The writing alone will keep you reading--but is that enough?
920681
I was paying particular attention to how Moody developed the characters and laid the groundwork for plot while maintaining a sense of momentum.

The structure of the book is aided by the pending ice storm that offers a sense of time and place in the novel as well as a sense of movement. The reader knows that the storm will affect the characters and we suspect that it will play a role in the unfolding plot. The storm helps to pace to the novel and Moody moves back to it often as he introduces characters and their particular hang-ups.

The book needs the storm, mainly because the real movement of the book is not immediately obvious. Without the storm, the book would seem to dwell too long on disparate characters. Though the characters are related to one another and live in the same community, the real tension in their relationships and the pending resolution of that tension is not known until the final third of the novel.

Moody also keeps our interest by injecting the text with amusing trivia drawn from popular culture and sex.

And the way in which Moody writes helps to move the text along. Moody likes long sentences full of dependent clauses. He likes lists. He likes short, declarative sentences. Likes fragments.

In the first half of the book, I did not know why I should continue reading. The moral and spiritual bankruptcy of middle class America is well documented. I have no particular interest in the topic. If I were not on the plane, I might have put the book down. But once the characters reached their crisis, things started heating up. I like what Moody is doing and I am curious to read some of his other work, though I suspect (given his reputation) that "Ice Storm" is not his best.
1659139
If not, there is a serious problem. Writing was fine, story a bit tired but readable, and "landscape" decent, BUT the characters, dialogue and the plot development provided very little. Glad it was free.
4096387
The writing is superb.  Not a book to read straight through; one follows a thread to a climax, and it is necessary to stop and consider before continuing.  Character delineation  - continuing all through the book - fleshes out each character, sometimes in very unexpected ways.

I haven't finished it.  I regret that I have to.
2400401
The story line is great and engaging enough to keep you reading however the writing leaves something to be desired.  If you simply want to distract yourself with a good story and a quick read it's enjoyable.
4174789
It must be truly intimidating to attempt a book after the runaway success of the Harry Potter series, and one must add, the unexpected success of the series. Whether it is the burden of these expectations, or whether the author is simply comfortable writing only for a certain audience, the book is unmistakably written for the legion of Potter fans.

`Casual Vacancy' is not so much of a novel for adults as a storybook for the adolescents. The author, ever mindful of her target audience and their desire for simplicity, keeps the story about as simple as it can be: good vs. bad. This black and white characterization extends even to the locations: for example the village of Pagford is charming and picturesque; but the Fields that adjoins the village is a dangerous place with drugs and dope peddled openly! Consistent with the theme of keeping it simple, the characters are two-dimensional and true to stereotype.

As for the characters, one cannot but fail to notice that they represent the different demographics. It is no sin for authors to be market oriented, but one hopes it is not so obvious.

Still, once the book gets under way the story keeps humming along ... after a fashion. Eventually, the book gets undone by the lack of a good story and, at five-hundred pages; the book is likely to exhaust all but the most ardent Potter fans.
1669523
My wife, a writer and published poet, loves literary fiction. I tend toward legal procedurals these days, John Lescroart, Michael Connely. If she recommends one of 'her' books to me I invariably ask, "Does anything actually happen?"

The book in hand is Canadian writer Elizabeth Hay's 'Alone In The Classroom'. The answer is yes, there is a compelling plot, one that peters out about three-fourths through the book.  It's as if the publisher said, but we wanted three hundred pages, and Hay obediently ground it out. I did enjoy this, for the most part, especially the stronger-plotted first portion of the book. Hay can really, really write. Unfortunately she can't maintain a strong narrative thread and the final portion of the book shows it. She seems to know that the present is thin gruel, and keeps inserting flashbacks to the richest ground, that of the past. She's reduced to having her narrator insert herself into the story by becoming one of the 'harem' of an aging but supernaturally handsome Nature Boy, who was the love of her central character, her aunt Connie's, life.

