What would it look like if Story Grid launched its own publishing house? Shawn and Tim dive into that in this week's episode.

When it came time to start thinking about the publishing of The Threshing, Shawn and Tim were faced with a dilemma. There didn't seem to be a good option.

In this final episode on Big Idea Nonfiction, Shawn continues sharing how to write a big idea nonfiction book that works.

How do you apply the principles of storytelling to nonfiction? What lessons have you learned from Sesame Street that will help you be a better nonfiction writer? Tune in to find out!

What makes a Big Idea book stand apart from the rest? Shawn walks through all of the pieces that go into a Big Idea Nonfiction book that will stand the test of time.

Tim is back with Shawn and they're talking nonfiction and Story Grid. What are the sub-genres of nonfiction? How do you apply the tools of Story Grid to nonfiction? They cover this and a lot more.

In Episode 10, they conclude that the experiment has been a success. Anne submits her first rough draft, Shawn blesses it, says it’s shaping up to be a fresh and original story in its own right, and gives an inspiring look into what’s next in the Story Grid Universe.

In Episode 9 of the Masterwork Experiment, Anne turns in a new prologue representing her new POV narrative device, and a few new scenes leading into the middle build. Is the story getting too long? Shawn says it doesn’t matter, and he gives an inspiring talk about the importance for writers of living within the process, rather than for the result.

In Episode 8 of the Masterwork Experiment, Anne has a bit of a crisis: though she’s found a way to meet the demands of the experiment, the resulting story idea feels lifeless. Is she building a franken-story from someone else’s parts? How will she give it life? In response, Shawn delivers a rousing talk on talent, inspiration, and the blue-collar work that holds Resistance at bay.

In Episode 7 of the Masterwork Experiment, Anne submits her first two scenes of “Danebury Hill,” her Regency-era take on the beat structure of Brokeback Mountain. Shawn reads them out and gives some advice on point of view and narrative device, particularly why it’s okay to use an omniscient narrator who can go into everyone’s head.