Top 15 John Truby Quotes (2024 Update)

John Truby Quote: “Stories don’t show the audience the ‘real world’; they show the story world. The story world isn’t a copy of life as it is. It’s life as human beings imagine it could be. It is human life condensed and heightened so that the audience can gain a better understanding of how life itself works.”

1. “Stories don’t show the audience the ‘real world’; they show the story world. The story world isn’t a copy of life as it is. It’s life as human beings imagine it could be. It is human life condensed and heightened so that the audience can gain a better understanding of how life itself works.”

John Truby Quote: “Since a story is always a whole, and the organic end is found in the beginning, a great story always ends by signaling to the audience to go back to the beginning and experience it again. The story is an endless cycle––a Mobius strip––that is always different because the audience is always rethinking it in light of what just happened.”

2. “Since a story is always a whole, and the organic end is found in the beginning, a great story always ends by signaling to the audience to go back to the beginning and experience it again. The story is an endless cycle––a Mobius strip––that is always different because the audience is always rethinking it in light of what just happened.”

John Truby Quote: “The central theme of a story is often crystallized by a moral choice the hero must make, typically near the end of the story. Theme is your view of the proper way to act in the world. It is your moral vision, and it is one of the main reasons you are writing your story. Theme is best expressed through the structure of the story, through what I call the moral argument.”

3. “The central theme of a story is often crystallized by a moral choice the hero must make, typically near the end of the story. Theme is your view of the proper way to act in the world. It is your moral vision, and it is one of the main reasons you are writing your story. Theme is best expressed through the structure of the story, through what I call the moral argument.”

John Truby Quote: “6. SELF-REVELATION The battle is an intense and painful experience for the hero. This crucible of battle causes the hero to have a major revelation about who he really is. Much of the quality of your story is based on the quality of this self-revelation. For a good self-revelation, you must first be aware that this step, like need, comes in two forms, psychological and moral.”

4. “6. SELF-REVELATION The battle is an intense and painful experience for the hero. This crucible of battle causes the hero to have a major revelation about who he really is. Much of the quality of your story is based on the quality of this self-revelation. For a good self-revelation, you must first be aware that this step, like need, comes in two forms, psychological and moral.”

John Truby Quote: “The classic strategy for dramatizing the hero’s moral line is to give him a moral flaw at the beginning and then show how his desperation to beat the opponent brings out the worst in him. In short, he has to get worse before he gets better. Slowly but surely, he becomes aware that his central moral problem comes down to a choice between two ways of acting.”

5. “The classic strategy for dramatizing the hero’s moral line is to give him a moral flaw at the beginning and then show how his desperation to beat the opponent brings out the worst in him. In short, he has to get worse before he gets better. Slowly but surely, he becomes aware that his central moral problem comes down to a choice between two ways of acting.”

John Truby Quote: “A character with certain weaknesses, when being put through the wringer of a particular struggle, is forged and tempered into a changed being.”

6. “A character with certain weaknesses, when being put through the wringer of a particular struggle, is forged and tempered into a changed being.”

John Truby Quote: “Generally, in the long history of storytelling, there has been a move from almost total emphasis on acting––in the myth form, where the audience learns simply by modeling themselves on the hero’s actions––to a heavy emphasis on learning, in which the audience’s concern is to figure out what is happening, who these people really are, and what events really transpired, before achieving full understanding of how to live a good life.”

7. “Generally, in the long history of storytelling, there has been a move from almost total emphasis on acting––in the myth form, where the audience learns simply by modeling themselves on the hero’s actions––to a heavy emphasis on learning, in which the audience’s concern is to figure out what is happening, who these people really are, and what events really transpired, before achieving full understanding of how to live a good life.”

John Truby Quote: “Desire never stops. Equilibrium is temporary. The self-revelation is never simple, and it cannot guarantee the hero a satisfying life from that day forward. since a great story is always a living thing, its ending is no more final and certain than any other part of the story.”

8. “Desire never stops. Equilibrium is temporary. The self-revelation is never simple, and it cannot guarantee the hero a satisfying life from that day forward. since a great story is always a living thing, its ending is no more final and certain than any other part of the story.”

John Truby Quote: “Tristram Shandy isn’t a story with a main plotline interrupted by digressions. It is a story of digressions interrupted by what appears to be a main plotline.”

9. “Tristram Shandy isn’t a story with a main plotline interrupted by digressions. It is a story of digressions interrupted by what appears to be a main plotline.”

John Truby Quote: “KEY POINT: The basic action should be the one action best able to force the character to deal with his weaknesses and change.”

10. “KEY POINT: The basic action should be the one action best able to force the character to deal with his weaknesses and change.”

John Truby Quote: “The multistrand plot is clearly a much more simultaneous form of storytelling, emphasizing the group, or the minisociety, and how the characters compare.”

11. “The multistrand plot is clearly a much more simultaneous form of storytelling, emphasizing the group, or the minisociety, and how the characters compare.”

John Truby Quote: “To empathize with someone means to care about and understand him. That’s why the trick to keeping the audience’s interest in a character, even when the character is not likable or is taking immoral actions, is to show the audience the hero’s motive.”

12. “To empathize with someone means to care about and understand him. That’s why the trick to keeping the audience’s interest in a character, even when the character is not likable or is taking immoral actions, is to show the audience the hero’s motive.”

John Truby Quote: “A story tracks what a person wants, what he’ll do to get it, and what costs he’ll have to pay along the way.”

13. “A story tracks what a person wants, what he’ll do to get it, and what costs he’ll have to pay along the way.”

John Truby Quote: “The moral argument is most powerful when it is most dramatic. That means, among other things, holding off the hero’s moral self-revelation and decision until as close to the end of the story as possible. Keep the question “Will the hero do the right thing, and will he do it in time?” in the back of the audience’s mind for as much of the story as you can.”

14. “The moral argument is most powerful when it is most dramatic. That means, among other things, holding off the hero’s moral self-revelation and decision until as close to the end of the story as possible. Keep the question “Will the hero do the right thing, and will he do it in time?” in the back of the audience’s mind for as much of the story as you can.”

John Truby Quote: “KEY POINT: Write down a number of possible options for the hero’s weaknesses and change.”

15. “KEY POINT: Write down a number of possible options for the hero’s weaknesses and change.”

John Truby Quote: “Genres are types of stories, with predetermined characters, themes, worlds, symbols, and plots. Genre plots are usually big, emphasizing revelations that are so stunning they sometimes flip the story upside down. Of course, these big plots lose some of their power by the fact that they are predetermined. The audience knows generally what is going to happen in any genre story, so only the particulars surprise them.”

16. “Genres are types of stories, with predetermined characters, themes, worlds, symbols, and plots. Genre plots are usually big, emphasizing revelations that are so stunning they sometimes flip the story upside down. Of course, these big plots lose some of their power by the fact that they are predetermined. The audience knows generally what is going to happen in any genre story, so only the particulars surprise them.”

John Truby Quote: “Step 1: Write Something That May Change Your Life.”

17. “Step 1: Write Something That May Change Your Life.”

John Truby Quote: “Subplot is not one of the twenty-two steps because it’s not usually present and because it is really a plot of its own with its own structure. But it’s a great technique. It improves the character, theme, and texture of your story. On the other hand, it slows the desire line – the narrative drive. So you have to decide what is most important to you.”

18. “Subplot is not one of the twenty-two steps because it’s not usually present and because it is really a plot of its own with its own structure. But it’s a great technique. It improves the character, theme, and texture of your story. On the other hand, it slows the desire line – the narrative drive. So you have to decide what is most important to you.”

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