A Classic Guide For Would-be Novelists
926873
This simple book, On Becoming a Novelist," has become a classic since John Gardner's estate granted publication rights shortly after his death in 1982. The best thing I can say about this little gem of a volume is that it helped this would-be novelist make considerable progress on my dormant manuscript.  Although he does offer some technical guidance, this is not a pedantic book or a How To treatise.  In sharing his own journey through writing and frequent revising of his works, he offers up a spirit and ethos that an aspiring writer can embrace.

As I made my way through the book, I often stopped to make notes about ideas that his writing had spawned about my own embryonic novel.  I suddenly had new ideas about character development, places, actions that would drive the story, back stories to be hinted at.  I feel as if reading this book kicked in the after burners for my own novel.

Allow me to share a short excerpt that grabbed me: "I mentioned earlier one common set of standards for good fiction - creation of a vivid and continuous dream, authorial generosity, intellectual and emotional significance, elegance and efficiency, and strangeness." (Page 84)

Toward the end of the book, he takes a deeper dive into exploring the idea of the writer creating a dream: "This and nothing else is the desperately sought and tragically fragile writer's process: in his imagination, he sees made-up people doing things - sees them clearly - and in the act of wondering what they will do next he sees what they will do next, and all this he writes down in the best, most accurate words he can find, understanding even as he writers that he may have to find better words later, and that a change in the words may mean a sharpening or deepening of the vision, the fictive dream or vision becoming more and more lucid, until reality, by comparison, seems cold, tedious, and dead." (Page 120)

What a challenge - and what an inspiration!
1363214
When a linguist recommends a book on writing, it is a few clicks to read a piece of a brief for the "classic style," where you watch over the shoulder of an author and see what she or he does, as if you are walking in a field with a friend experienced in birdwatching who is happy to point out the kite flying overhead or the sound of a sandhill crane. This style is rooted in our experience with "joint attention" on what we can sense in front of us and is a template for presenting perspectives on everything from the concrete to the abstract.

The book begins with an essay defining the classic style and setting it apart from other styles of writing, and it includes both a gallery of curated examples as well as a set of exercises to help you develop the classic style. The book does not argue with the reader. It presents the classic style as a convention of communication, a lucid artifice that takes the common experience of informal conversation about an observable phenomenon as the model for writing.
1088850
Not only does this book fill in a long overdue gap in craft skills for novel writers, but it delivers. Wiesner is also the author of First Draft in 30 Days, and From First Draft to Finished Novel. One ongoing feature of her books is her inclusion of practical, accessible worksheets and graphs. Organizing one novel can be daunting at times let alone a series. Wiesner skillfully blends the organizational skills together into comprehensive sanity.

And that is the key behind this book: writing a quality series. Wiesner details the definitions, catalyst, styles, focus, organization, and marketing required for any series by showing explicit examples, case studies and stumbling blocks. She thoroughly examines and warns about the importance of characters and consistency. On the surface this might seem to be common sense, but in reality it is a danger that can sink your series.

