Last week I wrote about what makes a story a story and why an instance, a dramatic moment, is not story—and I dug into all those juicy ingredients of story.

But what if you aren't writing a big, plot-driven book? What if your project is more character-driven, more moody perhaps, or more interested in language than the tried and true mechanics of storytelling?

What if indeed! This is such a great question, and it applies to the more artful, less linear memoirs, too.

Here's my theory: Literary works (the books that are less heavy on plot) follow the conventions of storytelling, too. They have the same ingredients as plot-driven narratives, but they might be mixed in a different order (the story arc may be inverted, for example) and these key elements of story are often more subtle.

I think of it this way: Your character's desire, the obstacles to that desire, and all these other story elements are like knobs on a stereo, and you can turn them up and down (bass, treble, volume, etc.) based on the effect you are trying to achieve.

❓ Would it be valuable to you to look at a book together and assess how the author uses storytelling technique? Reply with a book you'd like us to examine. The book should be one that you admire—one that you regularly recommend to others.

For some, storytelling is second nature and for others, storytelling requires practice. If you fall into that second camp, know that there is no shame in this whatsoever! By studying a story told well, you'll be able to recognize the elements of good story in your own work—and where you may need to turn up the storytelling dials, so to speak.

Plus, it'll be fun. So tell me: What book do you love? Let's get out a scalpel and see how it's made.

Read.

• ​How Meta is getting it's hands on unpublished work—and using it to train AI.
• I loved this essay on how author Emily J. Smith worked on her book for years, queried over 100 agents, and finally found the right agent and publication. Read it and be inspired.
• Kathleen Schmidt on the state of book publicity. Read this if you have a book coming out soon, or if you want to get a lay of the publishing and publicity land.
• Related: I Spent $11,000 Marketing My Debut Novel​

Write.

Last week, I gave you an exercise to dig deep into your main character's core desire. Now, pull back the lens a bit and consider the overall point of your book. This may take the form of a question, but it may not.

Here are some examples:

The Great Gatsby by F. Scott Fitzgerald—What is the dark side of the American Dream?

Harry Potter Series by J.K. Rowling—The power of friendship and courage in the face of evil

Wild by Cheryl Strayed—How do you survive a personal crisis when you are still discovering who you are?

Your point or question may seem too general or cliché-like. That's OK! Themes like good versus evil, coming of age, the pursuit of true love are universal for a reason.

Now, paired with your main character's desire and obstacles, you have a solid direction in which to point your narrative. If you notice that your character's desire and overall point of the book don't seem related, consider how you can bring them into alignment.

Remember: All of this is changeable. Nothing is set in stone. As you revise your work, you will refine your ideas and how they are shaped on the page.

Most importantly, keep writing.

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