Last week we discussed writing vs. storytelling and parsed out how it’s often the storytelling and not the sentence-to-sentence prose that is drawing people in when a book is extremely popular.
Let’s imagine two sliding scale spectrums:
0-10 on the writing scale
And 0-10 on the storytelling scale
10 writing, 0 storytelling would be experimental fiction and other prose-centric musings without much/any story.
0 writing, 10 storytelling would be novels where the story is fantastic but the prose is basically indistinguishable from another book or otherwise not very strong.
Everything in between would each be a combination of strengths. For instance, 7 writing/10 storytelling would be well-written edge-of-the-seat genre fiction, 10 writing/10 storytelling would be a book that melds beautiful (if challenging) prose with expert plotting, and 10 writing/6 storytelling would finely wrought novels where we mainly admire the writing.
So. How important is writing vs. storytelling to you? Which is more important to you when you choose a book? Do you have a sweet spot? Do you gravitate toward a certain combination of writing and storytelling? Do you have limits?
Speaking personally, my favorite books are close to 10/10, but as long as the storytelling is great I’m very willing to skimp on the writing scale. I can’t do less than about a 5 or 6 on storytelling no matter how good the writing is.
What about you?
Nina says
The writing can be a 20 for all I care. But if the first chapter hasn't caught my attention, then I probably won't read the rest of the book.
Genevieve says
Hey! For me, the storytelling has to be a 9 or 10 – if the story doesn't keep me interested then I put the book down. I'll sometimes read genre's that I normally don't like if the actual story is really good.
I've noticed that some writers, including myself, have a tendency to get so caught up with the storytelling that they'll make numerous error's in writing. I can forgive that if I'm editing a story but I believe by the time the book makes it to the shelf, it should be on a scale of 10 writing and 10 storytelling. That's why editors are hired in publishing houses, right?
Opinion does play a role here so what I might consider a good story, you may not.
As for writing, I tend to stay away from those who over write description and use big words that are not part of every day conversations.
If I'm reading a legal thriller, then sure I want to read legal jargon but if it's a story about everyday ordinary lives, then stick to everyday ordinary words & phrase. It's all about the story first, then writing comes next.
Leah Raeder says
Going against the grain here:
I don't think storytelling can be completely separated from writing.
Prose has both narrative and poetic components that don't peel away into neat and self-contained halves.
But I think people also have a stilted view of what "good writing" is, as evidenced by some of the comments in this thread. Those who express discomfort with "good writing" and say that it "distracts" them or comes off as "elitist," aren't actually talking about "good writing." They're talking about indulgent, self-referential writing for the sake of writing–prose that makes you feel like the author is trying too hard to show how smart and clever she is.
That isn't "good writing" and never has been. "Good writing" is prose that aligns with narrative in such a way as to cast a spell over the reader, to create an immersive experience that is greater than the sum of its parts.
This doesn't mean prose should be stripped down to utilitarian basics, either. Look at period fiction like Austen–rich language that unites with intricate narrative to produce masterpieces of literature. More contemporary writers like Virginia Woolf–or, for someone alive and writing today, China Miéville–achieve the same: heady, descriptive prose entwined with fantastical narrative to create something greater than either element alone.
So, I always look for 10/10.
And I find that, in a book where the writing is not up to par with the storytelling, the storytelling does suffer for it–there's a feeling of unrealized potential, of unfulfilled hope.
It's like coming to table hungry and devouring a bag of potato chips instead of a real meal: technically you were nourished, and you kept popping those chips into your mouth because there's just something addicting about them. But when it's all over, you don't have that same earthy, natural sense of fulfillment. And you'll probably have a bit of a tummy ache later, too.
gsfields says
7/10. Both my reading preferrence and what I generally leave on the bowling alley.
Kate says
Truly. In a perfect world, 10 and 10. But one can definitely balance each other out. I might read a story that wouldn't normally interest me if the writing is great and vice versa. But the writing has to be at a certain level, regardless of the story telling, so I'd say at least a 5-6 on that front.
I just started a book I'm really enjoying (A Friend of the Family, Grodstein). The story could be murderously boring. The story alone isn't enough to pull me along. But the writing is so great.
