From Article To Book: Benjamin Hale On Structure In Fiction & Nonfiction
Navigating Structure in Writing: Benjamin Hale on Fiction and Nonfiction
BENJAMIN Hale, acclaimed author of The Evolution of Bruno Littlemore and The Fat Artist and Other Stories, recently offered insights into his creative process, highlighting the contrasting approaches he employs when writing fiction versus nonfiction. Speaking in a reflective essay published by Literary Hub, Hale underscored how structure, research, and narrative methodology differ across genres, offering a window into the disciplined craft behind both forms of storytelling.
Expanding the Article: From 15,000 Words to a Full Book
Hale begins by recounting the transformation of a Harper’s Magazine article into his nonfiction work, Cave Mountain: A Disappearance and a Reckoning in the Ozarks. According to the author, the process was unexpectedly straightforward due to the richness of available material. “It was like the difference between a fish swimming in the sea versus swimming in an aquarium,” Hale said, illustrating the expansiveness of the story once freed from the constraints of magazine word limits.
This experience contrasts sharply with his approach to fiction, where precision in narrative structure is essential from the outset. Hale suggests that, without a deliberate plan, he struggles to complete fictional projects.
The Nine-Box Grid Method for Fiction
For fiction, Hale relies on a method he adapted from William Melvin Kelley, which he calls the nine-box grid. The technique divides a narrative into nine interconnected “chunks,” forming a three-act structure. Each act contains its own mini-arcs, with motifs and elements reappearing in strategic intervals to enhance narrative cohesion and resonance.
The author likens this repetition to magic tricks or jokes: “Two cycles of narrative is the perfect amount of time to allow the reader to forget something, and two appearances of a thing is the right number for the third appearance to feel magical.” By mapping out characters, events, and narrative beats across this grid, Hale establishes a disciplined yet flexible roadmap that guides the writing process from start to finish.
Nonfiction: Following the Truth Where It Leads
In nonfiction, however, Hale adopts a more organic approach. He emphasizes the primacy of factual accuracy and the narrative’s natural unfolding: “The only way to say it is to say it,” he notes, paraphrasing Gertrude Stein. Nonfiction writing, in his view, requires truthfulness rather than narrative believability, freeing him from the structural demands of fiction.
The research process for nonfiction is equally immersive. Hale describes extensive fieldwork in Arkansas, Louisiana, Tennessee, and Georgia, tracing the events surrounding a 1978 murder on Cave Mountain. One notable encounter involved a nearly ninety-year-old former sheriff named Ray Watkins, whose first-hand account provided invaluable detail for the book. Hale emphasizes that such real-world engagement is both vital and rewarding, distinguishing nonfiction research from fictional world-building.
Storytelling, Authenticity, and the World Beyond the Page
Hale’s reflections also extend to broader observations on contemporary literary trends. He critiques the ongoing popularity of “autofiction,” urging writers to venture beyond familiar mental and geographical spaces to discover compelling stories. According to Hale, the world itself is abundant with narrative potential, from small towns to unusual encounters, which can enrich both fiction and nonfiction.
For emerging writers, Hale’s advice is practical: develop rigorous frameworks for fiction, engage directly with research subjects for nonfiction, and remain open to the unexpected stories the world offers. By balancing structure with discovery, writers can produce work that resonates with both authenticity and narrative precision.
About the Author
Benjamin Hale is a senior editor at Conjunctions and teaches at Bard College and Columbia University. His work has been featured in Harper’s Magazine, The Paris Review, The New York Times, and The Washington Post, and anthologized in Best American Science and Nature Writing. He lives in New York’s Hudson Valley, where he continues to explore both the mechanics and the art of storytelling.
