{"id":2424,"date":"2023-05-10T14:47:46","date_gmt":"2023-05-10T14:47:46","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2023\/05\/10\/2023-power-of-narrative-revving-the-story-engine\/"},"modified":"2024-10-21T15:35:28","modified_gmt":"2024-10-21T15:35:28","slug":"2023-power-of-narrative-revving-the-story-engine","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2023\/05\/10\/2023-power-of-narrative-revving-the-story-engine\/","title":{"rendered":"2023 Power of Narrative: Revving the story engine"},"content":{"rendered":" \n
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Browse through a year of articles on The Atavist Magazine<\/a> website and you will see stories about a diverse collection of topics: swimming cows, abuse at an elite high school, a fossil tooth,* a spy, a cult and a daring escape across the Bering Sea.<\/p>\n\n <\/div>\n <\/div>\n \n

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\u201cThe thing uniting our stories is that they are narrative. They are driven by plot, with great characters and scenes,\u201d said The Atavist\u2019s editor-in-chief in her session at this year\u2019s Power of Narrative Conference at Boston University<\/a>. \u201cYou come to The Atavist for the kind of story you want to sit with. You want to read it to the end because you want to find what\u2019s going to happen, which can mean a number of things.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Atavist
Seyward Darby<\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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In her talk, Darby discussed the process of writing a compelling narrative, from interview through edits, including the art of keeping readers scrolling to the end of the story. Sometimes a writer knows how they are going to propel a reader through the story before they even pitch The Atavist, Darby said. Other times the elements are there, but the story\u2019s engine is either built or re-tuned during the editing process.<\/p>\n\n <\/div>\n <\/div>\n \n

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Once, Darby said, The Atavist commissioned a writer who had never written an article longer than 1,000 words, but still had a compelling story to tell. Another time, a writer had gathered fascinating information about the decline of monarch butterflies and the people who were fighting to save them by various means, including growing native plants. But what would hold it together as a story? What would keep readers scrolling so that they could would follow the butterflies and the people to try to save them.<\/p>\n\n <\/div>\n <\/div>\n \n

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More from 2023 Power of Narrative<\/h2>\n\n
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Hillery Stone on writing personal essay<\/a>s<\/p>\n

Geoff Edgers on prepping for profiles<\/a><\/p>\n\n <\/div>\n\t\n<\/div> \n

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The power behind a story, a \u201cstory engine\u201d or \u201cnarrative engine,\u201d can be a question. Tom French, the Pulitzer Prize-winning journalist who now teaches at Indiana University, has often said that a story\u2019s engine is a question<\/a>. Among the questions that have driven French\u2019s own stories are: \u201cWill the boy get a kiss?\u201d and \u201cWhen the tiger escapes from her enclosure at the zoo, who will die?\u201d Readers keep reading to find out the answer to that question. Beneath all of those questions is another question, French has said: \u201cWhat happens next?\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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Darby said that a story engine can be a direct question like \u201cWho done it?\u201d or it may be something more subtle.<\/p>\n\n <\/div>\n <\/div>\n \n

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She explained how to find the best what-happens-next thread to pull your story together. One technique is to write a working nut graf<\/a> \u2014 a paragraph that summarizes the story and puts it into context or that links the story to a larger meaning. She doesn\u2019t necessarily recommend that you include that nut graf in your story, but to use it as a navigational tool to guide your writing. A nut graf is especially helpful when you are lost in a thicket of research and interview transcripts.<\/p>\n\n <\/div>\n <\/div>\n \n

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Tell it out loud to a friend \u2014 or yourself<\/h2>\n\n <\/div>\n <\/div>\n \n
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Darby also recommends telling the story as you would to a friend \u2014 not as a way to write the final draft, but as another tool to find that narrative thread. Telling a story out loud lets us tap into the \u201ceternal human art\u201d of verbal storytelling because we want, by our very natures, to keep the listener entertained. She recommends recording the narration in a voice memo on your phone. In the course of that telling, and then listening to it, ask yourself what were the most important things you said to keep people engaged.<\/p>\n\n <\/div>\n <\/div>\n \n

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When you find those engaging things, you have found your story engine.<\/p>\n\n <\/div>\n <\/div>\n \n

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For example, Darby said, Nora Caplan-Bricker<\/a>, a Boston writer, pitched a story about the decline of monarch butterflies<\/a> that was already a perfect feature for a magazine like Scientific American. Caplan-Bricker turned it into an Atavist story by including the journey of a single butterfly as a unifying thread. Caplan-Bricker could do this because people tag butterflies with numbered stickers to track their migrations. A boy had named this butterfly \u201cFlamingo.\u201d (You can practically feel the story click into place with that fact.) The result, Darby says, is a beautiful story about climate grief, butterflies and making a difference.<\/p>\n\n <\/div>\n <\/div>\n \n

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Darby sees the story engine as including not only the question, but the person, object or situation attached to that question. For example, it includes the person trying to answer the question. In another illustration of a story engine, she recounted an article about a possible treatment for Batten\u2019s disease<\/a>, sometimes described as juvenile Alzheimer\u2019s. The story\u2019s focus was a boy with the disease and how his vocabulary shrank as the disease progressed. After the treatment, he gained a word. The big loss of language and then the small gain of a word was the story\u2019s engine, she said.<\/p>\n\n <\/div>\n <\/div>\n \n

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Propelling the narrative forward<\/h2>\n\n <\/div>\n <\/div>\n \n
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Keeping readers reading isn\u2019t always about ratcheting up the drama, Darby said. A cliffhanger isn\u2019t always the best way to end a section. She prefers sections that end in \u201ctrampolines\u201d rather than cliffhangers. A cliffhanger leaves the protagonist in peril, but can leave readers hanging. A trampoline is something that, when your reader lands on it, bounces them forward.<\/p>\n\n <\/div>\n <\/div>\n \n

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For example, in The Atavist story \u201cA Crime Beyond Belief\u201d<\/a> by Katia Savchuk, about a home invasion in the San Francisco area, the story could have begun with the bizarre crime and the police department\u2019s dismissal of the couple\u2019s terrifying experience. Instead, Darby said, the story begins with a police detective finding a strange collection of items in a suspect\u2019s home: swim goggles covered with black tape, a Nerf Super Soaker with a flashlight and a laser pointer taped to it, a bottle of NyQuil and one blond hair.<\/p>\n\n <\/div>\n <\/div>\n \n

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Sometimes, Darby said, the question that will really keep a reader wondering is not \u201cWhat happens next?\u201d but the mystification of \u201cWhat is going on here?\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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I came away from the session not only with ideas about how to find the through-line or the narrative engine within a story, but also about where to search for stories in the first place. I\u2019m inspired to find some significant endings and then look upstream for the stories that brought them about. If I\u2019m lucky, I may find my own equivalent of a butterfly and the child who named it \u201cFlamingo.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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* * *<\/p>\n\n <\/div>\n <\/div>\n \n

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Madeline Bodin<\/strong> is a freelance environmental and science journalist based in Vermont. Her story, \u201cThe Curious Case of Nebraska Man,\u201d<\/a> was published in The Atavist last year.<\/em><\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Atavist editor Seyward Darby on the writing craft that drives readers through a story to the end: Plot, characters, scene<\/p>\n","protected":false},"author":1,"featured_media":9613,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"topics":[],"authors":[281],"issue":[],"class_list":["post-2424","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-on-craft","authors-madeline-bodin"],"acf":[],"yoast_head":"\n2023 Power of Narrative: Revving the story engine - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2023\/05\/10\/2023-power-of-narrative-revving-the-story-engine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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