I definitely choose books based on story, or what the book's about. I keep reading based on writing.
lodjohnson says
I'm a toss up. I'll read anything. Sometimes I read Kingsolver or Conroy because their prose is so beautiful even though the stories remind me of a slow simmer than a rapid boil.
But then again, I love the lightening pace of Dan Brown and Jodi Piccoult.
IMO, Stephen King is a good example of a happy medium(at least on some of his books). Take It for instance, sit on the edge of your seat suspense, but writing that draws you in.
I agree with Atonement. I have another one for you – I Am the Messenger by Markus Zusak (writer of the Book Thief). Simple prose that draws you in (amazing voice), yet masterful in the story telling – 10/10.
evelonies says
storytelling has to have a minimum of 8 for me to even pick the book up. writing needs to be at least a 7 for me. anything less, in my mind, is too distracting from the story due to grammatical and spelling errors. i just finished a series of books that had an EXCELLENT story, but it felt like there was no editing. there were spelling errors, grammar errors, and inconsistencies from book to book and even paragraph to paragraph. it drive me nuts. i could only stand it because the story was so fascinating. it still made me cringe every time i read something glaringly wrong though. i've been toying w/ the idea to find how to write the author and suggest taking a little longer to edit their books before having them printed.
Ned Bast says
About a 9/4, and the only reason I'm not at a 10 for writing is solely because of ATONEMENT, which was so interminably boring I threw it across the room. Sorry Nathan.
I'm not sure a 10/10 novel has ever been written (I'll assume the person who suggested Harry Potter was joking).
Maya says
Undsh said I consider "indistinguishable from another book" and "not very strong" to be two different things.I guess I would call the "indistinguishable" writing "serviceable prose" and give it a 4-6, and save the 0-3 rating for actually clunky, incorrect, or incompetent writing. I agree.
On top of that, I'm not sure that a 10 in writing equals experimental or extremely challenging prose. Some people may think Finnegan's Wake is a 10. For me, a 10 is Libba Bray. Her prose is not experimental but it is extremely beautiful and atmospheric.
I didn't think the Gemma Doyle series had the best storytelling but that is one example where the prose itself was worth it.
Still most of the time, I prefer fast-paced books that are about the storytelling. Someone said Harry Potter would be a 10/10 but I didn't find anything spectacular about the prose. In that case I thought it was more like 6 or 7 on prose and 10+ storytelling since it was the best story I've ever read 🙂
In terms of storytelling, there are certain categories that I read a lot of and it doesn't have to be particularly unique. I'll read the occasional light rom-com that is probably a 5/5 altogether so that's the minimum. But I expect more from sci fi and fantasy. Then it has to be a 6/8 to capture my interest. This is because my purpose in a beach read rom-com is to relax; my purpose in sci fi is to read about cool, interesting ideas. In other words, it depends on what I hope to get out of the book.
Phyllis says
I find it hard to rate along your scale because it mixes complexity with quality. Where does James M. Cain fit in who is a master of simplicity? Okay, he wrote genre fiction, so according to your scale he might be a 7/10. I guess most of my favorite books fall between 7/8 and 10/10. Salman Rushdie's Midnight Children would be a 10/10 for me, for example. It's on my 10 Best Books Ever list.
I tend to favor genre fiction with over-avarage prose, like Elmore Leonard, Jim Burke, James Ellroy. Rate that as you like. The writing can't get lower than two, maybe three points at most. I get pretty impatient if I find it's too – um – predictable. And the raciest plot in the world cannot save the book.
But I also like some action, the plot can't be all below the surface. I want to get someplace, and I like conflicts between people, not only a character reflecting and getting insights. Mostly, that is. One of my favorite books ever rates pretty low on the story-telling scale, The Notes of Malte Laurids Brigge by Rilke, it's something like 10/2. Every page was an emotional challenge written with unique and pleasurable prose.
Nicole says
I like books that are at least a 6 on the writing side and at least an 8 on storytelling. However, if I'm going to deal with 6-point writing, I need 10-point storytelling.
