This was quite an informative read. The study of literature and writing, even in "Eastern" cultures can often lean towards more "Western" ideas and frameworks. But Henry Lien shares a different lens through which readers and audiences can understand stories. There is the limitation, about which I'm sure the author is aware, of the binary labels of "Eastern" and "Western" both of which consist of many, many cultures. The scope of this book is fairly limited- it is a succinct read that uses numerous examples to reiterate around three/four interlinked concepts. It is interesting but is definitely not intended to be an in-depth education in the subject.

Thank you to Netgalley and the publisher for the e-arc!

This book opens up a world of possibility for storytellers (and readers)!
Not every story needs to revolve around conflict, or follow the well-known three act structure / hero's journey, and Lien illustrates some of the alternatives (the 4-act story structure or kishoutenketsu, the circular structure, and the nested structure) beautifully, with examples, and even using the 4-act structure to write his book!
'Spring, Summer, Asteroid, Bird' was both inspiring and a joy to read. It left me questioning everything I thought I knew about story theory in the best of ways.
Thank you ever so much for the ARC!

I enjoyed, and was stimulated in thought, by the first half of this book, as well as by sections of the latter half, especially in the fourth chapter. (It's arranged into four chapters, echoing the book's central idea of a unique four-act approach to storytelling prevalent in Eastern societies. I'll get to why I was not so fond of Ch. 3 later.) The book employs exemplary works of literature, film, and even video games to support the claim that there's not just one approach to sound story crafting -- but, rather, that Eastern societies developed distinct modes of storytelling reflecting their values and worldview. (A note on the use of the word "Eastern": while the book draws heavily on East Asian sources, it tries to make a broader case suggesting not only South Asia but also the Middle East [i.e. everyplace not big-W "Western"] fit this mold. The book might have made a stronger case sticking to East Asia, as - for example - it might be argued that Arabia / Persia of the time of One Thousand and One Nights, being Abrahamic, was closer to Europe than East Asia in values and worldview. To be fair, the author does argue that some parts of that book are believed to have come from farther East (India and, possibly, beyond.))

The book proposes that there are two (arguably three) styles of story construction that are distinctly Eastern. The first is a four-act structure that is far from just a rejiggering of the three and five act forms with which English Literature students will be familiar. Incidentally, the book's rather unusual title maps to the elements of this four-act structure. The second involves circular and nested story structure. I don't know that the author succeeds in (or even seeks to) convince the reader that this is a uniquely Eastern approach, but -rather - makes an argument as to why it is prominent in Eastern storytelling.

The author picked an excellent set of works to illustrate his points. Generally, the works are both well-known and well-received among diverse audiences. The films he employs as cases include Parasite, Everything Everywhere All at Once, and Rashomon (the latter also being a literary work.) Lien uses one of my favorite Haruki Murakami novels Hard-Boiled Wonderland and the End of the World as a critical example. I was not at all familiar with the video games he describes (beyond name,) but - given that I'd at least heard of them - I assume they are pretty popular (though I can't speak to whether they have any discernable stories and will have to take that on faith.)

As for why I didn't care for the book's third part. I should point out that is the most philosophical (and the least explicitly concerned with story) part of the book, and it aims to show how values and worldview vary across cultures such that there are differences in story structure and crafting between different parts of the world. That could be a laudable objective and germane to the book's point and it's not why I found this section to be muddled and ineffective. The problem is that the chapter oversimplifies the issue in a way that seems to undercut a broader central argument (that Eastern modes of storytelling are underrepresented outside of the East.) Instead of suggesting that people experience conflicts along continuums (e.g. individual to group identity) and that Easterners tend come to different conclusions than Westerners do based on differing values and cultural perspectives, it engages in an elaboration of the distinctions that seems to suggest there's some unbridgeable gulf of understanding between cultures (and, quite frankly, kind of feels like it's shifted from making the aforementioned point to just being a thinly veiled critique of Western culture -- which is fine, but probably belongs in a different book -- or maybe a manifesto.) But if there were no basis for stories to resonate across this gulf, then not only wouldn't <em>Parasite</em> and <em>Everything Everywhere All at Once</em> have killed it at both the Oscars and American box office, there'd be no reason for artists to attempt to branch out and tells stories across tribal lines. Without establishing a basis for story resonance, it's ridiculous to argue that Hollywood should use Eastern modes of storytelling and Eastern worldviews to a greater extent. (A profit pursuing entity is always going to seek the largest possible customer base.) I'm not attempting to negate the argument that there are different approaches to storytelling among different peoples nor that more diversity of approaches shouldn't be seen across cultures. I'm saying that this chapter doesn't well support the argument for greater representation of Eastern modes of storytelling outside of Eastern outlets (publishers, film studios, etc.) because it spends so much time arguing the cultural differences that it doesn't indicate how cross-cultural story resonance is possible.

