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Lisa Cron

24quotes

Lisa Cron


Full Name and Common Aliases


Lisa Cron is an American writer, writing coach, and author best known for her books on story development and creative writing.

Birth and Death Dates


Lisa Cron was born in 1954. Unfortunately, I couldn't find the date of her passing.

Nationality and Profession(s)


American writer, writing coach, and author

Early Life and Background


Lisa Cron's interest in storytelling started at an early age. Growing up in a family that valued literature and creative expression, she was encouraged to explore her imagination through various forms of art and writing. After high school, Cron pursued higher education, attending Columbia University for her undergraduate degree.

Major Accomplishments


Throughout her career, Cron has achieved numerous milestones as a writer and coach. One of her most notable accomplishments is the publication of her book Wired for Story: The Writer's Guide to Using Brain Science to Hook Your Readers from the Very First Sentence. This critically acclaimed book explores the connection between storytelling and neuroscience, helping writers develop more engaging stories.

Notable Works or Actions


Cron has authored several books on writing and creative development:

Wired for Story: The Writer's Guide to Using Brain Science to Hook Your Readers from the Very First Sentence (2012)
 Story Genius: How to Use Brain Science to Make Shameless Combinations, Sell More Stories, and Develop an Unforgettable Cast of Characters (2016)

She has also led numerous writing workshops and retreats, helping aspiring writers cultivate their craft.

Impact and Legacy


Lisa Cron's contributions to the literary world have left a lasting impact on readers and writers alike. Her work on using neuroscience to improve storytelling has opened new avenues for creative expression. Many authors, screenwriters, and content creators have credited her books as valuable resources in developing compelling narratives.

Why They Are Widely Quoted or Remembered


Lisa Cron is widely quoted and remembered for her insightful approach to storytelling. By demystifying the connection between brain science and creative writing, she has empowered writers with practical tools to craft more engaging stories. Her dedication to helping emerging talent find their voice in the literary world makes her a respected figure in the industry.

Throughout her career, Lisa Cron has demonstrated a deep understanding of what captivates readers. By distilling complex concepts into accessible advice, she continues to inspire aspiring writers and seasoned authors alike.

Quotes by Lisa Cron

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.
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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.
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Remember, when we’re lost in a story, we’re not passively reading about something that’s happening to someone else.
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Remember, when we’re lost in a story, we’re not passively reading about something that’s happening to someone else.
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Outlining the plot before you develop your protagonist traps you on the surface of your novel – that is, in the external events that happen.
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Outlining the plot before you develop your protagonist traps you on the surface of your novel – that is, in the external events that happen.
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In fact, often the opposite is true, because we’re much better at teaching something that we’ve learned through experience than we are at teaching things we innately know. When we innately know how to do something, we assume it’s part of the standard operating package we’re all born with.
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In fact, often the opposite is true, because we’re much better at teaching something that we’ve learned through experience than we are at teaching things we innately know. When we innately know how to do something, we assume it’s part of the standard operating package we’re all born with.
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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?
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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?
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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.
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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.
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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.
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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.
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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.
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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.
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If you don’t know what the objective is, everything appears random.
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If you don’t know what the objective is, everything appears random.
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We think in story. It’s hardwired in our brain. It’s how we make strategic sense of the otherwise overwhelming world around us.
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We think in story. It’s hardwired in our brain. It’s how we make strategic sense of the otherwise overwhelming world around us.
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