I agree with the earlier comments that the best writing seamlessly (and often invisibly) supports the storytelling. No matter how great the prose is, it should never distract from the story.
Nathan Bransford says
Naw, sorry, I think writing quality is more objective than some of the latter commenters are suggesting. There are different techniques and styles, and I'm not strictly equating difficulty of reading with good writing or simplicity with bad writing, but good writing is good writing. Hemingway is a great writer and Faulkner is a great writer – their language is precise and beautiful even if their styles are very different. I realize there's a certain degree of subjectivity to this, but not infinitely so.
Mira says
I think Maya has a really good point. It depends on why someone is reading.
I read purely for escapist entertainment, so I want invisible prose/excellent story. Someone who reads to savor an experience, may prefer gorgeous prose and enough story to support it.
In terms of numbers, you'll probably find many, many more folks like me, which is why bestsellers tend to be genre fiction. But that doesn't mean there isn't a market for a 10/0.
If I were an agent, I'd have commercial to make me rich and literary to win awards. And non-fiction to round it out. Like a beautiful smorgesboard of books. Then, I could open my own bookstore and be an agent/bookstore owner.
I think I'm wandering off topic.
Jill Elizabeth says
After spending college analyzing prose for my major, I prefer somewhat more accessible writing for my pleasure reading. I think an 8/10 split would be ideal.
Anonymous says
A boring, pointless tale that is written "well" is like a serving Gatoride in a Dom Perignon bottle. Stupid and pretentious.
Besides, far too often, "great" writing means 'meets the standards set by academics and critics', as in standards that the paying book reader has no use for.
And, I believe that a fantastic story will automatically elevate the writing. When you reach true "page-turner" mode, I've noticed that a certain level of grammatical standard and craftsmanship is pretty much a given.
Jil says
I favor writing over story. I can enjoy a slight story beautifully written but I cannot endure any story badly written.
Joanne Sheppard says
I almost always favour writing over storytelling. I agree that a 10-10 would obviously be ideal, but I'll happily read something that's a 1 or 2 on the storytelling scale if it's a 10 on the writing scale. I'll quite happily read a beautifully-written book where almost nothing happens. But I won't read a brilliantly plotted novel if the writing is clunky and plodding. Bad writing just sucks the joy out of a good story, for me.
Bane of Anubis says
Both scales are obviously subjective (e.g., NB thinks The Road is a 9, BofA a 7 on the writing scale); girl y thinks Twilight a 10 story-wise, boy Bane thinks something less), so I'd say we all strive for 10/10 on our own scales… now were it on a Joycian scale I'd probably be at 2/10 because that dude was on some serious writing crack.
D.G. Hudson says
Writing/Storytelling = 7/9
If the storytelling is done well, adequate writing can be tolerated in a genre book. I have a much lower tolerance for poor writing if the book is in the literary strata.
Bethany Brengan says
I echo J.T. Shea’s “I don't see challenge in either writing or reading as a virtue in itself, though it may be necessary for some other purpose.” Some of the best stylists are the most sparse.
And I steal undsh’s point about the existence of published “clunky, incorrect, or incompetent writing.”
I’m still a storytelling girl. Without a good story, I reach the end of a book and think, “I went through all that for this pretty nothingness?” But the more I read, the more I find that there really are only so many stories in the world. It’s difficult for an author to surprise me, plot-wise, anymore (though it still happens). Now it’s the quality of the writing that separates one boy-meets-girl-girl-is-a-zombie-spy novel from another. But I suppose I could just as easily refer that to as the “quality of the storytelling.”
my lonely journal says
For me, writing ALWAYS trumps storytelling.
I never want to read an amazing story poorly told. I'd happily read a poor story amazingly told. For me, the writing is everything. A great writer can make a trip to the bank fascinating, epic, funny, wrenching. A bad writer can make a near-death experience on Everest dull, tedious, overwrought, incomprehensible.
Great technique and great content — books like Swann's Way demonstrate both. I mean, that first line! "For a long time, I went to bed early."
swampfox says
I agree with Rachel, but isn't it true that a 10/10 for one person may not be a 10/10 for another? I never thought Bo Derek was even a single 10.
