[...]... something far trickier: the social realm Story evolved as a way to explore our own mind and the minds of others, as a sort of dress rehearsal for the future.6 As a result, story helps us survive not only in the life-and- death physical sense but also in a life-well-lived social sense Renowned cognitive scientist and Harvard professor Steven Pinker explains our need for story this way: Fictional narratives... is forced to learn as he navigates the plot is what the story is about It’s important to always keep this in mind since the plot, when taken by itself, can suggest that a story is about one thing when in reality, it’s about something else A great example of this can be found in the movie Fracture—which, like many movies, makes a great case study for overarching story concepts Why? Because story- wise,... because the function of some kinds of art is for life to imitate it.7 2 Not only do we crave story, but we have very specific hardwired expectations for every story we read, even though—and here’s the kicker—chances are next to nil that the average reader could tell you what those expectations are If pressed, she’d be far more likely to refer to the magic of story, that certain je ne sais quoi that can’t... struggle feels like, without having to leave the comfort of home All this is incredibly useful for writers because it neatly defines what a story is—and what it’s not In this chapter, that’s exactly what we’ll examine: the four elements that make up what a story is; what we, as readers, are wired to expect when we dive into the first page of a book and try it on for size; and why even the most lyrical, beautiful... into the thicket I’ve heard it said that fiction (all stories, for that matter) can be summed up by a single sentence—All is not as it seems—which means that what we’re hoping for in that opening sentence is the sense that something is about to change (and not necessarily for the better) Simply put, we are looking for a reason to care So for a story to grab us, not only must something be happening, but... name?”3 Thus your first job is to zero in on the point your story is making The good news is that this is one of the few things that can actually cut down on time spent rewriting Why? Because from the get-go it allows you to do for your story what your cognitive unconscious automatically does for you: filter out unnecessary and distracting information.4 To that end, in this chapter we’ll explore how... the entire fabric of human societies and cultures.”4 We think in story It’s hardwired in our brain It’s how we make strategic sense of the otherwise overwhelming world around us Simply put, the brain constantly seeks meaning from all the input thrown at it, yanks out what’s important for our survival on a need-to-know basis, and tells us a story about it, based on what it knows of our past experience... Is there a growing sense of focused foreboding that’ll keep the reader hooked until the protagonist appears in the not-too-distant future? Can we glimpse enough of the “big picture” to have that all-important yardstick? It’s the “big picture” that gives readers perspective and conveys the point of each scene, enabling them to add things up If we don’t know where the story is going, how can we tell if... fruit So, What Is a Story? Contrary to what many people think, a story is not just something that happens If that were true, we could all cancel the cable, lug our Barca-loungers onto the front lawn, and be utterly entertained, 24/7, just watching the world go by It would be idyllic for about ten minutes Then we’d be climbing the walls, if only there were walls on the front lawn A story isn’t simply... do it This is what drives the story forward I call it the protagonist’s issue The second element, the theme, is what your story says about human nature Theme tends to be reflected in how your characters treat each other, so it defines what is possible and what isn’t in the world the story unfolds in As we’ll see, it’s often what determines whether the protagonist’s efforts will succeed or fail, regardless . of Congress Cataloging-in-Publication Data Cron, Lisa. Wired for story : the writer’s guide to using brain science to hook readers from the very first sentence / Lisa Cron. —1st ed. p. cm. . 97 8-1 -6 077 4-2 4 6-3 v3.1 To my children, Annie and Peter, the best storytellers I know. Cover Title Page Copyright Dedication Introduction How to Hook the Reader COGNITIVE SECRET: We think in story, . absorb the myriad lessons each story imparts. 4 This information is a game changer for writers. Research has helped decode the secret blueprint for story that’s hardwired in the reader’s brain,