Wired for Story Quotes

“If I ask you to think about something, you can decide not to. But if I make you feel something? Now I have your attention.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Before there were books, we read each other.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Story, as it turns out, was crucial to our evolution—more so than opposable thumbs. Opposable thumbs let us hang on; story told us what to hang on to.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Stories are about people who are uncomfortable.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Stories not only give us a much needed practice on figuring out what makes people tick, they give us insight into how we tick.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“...what draws us into a story and keeps us there is the firing of our dopamine neurons, signaling that intriguing information is on the way.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Art is fire plus algebra.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“We think in story. It’s hardwired in our brain. It’s how we make strategic sense of the otherwise overwhelming world around us.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Elmore Leonard famously said that a story is real life with the boring parts left out.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“each scene in your story, ask yourself, If I cut it out, would anything that happens afterward change?”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“They had mistaken the story for what happens in it. But as we’ve learned, the real story is how what happens affects the protagonist, and what she does as a result.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“You cherry-pick events that are relevant to the story question and construct a gauntlet of challenge (read: the plot) that will force the protagonist to put his money where his mouth is. Think baptism by ever-escalating fire.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“And the best preparation for writing any story is to know with clarity what your protagonists’ worldview is, and more to the point, where and why it’s off base. Thus you have a clear view of the world as your protagonist sees it and insight into how she therefore interprets, and reacts to, everything that happens to her. It’s what allows you to construct a plot that forces her to reevaluate what she was so damn sure was true when the story began. That is what your story is really about, and what readers stay up long past their bedtime to find out.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“If you don't know what the objective is, everything appears random.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“That’s why in every scene you write, the protagonist must react in a way the reader can see and understand in the moment. This reaction must be specific, personal, and have an effect on whether the protagonist achieves her goal. What it can’t be is dispassionate objective commentary.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“In short, when we read a story, we really do slip into the protagonist’s skin, feeling what she feels, experiencing what she experiences. And what we feel is based, 100 percent, on one thing: her goal, which then defines how she evaluates everything the other characters do. If we don’t know what she wants, we have no idea how, or why, what she does helps her achieve it. As Pinker is quick to point out, without a goal, everything is meaningless.6 It”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“To sum up, when writing in the first person, it helps to keep these things in mind:    • Every word the narrator says must in some way reflect his point of view.    • The narrator never mentions anything that doesn’t affect him in some way.    • The narrator draws a conclusion about everything he mentions.    • The narrator is never neutral; he always has an agenda.    • The narrator can never tell us what anyone else is thinking or feeling. Conveying”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Think of each detail as an egg. The writer keeps tossing them at us, one after another, seemingly unaware of the growing number of precariously balanced eggs we’re being asked to hold. So somewhere around the middle of the description—say, the huge brass lamp—it’s one egg too many. The trouble is, we don’t just drop that particular egg; all the eggs go crashing to the ground. The more details the writer gives us, the fewer we’ll remember, proving, once again, that as with most things in life, less is more.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Simply put, we are looking for a reason to care. So for a story to grab us, not only must something be happening, but also there must be a consequence we can anticipate. As neuroscience reveals, what draws us into a story and keeps us there is the firing of our dopamine neurons, signaling that intriguing information is on its way. This means that whether it’s an actual event unfolding or we meet the protagonist in the midst of an internal quandary or there’s merely a hint that something’s slightly “off” on the first page, there has to be a ball already in play. Not the preamble to the ball. Not all the stuff you have to know to really understand the ball. The ball itself.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“• What does the story tell us about what it means to be human? • What does it say about how humans react to circumstances beyond their control?”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“As counterintuitive as it may sound, a story is not about the plot or even what happens in it. Stories are about how we, rather than the world around us, change. They grab us only when they allow us to experience how it would feel to navigate the plot. Thus story, as we’ll see throughout, is an internal journey, not an external one.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“a powerful story can have a hand in rewiring the reader’s brain—helping instill empathy, for instance5—which is why writers are, and have always been, among the most powerful people in the world.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“The narrative voice is almost always neutral, meaning that as omniscient narrator, you’re invisible and just reporting the facts. Your characters, on the other hand, are free to express their opinion on whatever they so desire. As long as the reader knows whose head we’re in—that is, who the point-of-view character is—you rarely need a preamble at all.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“good judgment comes from experience; experience comes from bad judgment. The”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“1. As we’ll explore in chapter 10, the brain is wired to hunt for meaningful patterns in everything, the better to predict what will happen next based on the repetition or the alteration of the pattern (which means, first and foremost, that there need to be meaningful patterns for the reader to find).8   2. We run the scenario on the page through our own personal experience of similar events, whether real or imagined, to see whether it’s believable (which gives us the ability to infer more information than is on the page—or go mad when there isn’t enough information for us to infer anything at all).9   3. We’re hardwired to love problem solving; when we figure something out, the brain releases an intoxicating rush of neurotransmitters that say, “Good job!”10 The pleasure of story is trying to figure out what’s really going on (which means that stories that ignore the first two facts tend to offer the reader no pleasure at all).”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Do you know what your protagonist’s external goal is? What specific goal does his desire catapult him toward? Beware of simply shoving him into a generic “bad situation” just to see what he will do. Remember, achieving his goal must fulfill a longstanding need or desire—and force him to face a deep-seated fear in the process. Do you know what your protagonist’s internal goal is? One way of arriving at this is to ask yourself, What does achieving her external goal mean to her? How does she think it will affect how she sees herself? What does she think it will say about her? Is she right? Or is her internal goal at odds with her external goal?”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“Your job is not to judge your characters, no matter how despicable or wonderful they may be. Your job is to lay out what happens, as clearly and dispassionately as possible, show how it affects the protagonist, and then get the hell out of the way. The irony is, the less you tell us how to feel, the more likely we’ll feel exactly what you want us to. We’re putty in your hands as long as you let us think we’re making up our own mind.”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“As Evelyn Waugh says, “All literature implies moral standards and criticisms, the less explicit the better.”12”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“What is it I want my readers to walk away thinking about? What point does my story make? How do I want to change the way my reader sees the world?”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence

“narrators are often unreliable, and part of the reader’s pleasure is figuring out what’s really true. The”
― Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence