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Story Physics: Harnessing the Underlying Forces of Storytelling Kindle Edition
Larry Brooks (Author) Find all the books, read about the author, and more. See search results for this author |
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In the physical world, gravity, force, and other elements of physics govern your abilities and can be utilized to enhance your every movement. In the world of writing, story physics can be harnessed in much the same way to make your novel or screenplay the best it can be. In Story Physics, best-selling author Larry Brooks introduces you to six key literary forces that, when leveraged in just the right way, enable you to craft a story that's primed for success--and publication.
Inside Story Physics, you'll learn how to:
• Understand and harness the six storytelling forces that are constantly at work in your fiction.
• Transform your story idea into a dramatically compelling concept.
• Optimize the choices you make in terms of character, conflict, subplot, subtext, and more to render the best possible outcome.
These literary forces will elevate your story above the competition and help you avoid the rejection pile. With Story Physics, you won't just give your story wings--you'll teach it how to fly.
"Larry Brooks speaks my kind of language about story. Any writer, even those trucking in the world of nonfiction, will benefit from going deeper into the physics of storytelling as Brooks explains in these pages." - James Scott Bell, best-selling author of Plot & Structure
"Larry Brooks has done it again! If you liked Story Engineering, I suspect you're going to love Story Physics, which dives even deeper into the essence of story. Story Physics is an essential addition to every novelist's bookshelf." - Randy Ingermanson, author of Writing Fiction for Dummies
- LanguageEnglish
- PublisherWriter's Digest Books
- Publication dateMay 21, 2013
- File size899 KB
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About the Author
Larry Brooks is a critically acclaimed best-selling author of six psychological thrillers (including Darkness Bound, Pressure Points, Serpents Dance and others), in addition to his work as a freelance writer and writing instructor. He is the creator and editor of Storyfix.com, one of the leading instructional writing sites on the internet.
--This text refers to an alternate kindle_edition edition.Product details
- ASIN : B00DH40XQM
- Publisher : Writer's Digest Books (May 21, 2013)
- Publication date : May 21, 2013
- Language : English
- File size : 899 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Not Enabled
- Print length : 258 pages
- Lending : Not Enabled
- Best Sellers Rank: #961,943 in Kindle Store (See Top 100 in Kindle Store)
- #185 in Composition (Kindle Store)
- #328 in Fiction Writing Reference (Kindle Store)
- #1,051 in Authorship
- Customer Reviews:
About the author

ABOUT THE AUTHOR
Larry Brooks is the author of six critically-acclaimed thrillers, and the guy behind www.storyfix.com, named by Writers Digest Magzine to their "101 Best Website for Writers" for the past six years. His latest novels are DEADLY FAUX and THE SEVENTH THUNDER, published by Turner Publishing, who has also re-released his four prior novels as trade paperbacks. He is also the author of three bestselling writing books, including his latest, "Story Fix: Transform Your Novel From Broken to Brilliant."
All three titles are published by Writers Digest Books, and have been #1 bestsellers in one or more Amazon.com categories.
Brooks was born and raised in Portland, Oregon. He graduated with a degree in marketing communications from Portland State University, where he attended in the off-season during a five-year run as a professional baseball player in the Texas Rangers organization. He was a pitcher, and to this day is still undergoing medical and therapy procedures from years of trying to throw a ball through a wall.
This led to his first published writing: a magazine article on the life of a minor league pitcher. Still not keen on a writing career - like most of the newly graduated, he had his eye on the money back then - his first stints in a business suit had more than a few more swings and misses. He says he was history's worst stockbroker for the world's largest brokerage firm, then the world's worst personnel manager in a now-defunct major department store (remember what Dirty Harry said about Personnel managers?), in addition to a couple of other humbling career fliers he chooses to forget. Each crashing career resulted in another published magazine piece lampooning the experience, and his interest in writing began to emerge as his best - and perhaps last - viable career option.