Lisa says
One of my submitted ms came back (from an agent) – "too couched in literary prose, you'll have a hard time selling it."
I didn't think I was writing literary prose, I thought I just writing a murder/mystery, and while I strive to write well and spin a good yarn at the same time, objectively its hard to tell if the balance is out
For my own reading, I fall in love with beautiful writing, I'll make do with a fragile storyline
Scott says
For me it's all about the story, and anything I can get in the way of quality writing is gravy. Although I will get bored and annoyed if writing gets below 3 or 4.
Nathan, you should put together one of those fun-awesome polls for this to summarize all these results.
Melissa Pearl says
I'm with Nathan. I say the story telling is the most important aspect, but if the writing is really bad, it ruins the book.
Joe Words says
10/8 is my score. I need a good plot to hold my attention. I also admire great writing that can convey the emotion of the characters. It's great to come accross a paragraph that is written so well you gasp, stop and read it twice. Like this para from Peter Carey's Oscar & Lucinda..
Oscar waited for his father to return. And while he waited, while it became clear, even to him, that his father had left forever, he could look nowhere but towards the busy bulkhead through which the old man had departed. A great pan took possession of his heart and clamped around his lungs so that although he stood, in the midst of his friends, with his red lips parted, no air came to rescue him.
Brandon says
Writing / Storytelling.
An interesting series of posts, Nathan. The posts and the responses made me think about my own idea of the writing/storytelling distinction and its connection to the topic of literary fiction. I am twenty-one years old, and I love literary fiction.
In so many ways, it is the heir of great classic literature, at least that seems to be the popular mode of thinking. Literary fiction speaks with moments of truth so deep that they stir me in the same way that tides or sunsets stir me. I'm a little biased toward literary fiction over 'popular' fiction. Where this ties to writing/storytelling debate is that literary fiction puts a focus on “writing” whereas popular fiction puts the focus on “plot or story”.
Like so many people, I thought in that way. It was a clear and easy argument, but I realized that I was only listening to the incredibly vague instincts that always speak up at the moment of selection. Going with my gut.
The posts have gotten me to think outside of that comfort zone, and to really ask myself what is about literary fiction and “prose-centric” writing that compels me to read it over popular fiction. Truth is that I love Tolstoy, Conroy, Austen, Conrad, Updike, Camus, Anatole France, Andre Gide, Marcel Proust, Steinbeck, Faulkner, Hemingway, Johanna Lindsey, and Kathleen Woodwiss.
The last two are romance novelists.
I have loved romance novels my entire reading life. They were the books I read as a kid. I didn't read Suess or YA literature. I read “grown up” books almost right away, so my appreciation for the genre of YA is not very well-founded. I can appreciate the success of authors in that genre, but I am not drawn to those novels. The point to all of this is that I love not only “complex” novels with complex, beautiful writing but also novels that have emotional story.
It's all about the emotional connection, and I get that from writing that speaks closer to the human condition. I get emotions from writing that is not aware of itself, but instead is speaking of concepts deep and intrinsically human. I love writing that creates the complex structures of the human emotional spectrum in the dark of my consciousness. I love, love, love the writing but not because it is “writing-centric”. I love the writing because of the messages within it and the journey to those messages. I don't always need a plot to get there. I don't always need beautiful words. What I need is an author so connected to his story and to his message that he can render it the same way some trick of cosmic light rendered the depths of our universe before our eyes.
My experience is that prose-centric writing IS the story. The way the author handles his language is the articulation of something that's more than a simple series of events. It's the same feeling I get when a carefully planned story reaches its climax, and I grip the book and my heart pounds. It's all about the emotion for me. Beautiful writing isn't the author turning tricks on a page, it's the author telling us about something so human and primal that simply laying it out in a series of plot twists wouldn't do it justice. Beautiful writing is its own story. I stopped waiting for things to happen, and instead started looking into the deeper meaning of what was going on in the story. That's the real thing. It's not the surface, it's always about what this story is saying. Even with plot-centric novels, it's about the emotion, what the guy is trying to say.
