There are no New plots: And that’s a good thing

As writers, we often hear the dreaded phrase: "Every story has already been told." It’s the kind of thought that can stop creativity in its tracks. 

However, Lee Child, the author of the Jack Reacher series (29 books and counting), sees it differently. He argues that originality doesn’t come from plot. It comes from execution.

This isn’t a problem. It’s a liberation.

Stop Chasing Originality—Start Chasing Authenticity

Writers often tie themselves in knots trying to invent something completely new. A never-before-seen plot. A twist that no one has ever thought of. However, Child points out that forcing originality can lead to contrived stories. Instead of stressing over whether your idea has been done before, focus on what makes your execution unique:

• Your voice

• Your characters

• The emotional truth you bring to the story

Readers don’t pick up books because they demand a new plot structure. They read for how a story is told—for the specific flavor a writer brings to familiar patterns.

Plots are already in the reader’s mind—Use that to your advantage

Lee Child argues that half the work is already done because readers have internalised basic story structures. That doesn’t mean they want predictability—it means they want satisfaction. Specific plot structures endure because they tap into something universal.

• The hero’s journey

• The mystery that needs solving

• The lovers torn apart by fate

• The underdog rising against impossible odds

We know these plots, and we want them. But we want them told in a way that feels fresh.

This is why retellings, adaptations, and reimaginings thrive—the framework is familiar, but the storytelling makes it compelling.

Writing without a plan: The power of discovery

Child is famously against outlining his books. Instead, he starts with a strong opening and follows the story where it leads.

“If I were to plan it all out, I’d be bored by the time I started writing.”

This approach keeps his process as engaging for him as it is for his readers. It’s a reminder that storytelling should feel like an unfolding experience, not a rigid blueprint. Some writers need outlines—others, like Child, thrive in spontaneity. The key is finding what works for you rather than forcing yourself into someone else’s process.

Writing is art, but it’s also a business

One of the most refreshing aspects of Lee Child’s perspective is his pragmatic approach. Writing is romanticised as an artistic pursuit but also a business. He argues that to succeed as an author, you have to embrace both mindsets simultaneously:

• 100% artist

• 100% businessperson

• 100% private thinker

• 100% public speaker

Writing a novel isn’t just about inspiration. It’s also about discipline, marketing, and understanding your audience. That doesn’t mean compromising creativity—it means recognising that storytelling is also about connection.

4 takeaways: Don’t fear familiarity—Make it yours

So, where does that leave us as writers? Here’s what we can take from Lee Child’s approach:

1. Stop worrying about whether your idea is “original.” It’s the execution that matters.
2. Tap into the reader’s instinct for a story. They already understand the plot; your job is to make it engaging.
3. Find a writing process that works for you. Whether you outline meticulously or write by instinct, lean into what helps you create.
4. Balance creativity with pragmatism. Writing is an art, but it’s also work. Treat it like both.

The best stories don’t come from straining for originality. They come from writing what feels right. Because in a world where every plot has already been told, you are the only thing that truly makes a book unique.