In 1983 he answered an ad for a "script writer" at a small audio-visual production company - eight graphic designers and a slide projector. Cut to 1996, when Brooks was the executive creative director and a partner of a nationally-prominent agency with over 100 employees. The business was sold in 1999, at which point Brooks ran toward the career he'd been quietly cultivating on the side for the prior two decades - writing novels and screenplays, and ultimately launching a successful blog that has led to three bestselling writing books.
In late 2002, Brooks' script for the adaptation of DARKNESS BOUND was named a finalist in the prestigious Don and Gee Nicholl Fellowships in Screenwriting, sponsored by the Academy of Motion Picture Arts and Sciences, the folks who bring you the Oscars. It was one of ten scripts selected out of 6044 submissions, which he hopes you find impressive, especially since he didn't end up winning one of the five Fellowships. He got the t-shirt anyway.
Brooks teaches and speaks at writing conferences, workshops and at the behest of writing groups, appearing nationally and internationally.
Brooks is very happily married to his wife of 20 years, Laura, an artist and interior designer, who wants you to know she "is not the Dark Lady" (the villainess from his first novel), though central casting might disagree. He also has a wonderful son, Nelson, who is 25 and an account manager for Oracle after a degree from USC; three supportive step-children, Tracy, Scott and Kelly; and seven step-grandchildren who have no clue what "Poppy" does for a living.
Larry and Laura live Scottsdale, AZ, where the heat and the spectacularly bad drivers are challenging.
Feel free to contact Larry at his website (www.storyfix.com), or email him at storyfixer@gmail.com.
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Reviewed in the United States on June 20, 2013
Top reviews from the United States
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I was a bit wary that this would be simply a repackaging of his first book, a renewed paycheck. But I feel rewarded for my purchase- I absolutely received my money's worth.
It's true this book covers some of the same ground as his first one- but this edition goes more in-depth on the subjects, and employs an array of analogies and thoughtful comparisons. Is it repetitive? Well, yes- but not necessarily in a bad way. Mr. Brooks will examine several facets of the same subject to ensure clarity. Even if I got the idea with one or two analogies, his additional thoughts held enough variety to keep my interest.
Peeves for some in this book might include the author's tone, voice, and informal delivery. But he warns readers right on page one that this is his personal style- and I found that, knowing this in advance, it was much easier to roll with it.
Another peeve might be the mild repetition- but it does serve to clarify his meaning, and in case some readers are having trouble grasping a concept, this could actually be an asset.
My real annoyance is that he is constantly in a defensive mindset regarding the need to actually think about and plan a good story's plot. He mentions in here that 'pantsers' have lambasted him with vitriolic opposition to this common sense. Damn those morons, because now the rest of us have to wade through his justifications, which weigh down an otherwise brilliant volume.
Mr. Brooks, I implore you. Your books are quite helpful. There are plenty of us out here who actually welcome hearing your insight. Please write for *us*. You cannot reason away the stupidity of other humans, especially those that deliberately avoid seeing the light which threatens their literary pretensions. Let them go. Less competition for those of us with a mind to improve our craft.
But peeves aside, this was a great addition to my writing library. I feel like the knowledge I gained truly compounded and built upon the groundwork he laid in his previous edition.
If you liked his first book, this is a worthy follow-up and I would recommend it.
These books have shown a deepening of the secrets Brooks shares. "De-Mystified" concerned plot almost exclusively, "Engineering" brought in what he terms the "Six Core Concepts" of successful execution of fiction, and now with "Physics" he shows us how it all works together.
Brooks is not afraid to tell you that your first idea may suck. Even if it doesn't, if it really is as golden as you'd like to think it is, he asks you to refrain from rushing into dialog and exposition with it; take it away and chew on it for a while. That will yield greater detail and nuance, making it easier to write.
Yes, easier. That idea alone is worth the price of this book, but "Physics" is no one-trick pony. There are many more ideas, equally useful, contained in it. Probably #2 in terms of Writer Liberation is the notion that whatever your process, it's okay. That's your process. Revel in it, and make it work for you.
Sample the first pages. If it's going to work for you, you'll know it there. I got my first bit of "juice" out of the Introduction, and used it to finally address a long-standing issue in my plotting. Huzzah! The story finally works. Thank you, Larry Brooks.