Overall, I found this to be an interesting and thought-provoking read, though it was - for me - a bit muddled in the middle.

Expand your mind! I loved SPRING, SUMMER, ASTEROID, BIRD. Lien explores and compares western and eastern story structures. His style is not judgmental or didactic, but rather exploratory. There is a sense of experiment or play, which I really appreciated. This book opened my mind in the best of ways when it comes to thinking about storytelling. This is helpful to me both as a writer and reader.

Thank you to the publisher and NetGalley for an advance e-galley; all opinions in my review are 100% my own.

Henry Lien’s book Spring Summer Asteroid Bird provides an introduction to a common form of Asian storytelling known in the West by its Japanese name kishotenketsu.
To understand and appreciate kishotenketsu we need to quickly recap the traditional three-act story structure. In this familiar structure the first act sets up the story and introduces the catalyst that propels the protagonist on their ‘hero’s journey’. By the end of the first act, we have met the main characters and understand the protagonist’s mission. In the second act, multiple obstacles are encountered by the protagonist from antagonist forces. Often it appears the protagonist will achieve his goal at around the half way mark only for his plans to collapse and by the end of the second act the antagonist looks victorious. In the third act, the protagonist gains some inspiration and rallies to defeat the antagonist (or fails if it’s a tragedy) in the climax thus providing resolution to the story.
Henry Lien describes how kishotenketsu is a four-act structure. It is not symmetrical. The first act introduces the character and setting. In the second act the story develops through a series of events. The third act features a surprise twist or introduction of a brand new element which challenges the assumptions in the first two acts. The fourth act harmonizes the preceding elements and sometimes concludes abruptly leaving the reader/viewer to draw their own conclusions. The story arc when shown graphically depicts how disruptive the third act twist can be.
The third act new element is quite different to traditional approaches where most of what’s needed to conclude the story has already been introduced. Another feature that’s different is that the story often lacks the conflict and tension in the first two acts that is common in three-act structures.
Lien illustrates kishotenketsu by examining well-known stories using the form including Academy Award winners Parasite and Everything Everywhere All At Once. By doing so he demonstrates that western audiences can readily embrace the four-act structure. However he also shows how the original story of Mulan and other Eastern stories can be lost when translated into traditional three-act forms.
Most of the book covers case studies of four-act storytelling. This includes nested and circular structures. He even uses video game stories to illustrate the form. Indeed, kishotenketsu is common in manga and anime stories.
The most interesting chapter is on the values dictating the four-act structure. The third act twist gives us the opportunity to see how a character responds to an unplanned or unwelcome complication. With circular stories multiple passes at the same event reveal more than an individual linear account. Nested storytelling allows deep relational networks to emerge that transcend individual experiences.
Lien finishes by reviewing one of the most famous and complex nested stories – 1001 Nights.
Helpfully the book ends with questions for the reader/writer that allow those interested to further consolidate their understanding and thinking on the four-act structure.
Spring Summer Asteroid Bird Is a very useful antidote to the formulaic western storytelling that we are most familiar with or, as writers, are taught. It provides a different perspective on how to think about story. For that reason alone it is worth a read.

This was absolutely super. I’ve often found myself struggling with two separate but related things: the apparent “diversity” of putting Global Majority characters inside plots that seem pretty Western to me, and the often completely alien feeling of reading a writer whose approach to plot, characterisation, pacing, and other literary building blocks is obviously formed by a totally different tradition. (This is the feeling I had when reading Jennifer Nansubuga Makumbi’s Kintu, for example, and several other African Summer authors like Amos Tutuola; it’s also a feeling I get when contemplating much J- and K-lit.) Lien’s explanation for this makes total sense to me: the structure is different, first of all, and secondly—a very useful dictum—”values inform structures”. (He’s not super-prescriptive about all of this, thankfully; the case studies, which take in very Western media that use “Eastern” techniques like four-act, nested, and circular structures as well as Eastern media that uses three-act structures, are good at making clear the contingency of these theories.) His illustrations and dissections of three- vs. four-act structures are forensic, erudite, and deeply loving of the properties he discusses, from Metroid and Parasite to Never Let Me Go and Disney’s Mulan (and a hilarious reassessment of The Hobbit). I’m already fired up to use this in my own teaching, which in the first two weeks of term will be explicitly focused on plot and structure! Highly recommended to anyone interested in how stories are (or can be) put together.

