Tool 31 in the book “Writing Tools” describes how to “build your work around a
key question.” That question, according
to Tom French, is the “engine” of the story, driving the narrative forward
until the reader’s curiosity is satisfied.
Common story engines abound: Who done
it? Guilty or not guilty? Deal or no deal?
For a current example, take the popular HBO
production, “The Sopranos.” Down to the final few episodes, many questions remain unanswered, but the
most powerful, the engine, is: “What will happen to crime boss/family man Tony?”
Clues planted in the narrative point in several directions: Will Tony be murdered, and
by whom? Will he wind up the big boss of
both the New Jersey and the New
York mobs? Is
he headed for prison? Can he find a way
to give up the life?
The other dominant story engine of our time belongs to J.K.
Rowling, author of the “Harry Potter” series.
I’m holding in my hand a bookmark designed to market the final book in
the series, “Harry Potter and the Deathly Hallows.” On one side of the bookmark is the name
Severus Snape and the word “Friend.” On
the back is that same name and the word “Foe.”
Friend or foe?
Another classic story engine, and each side presents six bits of
evidence that would lead the reader to one conclusion or another. Millions upon millions of readers will line up in July to discover the answer to that question.
So use the power of the story engine, that key question the
story will answer for the reader.
And, by the way, what do you think will happen to Tony? And is Professor Snape a friend or foe of Harry Potter?