Whoa. Long post. I apologize for rambling, haha. I love the discussions on this blog.
To answer the question, though. My habits. I go for great writing. Because there's always a story being told, even if you don't realize it.
Brandon.
Anonymous says
Sorry Nathan , this is beginning to sound a little too much like math. Algebra , axioms , idioms and algorithms are not my strong point . ( Had to add idioms in there as I thought it sounded nice )
Brandon says
Writing / Storytelling.
An interesting series of posts, Nathan. The posts and the responses made me think about my own idea of the writing/storytelling distinction and its connection to the topic of literary fiction.
Like so many people, I thought in that way. It was a clear and easy argument, but I realized that I was only listening to the incredibly vague instincts that always speak up at the moment of selection. Going with my gut.
The posts have gotten me to think outside of that comfort zone, and to really ask myself what is about literary fiction and “prose-centric” writing that compels me to read it over popular fiction. Truth is that I love Tolstoy, Conroy, Austen, Conrad, Updike, Camus, Anatole France, Andre Gide, Marcel Proust, Steinbeck, Faulkner, Hemingway, Johanna Lindsey, and Kathleen Woodwiss.
The last two are romance novelists.
The point to all of this is that I love not only “complex” novels with complex, beautiful writing but also novels that have emotional story.
It's all about the emotional connection, and I get that from writing that speaks closer to the human condition. I get emotions from writing that is not aware of itself, but instead is speaking of concepts deep and intrinsically human. I love writing that creates the complex structures of the human emotional spectrum in the dark of my consciousness.
I love, love, love the writing but not because it is “writing-centric”. I love the writing because of the messages within it and the journey to those messages. I don't always need a plot to get there. I don't always need beautiful words. What I need is an author so connected to his story and to his message that he can render it the same way some trick of cosmic light rendered the depths of our universe before our eyes.
My experience is that prose-centric writing IS the story. The way the author handles his language is the articulation of something that's more than a simple series of events. It's the same feeling I get when a carefully planned story reaches its climax, and I grip the book and my heart pounds. It's all about the emotion for me. Beautiful writing isn't the author turning tricks on a page, it's the author telling us about something so human and primal that simply laying it out in a series of plot twists wouldn't do it justice. Beautiful writing is its own story. I stopped waiting for things to happen, and instead started looking into the deeper meaning of what was going on in the story. That's the real thing. It's not the surface, it's always about what this story is saying. Even with plot-centric novels, it's about the emotion, what the guy is trying to say.
Whoa. Long post. I apologize for rambling, haha. I love the discussions on this blog.
Brandon.
Miss Pickwickian says
I probably can go as low as 3 with storytelling as long as that writing really makes up for it. 10/10 is obviously ideal!
Really enjoyed looking around and reading your blog. Thanks for your work!
Phyllis says
Nathan, I got the feeling your last comment was in part directed at my comment, so I'd like to clarify.
I agree with you that quality isn't all relative and a matter of taste. Neither is simplicity or complexity related to quality.
I was having trouble with the combination of the scales, and with your earlier comment that most people wouldn't want a writing on the scale of 10. (I even looked up the prose in Atonement to see what you mean.)
I guess I just found it hard to define my own reading preferences without more references. Sorry for the misunderstanding.
John Jack says
While I agree with what Nathan wrote at 2:22, I disagree about what's objective and subjective about writing. The main subjective difference I see is whether any given reader can or will make the effort to intrepret a writer's intentions.
While Hemingway wrote accessible narratives, many readers reject them out of hand for being inaccessible.
Meyer writes highly accessible narratives. Many readers reject them out of hand for being too accessible.
I disagree with the latter. There are unexplored plumbable depths to Meyer's writing. Just as there are unexplored plumbable depths to Hemingway's.
And that for me is what distinguishes any given narrative's objective values, it's accessible depths, and subjectively, how deep any given reader is willing to go.
Suzi McGowen says
I'm a story teller. I come from a strong storytelling background. (I thought my family was normal this way, until I was a teenager.)
I have strong writing skills but still tend to scaffolding, and a deplorable use of commas. I'm working on it.
