REMEMBER, EMOTIONS ARE NOT RATIONAL.


Tey kick in before we’ve had time to analyze what’s happening to us. Tey set the stage for what’s coming next, prepping the brain and body for action, change, response. As writer Lisa Cron points out in Wired for Story, “the reader expects to feel something, all the time.”


“We are living an epic,” Nickrent says, talking about one of his favorite projects, the Space Shuttle Atlantis. “Two thousand years from now, just like you and I read Odysseus, people will be talking about the first humans who stepped off the Earth. You can’t possibly overstate that.”


“One of the main things we do is defend the emotional reason that story exists,” he continues. “Our job is to find the thing that keeps that story fresh and relevant. When you delve into the story, that’s what you’re looking for. And when you find it, you go, ‘Aha!’ and then you just hold onto it like a bulldog.”


Because if you can’t hook somebody’s heart, YOU’RE PROBABLY NOT TELLING THE RIGHT STORY.


STORYTIME


“Engagement is a real thing,” notes Washington University psychologist Jeffrey Zacks, “and you can measure it physiologically. There are differences between print and film and other media, in how you reach engagement, but the piece that’s doing the most work is always the story.”


ELEMENTS OF STORY


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