Writing the Fiction Series warns you of the potential landmines and shows you navigable routes to write a sustainable high-concept fiction series and enjoy the process. Advice that is long overdue. Advice that is fun to implement.
3178940
I thoroughly enjoyed this book. Written in the early 80's (as I recall), Bocca offers some excellent advice on the use of sex and foul language in fiction that would set the teeth of a 90's child on edge. Bocca is a Brit  who moved to America and found success as a novelist. He begins his book  with his list of necessary reference books; this list is well worth the  effort to copy it down for your own reference. Bocca also provides a lot of  advice you'll find in many other books. However, with his British viewpoint  and phraseology, the advice takes on a refreshing air. I certainly would  put this book on a par with Lawrence Block's WRITING THE NOVEL: FROM PLOT  TO PRINT. So, I give the book a hearty, "Well worth the money!"
2529871
Though written in 1933, this, the first of Woodford's string of classic books on writing, still holds up well today, with his trademark caustic, no BS realistic advice for writers. I witheld one star in my rating only because a significant portion of the book is devoted to writing and marketing short stories to the then plentiful hordes of magazines that thrived on slick and genre fiction. Alas, that market is long gone, replaced by TV, so Woodford's advice there is now irrelevant to the needs of writers today.
Otherwise, the book is still entertaining and trenchant.
1428718
This book is nothing short of brilliant. But what would one expect from Umberto Eco? It is an old, somewhat outdated, guide for students in Italian universities, who must, as undergraduates, produce a thesis. The book is a step by step guide in how to do this. I live in the United States where there is no such demand on undergraduates, and I am a high school English teacher. Yet I am in love with this book. Eco says that the researching and writing of an extended essay is an exercise in creativity and in exploration. Anyone who is interested in writing, particularly non-fiction, or who is in charge of student writers, from high school through graduate school, should add this to hen library--right alongside Fowler's, Strunk and White, and the OED. It is that good.
416756
Philip Gerard takes on a seemingly grandiose goal in this guide: how to write a book that will not merely get published, not merely sell, but make a profound impact on many readers.  That may seem daunting, and indeed intimidating, but Gerard has a way of nudging the reader (and aspiring writer) to think grandly and take big chances.  He teaches primarily through example here, exploring some of the really great books, and telling what makes them so.
 Gerard shares anecdotes about how these books started out with more modest aspirations, and if not for the author's impulse to envision a grander purpose, may have been destined to become minor, even forgettable works.  For example, Steinbeck originally wanted to do an investigative report on migrant workers, before convincing himself that a novelization of his findings, "The Grapes of Wrath," would tell the story with much more impact. Similarly, Truman Capote took an audacious step (for the times), when he decided that the details of a chilling murder (and his own connection to one of the murderers) would work best as a "factual" novel.
  This book explains bold and innovative writing by examining the concrete examples of authors who have succeded in that pursuit.  As such, it should appeal not only to aspiring writers, but also to those who simply would like a run-down of great books and some rationale for their admired stature.  The one drawback here is that Gerard has a habit of bringing in new dimensions of great writing, but being a little strident in summarizing the cited works.  One sometimes gets the feeling that he merely scratches the surface of an important style, and then moves on to an altogether different one.  Even so, this is a book that both writers and readers are likely to appreciate and find valuable.
4907227
Many books on writing fiction serve more as organizational guides or tips on being in the habit of writing! The better ones discuss important elements like plot, dialogue, characters, etc. Not enough writing books are about studying what makes an author or book work very well which is unfortunate as the basis of being a writer is being a reader. But this is what makes this the best fiction writing book I've ever read. However keep your electronic reader near you while reading this book. You will want to download copies of the books to read as many of the books are classics that you can pay little to no money for. You will want to re-read books you read previously from the writers perspective. I would highly recommend this book.
1028532
Frederick the Great, having invaded neighboring Saxony and financed much of the Seven Years War by forced extractions from it, later said, "Saxony is like a sack of flour. No matter how many times you beat it, something always comes out." Mossman's book is like that for me: no matter how many times I read it, something useful always comes out. In common with many useful books about writing, it is not by a writer but rather an editor and agent. Face it, nobody sees more successful and unsuccessful manuscripts than editors and agents. Who better to see patterns in what separates the two? It's a very down-to-earth guide to the nuts and bolts of what makes writing interesting to the reader. Whenever I start a new fiction project, I begin by re-reading Mossman and making extensive notes on how to incorporate his ideas in the work at hand.

This new edition is modestly updated. I don't know that it's essential to those who own the original edition, but since that one has gone out of print (becoming pricey), and is not available in ebook format,. this new edition with a Kindle option is welcome.
174799
Steven King gives some very good advice for aspiring novelists.  The book is well paced, in depth, and gives a very good picture of the process of creative writing.
762965
Koch combines the best of writing advice from authors on writing. It spans the entire process of completing a narrative text, covering not just fiction but also memoir.

It begins with the process of writing the very sketchiest of rough drafts and takes the writer to the final product of a completed story.

It examines the elements that go into a good story, and how the writer excavates his or her story from all of the notes in the writer's mind and assorted notebooks and pieces of paper.

A great read that should lead to great writing.
934194
This book is about the most overlooked aspect of the writer's craft - the fiction novel structure. Many newbie writers, and I was one of them, just start writing stories without realising how easy it is to fall into multiple traps that would ruin their books. Some of us have an excellent inbuilt sense of the structure, others, like me, not so much, yet every writer needs to learn about the rules of storytelling at least to know why our stories are missing something or simply fail to appeal to the reader.
KM Weiland systematically goes through the macro- and micro-structure of the novel. First, she tells us meticulously about the architecture of the three-act plan stories and all the important elements of it, e.g. first plot point, inciting event, climax, resolution. Then, she writes about the structure and dynamics of the scene and the two types scenes and their variations. Finally, she discusses the micro-structure at the level of sentences and the common signs of the clunky prose.