You can either use them, or write 5 drafts until you find them anyway.
It's a quick read, and I highly recommend this book together with Story Engineering (Read first). In order to understand the physics you have to understand the engineering first. Any decent writer is going to know some of these things to begin with, but Larry writes it all down for easy reference, encourages you, and maybe gives you a couple of light bulb moments
Larry, Next I'd love to see you take apart "The Girl With The Dragon Tattoo" (Another 60-plus million seller) on your blog!
Great work Larry
Top reviews from other countries




As others have said, there is some repetition throughout, but isn't a little repetition necessary when learning, for something to really hit home? I don't think the repetition is just a filler, the information is simply presented in more than one way to account for as many readers as possible, what will turn on that light bulb of realisation for one reader might not work for another.
The use of examples, explanations and analogies is key to ensuring story physics and the importance of them in a bid for commercial success, sink in.
"Plot is the stage upon which your characters reveal themselves.
Characters are the catalytic moving parts of the plot.
Emotions are the currency of everyone's involvement in the plot.
Stakes are the consequences of the actions of the characters in context to the involvement."
Larry's intentions are for story physics to become second nature to those who don't get it naturally, as he says the gifted writer isn't born "We can get there if we obtain knowledge and awareness, and evolve a nuanced touch and sensibility". He brings hope to the new writer and awareness to the experienced.
Planner or not, Story Physics mean the whole process of writing the story will be a little less brain-wracking and considerably quicker to get to that high quality final draft. The final draft, which, with a thorough understanding of both his previous book `Story Engineering' and `Story Physics' combined, could be the first draft. I would recommend reading both in that order, but even if you don't there is so much to be taken from either as a stand alone.
Larry's intentions are quite obviously to help the writer, by showing us the requisites to elevate. He doesn't make any big promises of success, he simply shows you how, without a hint of hypocrisy - "Show, don't tell".
I'm a big fan of highlighting any important things to note via the kindle highlight tool, I found it hard to restrict myself from highlighting everything because there's just so much Stellar material. I've just recounted my highlights after one read of the book and there are 97 notes and marks already in my kindle version. If you don't feel as though you have taken anything from Story Physics, you probably have, you're just not consciously aware you did.
Some have complained that the first section of the book is like a sales pitch, but doesn't any good book start by drawing you in, fiction or none fiction? The real test is whether the rest of the book delivers something that changes and teaches you, leaving you in a different place than before you started.
Story Physics will open your eyes to the literary forces in play, forces which for any writer, are imperative to triumph. He shows you how to elevate yourself as a writer, from the literary equivalent transition of cook, to chef (his analogy) through the understanding and new found control over these forces so that you can pave the way to your own shot at success.

I stopped reading halfway through the book after getting more and more confused as the chapters went on. It takes Mr. Brooks 1/8 of the book to even list the title-promised story physics. And then they are what? Dramatic tension?! Empathy for the protagonist?! Are you kidding me...Making your audience "feel" for the hero is not something I need to read a how-to-book for.
And after the list of those physics we get...well, nothing. Confusing chapters filled with pretentious writing which are everything but ordered and structured. Filled with analogies that make no sense and lead nowhere in terms of illustrating the points that Mr. Brooks is trying to make.
To sum it up within a single sentence: 88% of this book is the author telling you that you need story physics, or otherwise you are doomed from the get-go, followed by a complete avoidance of telling you anything about those magical powers of storytelling while making you chew on statements like this:
"The mechanical side of concept is comprised of the choices authors make about voice, tense, time sequencing, narrative asides, and other little tricks and structures that reside outside of the simply linear."
Maybe it's because I'm a non-native speaker, but wtf is this sentence? Packed with words that are worthy of books on their own, Mr. Brooks makes sure that not a single one of them is explained in a meaningful way that helps you to apply this so-called knowledge in a practical manner.
So, save yourself the time and money and either read something else or sit down to write - because there's nothing worthwhile in this book that justifies any investment whatsoever.