I really enjoyed this. I liked how Lien explored "western" stories through "eastern" story structures. He was very candid and honest throughout this, making it clear that he wasn't trying to write as an authority on the topic, but rather he was exploring different storytelling structures in Eastern and Western cultures.

This book is for anyone looking to understand the art of Eastern storytelling or for those wishing to expand their mindset and skillset outside of their Western core.

Henry Lien is a talented, award-winning author born in Taiwan who now resides in California. His Asian/Pacific American heritage shines through in his works, and he has also taught classes for 'Writing The Other' on non-Western writing structures.

This is not a step-by-step guide to writing in non-Western structures but rather an enhancement of the Western storytelling mindset.

Lien breaks down stories, films, video games, and songs into their elements and structures to illustrate Eastern storytelling stylistics in an easy-to-understand manner.

This is a fascinating read, which I'll be re-referencing as I travel along my own writers' journey.


*I received an advance reader copy for free, and I'm voluntarily leaving a review*

Henry Lien’s Spring, Summer, Asteroid, Bird is a groundbreaking exploration of Eastern storytelling that invites readers to broaden their understanding of what makes a story satisfying. With wit, depth, and a wealth of relatable examples, Lien challenges the dominance of Western narrative forms and offers an illuminating guide to storytelling traditions that are often overlooked in the West.

At its core, the book argues that diversity in storytelling is about more than representation of characters—it encompasses the structures, themes, and cultural values embedded in narratives. Lien explores the differences between popular Western storytelling techniques, such as the three-act structure, and Eastern approaches like the four-act structure (known as Kishōtenketsu). While Western stories often focus on conflict and resolution, Eastern stories place more emphasis on revealing relationships and interconnectedness. For example, the four-act structure introduces a surprising twist in the third act and concludes by showing how all elements are connected, often without the need for a clear winner or resolution. This reflects broader cultural values: Western narratives frequently emphasize individual achievement and closure, while Eastern stories highlight community, harmony, and open-ended exploration.

The book does not seek to declare one storytelling system superior to the other. Instead, it examines the strengths and unique attributes of both Western and Eastern storytelling traditions. Lien underscores that storytelling approaches exist on a spectrum rather than as a rigid binary, with their suitability shaped by the values and goals of the storyteller or audience.

Lien’s analysis is both scholarly and accessible, packed with engaging examples from films (Parasite, Your Name), literature (The 1,001 Nights, The Story of the Stone), and even video games (Mario and Zelda franchises). Each example is carefully dissected to reveal the cultural values shaping its structure, making this book as much an introduction to storytelling theory as it is a cultural study.

The book’s greatest strength lies in its ability to inspire creators. Lien encourages writers to think beyond traditional structures and embrace a global perspective in their storytelling. Practical exercises in the appendix provide a springboard for experimentation and reflection, making this book essential for both aspiring and experienced writers.

However, the book occasionally risks oversimplifying the differences between Western and Eastern storytelling. For example, some readers may find the portrayal of these traditions too categorical or miss the nuances of cultural overlap. Additionally, those unfamiliar with certain examples may find parts of the analysis less engaging. Despite these minor shortcomings, the book’s insights remain profound and universally applicable.

Spring, Summer, Asteroid, Bird is an essential read for anyone passionate about storytelling. Whether you're a writer seeking fresh inspiration or a reader curious about new narrative perspectives, Henry Lien offers a thought-provoking exploration of diverse story structures. His enthusiasm for the subject is evident throughout, making the book both engaging and enlightening.

My thanks to NetGalley and W. W. Norton & Company for an advance copy of this book that shows the differences in how cultures present and accept certain stories, and how these differences can effect not only understanding but enjoyment, leaving some audiences satisfied and others confused and lost.