This is indeed literary fiction with a capital 'L', and for those looking for depictions of life in early twentieth century Canada, from an expert observer, those who don't mind wandering around in search of plot fragments from the past, this well may be your perfect book.
512698
The story's intriguing, of course. And the writing is fine.  Actually, the writing is too good. The metaphors in particular create the inauthentic tone so typical of ghost written books.  Maybe it would have been better if author Megan Lloyd Davies had straight out written it over her name and told the story in the third person.
4539436
for my money, there's no question that eggers is a great writer.  ahwsg does an awefully fine job of showcasing this.  at times this book could (if such were the intent) shame even dfw, delillo, or pynchon with it's remarkable prose, even though the project as a whole shows that eggers is just getting started.
so, what makes this book worth-while?  well, for one, it was in here that i first read such an accurate description of the outlook i (and, i presume, most folks) harbor deep down inside: that of unbounded ability of some sort or other.  reading the early frisbee sections where we see two titans hurling discs in uber-hurculean fashion were spot on descriptions of childhood games where we were convinced wholeheartedly that the pros had, as it were, nothing on us.
the trials and travails of a twenty-something may seem like worn out fodder for television these days, but between the realization that crematory ashes are, in fact, not very much like ash at all and the ability to maintain a deep divide between our logical realizations (e.g. that we are meant to be somewhere for an important meeting while playing on the beach) and our actions (e.g. only to do nothing about it) eggers does an excellent job of going after the most saliant points with exceptionally clear examples.
is the book perfect?  no.  there are bits that lag (not just that they are without "action," but they seemed empty of significance), and there are spots that could use another go at the editing.  is the book worth reading?  most definitely, so instead of watching "friends," give this a read, but be forewarned, you may not want to go back.
4713180
A writer's manual is a little bit like an exercise manual.

Let's say it's beautifully written. Let's say it has fine glossy photographs of how to do a proper ab-crunch, and a bench press, and an over the head anyhow lift. Let's say it has diet tips and comes with a coupon for a brand new free set of free weights.

Would that be a double-free offer?

What I am trying to say is that a writing manual can be skilfully written but it is still no replacement for knowing how to stick your butt in a chair and beat your head and fingers against the keyboard until a proper story rattles out.

That said, I have to admit that Chris Fox has written himself a darned fine writing manual. It gives the beginning author all the tips that they need and there is a heck of a lot in here for writers of any caliber. It is a quick read that will have a long standing effect upon your writing career if you take it to heart.

If you have ANY kind of an ambition to make it as an indie author you REALLY ought to read this book.

Yours in storytelling,

Steve Vernon
836677
It is difficult to choose the stars for this book. . .the quality of the writing, or my reaction to it?  I have split the difference.  The writing is excellent.  I liked some of it.  This book is a collection of essays from writers about eating alone.  That is likely quite different from others eating alone.  But these are essays, it is not a survey or study, and if you want to know how most people feel about eating alone, or what they eat, this is not necessarily the book for you.  Writers by definition must be very introspective and tend to spend a great deal of time alone, anyway.  It is part and parcel of their work.  Some of these are entertaining, and even moving.  Some are obnoxious-- M.K. Fisher's self-importance and narcissism, the man who states that any friend eating at your home is essentially a thankless free-loader. . .and some are boring.  One is disgusting, the description of making oneself ill by eating supposedly rotten eggs (I have a feeling it was something else).  There are very few recipes, most of the essays do not include one.  The ultimate test of a book is if it stays on my shelves after I've read it.  I gave this one away.
4164724
The print edition is only fifty-seven pages, but there is some good writing. The pace is fast. I was interested in the fate of the main character, Annie Jones. She's a sixty year old successful novelist who is plagued by visions. Her novels feature violent deaths. The question is: exactly what role does she play? Is she a passive writer who makes up stories or is she an active participant?
4381898
I am a strong advocate of free writing. I've written 11 books, all non-fiction. The first few were torture, and took 2 years each; since learning to harness the power of free writing, I've written books in three months, two months, and even one month. (I'm here on Amazon, if you're curious.)