I have started following Katie's blog for writers, Wordplay, years ago and I think I've learned from her most of the techniques described here before I even started reading the book.

"Structuring Your Novel" is a distilled and well-organised digest of dozens of Wordplay blogposts and KM Weiland is definitely the right person to give us her expert opinion. She is a successful historical/speculative fiction writer, so a lot of teaching comes from her own experience.
I congratulate the author with this new brilliant guide for writers, I'm sure it will help many of us become better writers.
271142
In the introduction, Parris makes it clear that the contents of the book are only to be taken as suggestions. But as far as suggestions go, his are well-organized, accessible, and helpful to the aspiring novelist. Beginning with the importance of identifying one's unique strengths as a writer, the bulk of the work is dedicated to examining the elements of a well-constructed novel  e.g., plot structure, character development, and dialogue  and is divided into chapters that can be easily referenced by those looking for tips in specific areas. The author also includes quick exercises in between topics, making for an engaging read that doesnt feel like a one-sided lecture. Addressing the reader as an individual writer and as a part of a community of creators, Parris offers a well-rounded guide that will appeal to writers at any stage in their novel.
1972717
This book, written in 1986, has been the oldest book on writing I have owned. I always recommend it to any writer from a beginning blogger to a seasoned professional, because it has the kind of solid advice that is timeless. I always have this book near at hand; it is one of my top 10 books, along with the I Ching, that have a favored place right above my writing desk. It is inspiring in its philosophy and easy to digest in its distinctive writing. My favorite part over the years is the illustration on page 138 of this edition that shows the layout of a writer's studio with a place for manuscripts, research and "typewriter." Sweet!

You can read my latest story on Kindle:&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Angel-Someone-How-I-Lost-My-Dog-and-Found-Compassion/dp/B004G5Z6TK/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Angel Someone: How I Lost My Dog and Found Compassion</a>
208293
Originally published in 1983, "The Art of Fiction" by John Gardner (much like "Becoming a Writer" by Dorothea Brande published in the 1930s) is still relevant today. That is because the principles and philosophies on writing put forth in this volume are timeless.
Anyone who aspires to becoming a writer should own this book. I would rank it second only to Dorothea Brande's book listed above among books that are necessities for the writer of fiction.
My favorite passage in the book, occurs in the first chapter. So many articles and books one reads on writing invariably contain endless lists of Dos and Don'ts. Things you absolutely must never do and other things that every novel must contain. As Gardner says, although there are general guidelines and warnings that are useful to be aware of, when a writer seeks to follow these edicts religiously he begins to edit his own unique voice out of his writing (that is me paraphrasing and sharing my interpretation of what Gardner says).
He proceeds to list several instances from masters in the history of literature who violated these "laws" of fiction.
Bottom line - we need to pay heed to form and the teachings of those who've gone before us, but in the end the writer's own intuition and vision must trump all else. Otherwise there is no point to that person being a writer.&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Donovan-s-Island/dp/1466394668/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Donovan's Island</a>
409496
I purchased this book a few years ago and fell in love with her philosophy on writing fiction. She explains the necessary aspects and offers comprehensive exercises to complement each element.
The examples of published works are easy to obtain and relate to the message for each chapter.
I consider this book my thesaurus because I return again and again and always discover something I missed the first time around.
It's a keeper for any serious fiction writer.
D. Kent
3921675
Millions of people have written a novel and want to get it published. Some of them grow frustrated with the business of commercial publishing so they self-publish and have a garage full of product that they are trying to sell--mistake in my view. Others send out their novel a few times to an agent or publisher, gather some rejection slips and put away their dream work into a desk drawer.

With the wisdom in this book, you don't have to take either step. Instead you can gain the wisdom and insight from this former book editor, novelist and successful literary agent.

As Maass writes for the final sentence of his introduction, "Solutions, strategies, knowledge, practical plans, damage control, managing success . . . in short, the path of the career novelist. That is what this book is all about."

Where you get your wisdom about novels and the business of publishing is critical in my view. Get this book. Read it once, flag pages and highlight them. Then read it again. It's worth that sort of careful study in my view. Highly recommended for the seasoned and would-be novelist.