I'm guessing 7 or 8 writing and 10 story telling.
Jeff says
Nice post Brandon. You didn't ramble at all. I recently pulled a dusty old book off my book shelf to read while I wait for the water to boil in my kitchen, it's actually two short novels by Nathanael West, Miss Lonelyhearts and The Day of the Locusts, and I can easily set this book down for the next time I cook but I've noticed how much I really enjoy reading it. I look forward to it. The plot isn't spectacular and the writing isn't really anything but clean and readable, but, as you wrote, it has an undertow that captivates me. It's just good simple writing and story-telling. In the perfect world, I would be a 10/10, but I rarely find that, so, since I also can't think mathematically, I guess I lean more towards a decent, well written story. I think that's called back to ground zero.
SSB says
I am a sucker for a good story teller. Story telling 9 writing 3.
Anonymous says
I have a friend who is a writer who is a "snob writer," i.e. she likes to talk to people in ivory towers and leave the commoners behind.
She has a great story, but every innuendo, every aspect of her fiction is ex-clusive. She was told by a number of people that if she brought people in, she would be more marketable. She refuses. Her books sit in her drawers.
So maybe that means that some books should sit in drawers.
But some, perhaps, should try writing at a 7.
Just look at who could be reading your story. Sometimes it IS the art.
But sometimes, the snobbery of education can be more of a handicap than a passport.
word verification: ficon
Matthew Rush says
I have no idea how you keep coming up with something even better than the last time constantly Nathan, but this is an amazing question.
Personally I like to read for both. I don't have a single example of a 10/10 but I don't think that it's close to necessary, or even possible, even with the greatest books of all time.
A few quick examples of my completely subjective opinion when scoring novels this way:
Harry Potter (entire series):
Writing 6/7
Story 9
The Lord of the Rings (whole trilogy)
Writing 8/9 for the beauty of the prose, but
Writing 5 for pacing, plot, tension and some other foibles (I realize these are aspects of story as well)
Story 9
The Road (Cormac McCarthy)
Writing 10
Story 6/7 (I still consider this the best novel I've read in years)
A Lush Life (Richard Price)
Writing 7/8
Story 7
Moby Dick
Writing 9
Story 9 (no one's perfect)
A Tale of Two Cities
Writing 8/9
Story 8
The Pillars of the Earth (Ken Follett)
Writing 5/6
Story 8/9
The Sound and the Fury
Writing 9
Story 5 (there were moments of such beauty and tragedy in the prose that I will never forget them, but honestly I'm still not exactly clear what HAPPENS)
I could go on but I would also like to say that every single book I listed here is amazing. I would recommend every single one of them to anyone who ever asked.
I would never share publicly scores of books I didn't like because that's petty and bad karma, and it's rare that I don't like a book anyway.
I also think you could break this down further. Using Harry Potter as an example; Rowling has been accused by some of simple writing. And sure, the prose is not the most purple flower ever spawned but there are moments of pure comedic genius in it. Beautiful writing can bring me to tears, yes, but hilarious prose (or dialogue) can bend me over in laughter … and one is much better for you health than the other.
On the other hand Rowling's storytelling is nearly untouchable. She doesn't have the most twisting, convoluted plot of the best mysteries or the life and death good and evil stakes of classics like LOTR or A Tale of Two Cities but what she does have is one of the best balances of all storytelling elements of anything I've ever read.
I won't go into characterization, which could be argued as a subset of story, or writing, or both, or neither, but the Potter characters are unforgettable.
Anyway I've rambled on long enough, likely making little sense, and somehow I feel less than I did before.
Thanks for making me think Nathan.
Perry says
I like a good story and a decent writing but I have to say I like the story most.
I'll take 5 for writing and 9 for story.
Rusty Webb says
For me, storytelling trumps the prose if I'm forced choose between them. Exceptional writing is certainly something to be admired, but can pull me out of a story if it's too noticeable. I'd rather finish a book and be thinking of, and talking about, the twists and turns of the story – not discussing how large a vocabulary, or lyrical a voice, the author had.
Give me a 10 for story and I'll live with a 3 or 4 in writing.
