Drives the External Action
One of the key ways characters drive the story is through their own arcs. But a character arc is inherently internal. In most stories, the world around the character may change. The character may physically change. What really pulls the reader in and keeps them invested is the character’s own emotional inner journey. The character may come to grips with their own deficiencies and improve themselves, or they may discover that they’re not as good and kind as they thought, once push comes to shove. By overcoming adversity, they may discover that they had the strength in them all along.
The bigger the external stakes are, the more important the internal stakes become. Huge problems like galaxy-spanning wars and terrorist attacks make for exciting action, but they’re not something familiar and relatable. On the other hand, feeling like an outsider or wanting a more fulfilling job might be things that hit close to home for a lot of people. The inner conflicts faced by characters are often “smaller,” but that’s also what makes them relatable. A relatable inner journey coupled with a thrilling and extravagant external conflict can make for compelling fiction.
3 – Good Characters Are Relatable
Along those same lines, good characters must be relatable—not necessarily in every way, but in some way. None of us are space wizards (probably), so any space wizard you write needs to have some other aspect to their character or personality that feels more familiar to the reader. Maybe your space wizard is a young adult and eager to get away from the place they grew up. Maybe they’re unsure of themselves. Maybe they try a little too hard to be act cool, or to fit in with the cool space smugglers and furry aliens.
Relatability can come in the form of “good” characteristics, but it doesn’t have to. Foibles and weaknesses can be just as relatable. Each of us has a few weaknesses we’re all too aware of. Protagonists are often a mix of traits we can aspire to and less desirable traits we can recognize in ourselves. Even villains should be relatable, though they may take particular negative traits to extremes.
The craziest and wildest stories still need a core of understandable, relevant concepts that readers can map to their own lives in some way. When the story (and especially the characters) are too hard to understand, they’re impossible to care about. If the reader doesn’t care about them, then the story stops being interesting. The stakes don’t matter.
4 – Questions Keep the Reader Reading
As Lemony Snicket said, always leave something out. Every open question is a string, tugging the reader along. Every answer is a small victory. Scenes that end with a question or unresolved conflict keep the reader turning pages.
Wendig says, “Tease satisfaction, but be hesitant to deliver it…Reveal too little and the audience will feel lost. Reveal too much and the audience will feel safe and bored.” You have to ride the razor’s edge. Start with plenty of questions, then progressively answer more and more of them as the story goes on, with the most answers and biggest answers coming at the end. When you run out of answers, you run out of story.
Damn Fine Story is one of several books Chuck Wendig has written on the craft of writing. I enjoyed this one, and I’ll probably be checking out some of the others. If you’d prefer to try Wendig in small doses, you can check out his twitter. For larger, less frequent, and possibly more writing-related content, try his blog, Terrible Minds.
4 thoughts on “Four Things I Learned From “Damn Fine Story””
This is an excellent summary of salient points in Wendig’s book. It sounds like Damn Fine Story is worth the read.
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It was good. For me, the best note I came away with was creating an intimate connection between the protagonist’s inner struggle and the bigger, surface-level conflicts of the world around them.
Now that I’m consciously looking for it, I see it in so many great stories.
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