I remember once talking to a customer in a book store about movies. She was lamenting the fact that a Hollywood studio was remaking a movie from possibly Japan, maybe China, I don't remember, and how they will just the essence of what made it good. I agreed, and went more the subtitle route saying people just don't like to read movies. She had a much better answer, they won't understand how the story is set up, and will make it in a way they are familiar with. I didn't really grasp that idea, thinking more that Hollywood would dumb it down, add music to sell soundtracks, maybe even toys. Now after reading this fascinating book, I understand her completely. They took a work that needed Four acts, and made it one that could be told in three acts. And that made all the difference. In Spring, Summer, Asteroid, Bird: The Art of Eastern Storytelling educator and writer Henry Lien looks at the differences in western and eastern stories, using examples drawn from different media and showing how different cultures view stories, and what to expect from them.

Henry Lien does not waste anytime in this slim book going right to the heart of what makes Eastern stories different and that is the addition of a fourth act. Western stories usually have three, introduction, problem, solution and everyone lives happily ever after. Eastern stories might have an introduction, a problems, a sudden out of nowhere additional problem and an ending, that might come surprisingly quick to some audiences. Lien draws from many sources, novels, poems, video games and movies. However the best example is a short story that shares they title with this book. A short story that is really worth the price of the book. Lien looks at stories that feed off of each each other, growing in length and calling on earlier parts to expand their meanings. All told in a way that makes sense, with very good examples and lots of ohhh I get it moments. I must admit after finishing this book, I began to think about many books I have read, manga and movies, with Eastern writers, and could see the laying out of four acts, and why I enjoyed the stories so much.

I am not sure what I expected from this book, but I leaned quite a lot. Actually I found a new short story writer that I am going to have to look for. I really enjoyed the story alot. What I found was as I read I could see quite clearly where Lien was going, and understood what he was showing. Even in the video games, some I haven't played in years I could see what he was describing, and how enthralled and lost I was in these games. And why. Lien looks at a novel by Haruki Murakami, and breaks down the four act process to the story, and in thinking of the other books I have read by Murakami, again have a deeper understanding and appreciation for the books. Was I drawn to what I thought was quirky, writing, like hey what the heck has this section have to do with anything, or was it the four act breakdown that made the story richer.

I highly recommend this book both for readers and for writers. The examples are worth checking out, his descriptions of some of the more popular books in the western world, view through eastern readers is quite funny. One learns a lot about what can write, what audiences can handle, and maybe to challenge readers with. Again, I leaned quite a lot, and enjoyed this book on many levels. In many ways this has opened my eyes up to why I love stories so much.

Excellence.
Spring, Summer, Asteroid, Bird is an accessible resource on non-Western, non-three-act-structure storytelling.
I had my fair share of discussing and readings around structure, story themes/human values in stories and narrative styles and choices as an educator and writer myself. Many of the resources published are first and foremost academic, colossal and not suitable for the general reader’s interests or only for those in academia/those who have a deep interest in the topic.

Lien’s book is one of the most accessible, most practical books on circular, nesting stories and four-act structure; in other words, non-Western storytelling with different values than the Western story value norms.

Lien offers various and diverse examples in different mediums, and break them down in a way that many readers can comprehend and enjoy.
The questions and cases are well structured. This book is an epitome of story analysis for the general reader.
The length is ideal and sets the right expectations for the depth, and Lien manages to convey the essentials without sacrificing the quality of his arguments. This is also the kind of tone that I am writing in when I am addressing beginners in my expertises.

Immediately, Lien sets the pace and expectations that this book is an exercise in exploration, not hard and fast “rules” or binaries. His words about diversity in storytelling being bigger than identities of characters and authors deeply resonated with me.

I liked the use of storytelling in all its forms: books, video games, movies, oral stories. Lien advises that readers familiarize themselves with the works cited before diving into the book. And while he gives an overview of plot for readers that might not be familiar with the examples, I took so much more away from the sections on the works I was familiar with. Dive into the materials, fellow readers!

I loved the exercises that were included. Lien gives us a robust exploration of his observations and research and then invites us to put it into practice.

The only slightly off thing I noticed was how the structure sometimes felt like a thesis being defended. It was academic in its layout and some of its language; the detailed deconstruction of the examples sometimes felt more like a research project than something designed to educate the curious.

Sections of this book should be required reading for creative writing courses, and anyone who works in publishing. How freeing is Lien’s invitation to throw off stifling and tired western tropes, rules, and confines in our stories!

I was privileged to have my request to read this book accepted through NetGalley. Thank you W. W. Norton! 💫