Wendy says
I have to admit, the more time I spend editing, the less tolerance I have for bad writing. I mean, seriously, did the person really care about the story if they couldn't be bothered to clean it up enough for the rest of us to sit through it?
Poor writing throws me out of the story, anyway. It doesn't matter how good a story concept is, if it's bad writing, it simply is packaged in a vehicle that will never let you immerse yourself in the joy of the ride.
So, while I don't need to be riding in a Bugatti, I absolutely, positively refuse to ride in a Yugo without air conditioning cross the Arizona desert in July… No matter how pretty the scenery is! But, you know, if it's a Dodge Ram with decent suspension and cold air, I can dig it. (Even little girls like leg room!)
I'd say that puts me about a 5 on the writing scale… (although I would prefer more, but that can be slim pickings) and definitely need an 8 for the story. I mean, seriously, I got so many other things to read (like Nathan's blog!) that I'm not going to waste "Me-time" on an US Weekly or the Enquirer.
That being said, I actually refused to get past the 2nd chapter of a book I was reading for research the other day. The pain was equivalent to what I experienced when I watched FernGully (one of the few movies I've actually walked out of). The book, of course, was returned without having been properly read.
On a happy note, I've decided that my current role models (professional heroes) are Adam Rex and Mac Barnett. I want a blue whale to take to *my* school! :-p
Barb W says
There needs to be an intriguing story to pull me in, but I am a grammar freak. So if there are poorly written sentences or typos it is distracting. Therefore, my answer is 8 for storytelling and at least 6 for writing.
Interesting post.
Matthew Rush says
Doh! Sorry for the double delete but blogger said my first post was too long, even though it obviously worked.
ryan field says
If the story is good and the voice is strong, I can forgive anything in the writing department between 4 and 10.
The problem is that anything below a 4, even if the storyline is 8,9,or 10, tends to get tired and most readers lose interest.
Kristi Helvig says
I just finished MATCHED by Ally Condie and it was definitely a 10/10 for me. The Hunger Games and The Book Thief (although very different books) also score 10/10. I'll go with storytelling over writing every time, but if a book has both, I'll praise it to everyone I know!
I'm working really hard right now to pull my writing up to my storytelling in my final (hopefully) revision.
Andrea Franco-Cook says
IMHO, I don't think a story can be told well if the prose is deficient.
To answer your question, story telling is more important than beautiful prose. I usually read to relax and escape from the world. If the story draws me in then it is unlikely I will pay attention to the writing.
robinC says
Hmmm…These days I do the majority of my reading right before I go to sleep, so storytelling has to be at least an 8 for me not to nod off too quickly. The writing can be a 5 or 6.
That's not to say I don't enjoy a good 10/10 now and again or read at other times of the day – 🙂
I have found if I love an author's voice – no matter how far they meander from the main story – I will follow. Not sure what number that would fall under though – so if the writing is an 8-10, and you make me laugh, I can accept a 7 for storytelling…but the ending better be satisfying…just sayin'.
Nikki says
I can't read a book unless I can engage with the prose style. When choosing a book I open at a random page and if I don't like the "voice", I don't read the book. I don't know where this would come on your scale, though – I just know it when I see it. For example, I love Margaret Atwood, Douglas Coupland, Philip Pullman.
A well written book with a great plot I read recently was "Water For Elephants." I couldn't read one of those thrillers that's all plot because the writing just doesn't draw me in. I need some…soul…there? is that the word?
I don't mind a book lacking plot if I love the characters and the writing. EG: Kitchen by Banana Yoshimoto or Dubliners. Nothing much happens but in a really beautiful way.
Zee Lemke says
You know, I think Scott McCloud's "Understanding Comics" has the best treatment of the craft/content difference I've ever read. I didn't make the connection until just now, but I totally write because I have something to say and only want to learn the craft as a vehicle.
Nancy says
Nathan, do we know now what your opinion is of an acceptable submission, or one you will consider publishable?
Aimee says
Everyone shoots for the 10/10, I'm sure, or at least I do. But right now, I am like 8 writing and 4 storytelling, which probably isn't very good.