I loved Thomas Boyde's exposition of free writing in this very brief booklet. As other reviewers have noted, it is short and motivational. But it may be all you need to get yourself moving. I find that one way my inner saboteur keeps me from writing is to get me to read books about writing--the longer, the better. And by all means, read Natalie Goldberg, Anne Lamott, William Zinser, and especially, Gabrielle Rico. But recognize that reading about writing is not writing.

If you want to get moving, read Thomas Boyde's short piece and follow its cheerful instructions. In fact, I'll go out on a limb and say: As a time investment, "Free Writing Made Simple" may have a greater ROI (return on investment) than any writing book you've ever read.

(I received a free copy of this book via StoryCartel in exchange for promising to write an honest review.)
2780685
If you took out all the references to how easy the authors life now is, you would be left with about 20 pages of useful information--maybe.
I have read articles that have told me the same thing without wasting several hours of my life.
However, if you are the type of writer who needs outside motiviation to keep moving, or you think copyediting is the way to go, this book is worth your time.
1466754
In spite of it being a Gothic novel, it reads more like a mystery story. It was a page-turner more because of wanting to see what comes next rather than being drawn in by superb writing. In fact, I almost put it down during the first third because of unbearably machoistic statements to which I am allergic: "women want the opposite of what they think or say they want", and others.

Once I got past the half-way point, the reading became more enjoyable for me. I was glad to have had the letter that explained everything because otherwise it would have taken a sequel to pull in all the loose ends, but I was disappointed that that was the best way the author could find to resolve the mystery. The mystery was more of a "why they did what they did" than a "who dunnit". For that reason, it was a bit deeper and more involving than the usual mystery.

The idea was a good one, the storyline was good, the writing was good, and I'm not sorry I read the book. I liked the atmosphere.  I could just about "see" all the locations in my mind's eye. I didn't mind the improbable parts because it is clear this was a "detective" story and not great literature. Some of the improbable parts gave some comic relief and that was also good. I think that the author has a good sense of humour and there were some lines that drew a guffaw from me. The characters were less important to me than the plot. I really didn't care about any of them much - except for Nuria at the end (and if you think about it, she's the only character to be presented in first person). At the same time, as I write this review, I can see all the characters in my mind and they feel quite real to me. Interesting.

If I happen to run across another Ruiz Zafon book I will probably pick it up, but he's not someone I'm going to particularly look for. As some reviewers wrote - it's good escapism. And today, in a world of lots of pretty lousy writing, that not bad at all.
3795420
It's okay.  The writing style isn't captivating and I often found myself bored reading it,  but wanted to know how the author finished the story. I think the plot is interesting though.
3077396
The story I read within the story is a 5. The one where you only ever write an outline that meanders all over the place. Where you are internally blocked from writing, yet some extrinsic motivation finds you and forces out snippets of good stuff and a lot of noise. The noise is the words on paper here. The 3 star Nancy Drew mystery for some young kids to solve. The 5 star is the idea behind it. Dwell on that and this is a thought provoking read about an author's struggle.
3611224
If you are familiar with Natalie Goldbergs unique voice, you could identify her prose in an anonymous mass of writings. Few writers can mimic her settings and descriptions and execute her succinct style. A teacher and literary luminary, branded for Writing Down the Bones, her lucid writing muse manages to cut the reader to the bone.

The Great Spring, a collection of 22 essays, is no exception. The problem I encounter is that her writing may cut to the bone, but does not dig far enoughinto the marrow. It lacks. I am left, though satisfied with intellectual gold nuggets, hungering. I imagine wearing a therapists role, notebook in hand, sitting across from Natalie and repeatedly grilling, Thats all dandy, but how does it MAKE YOU FEEL?

Though the author has had many relationships, an ex-husband, girlfriends, friends, teachers and students, her writing leaves me with a sense that her life, though complete, successful and robust, has an intimacy deficiency, isolated like a ghost town in New Mexico (her residence). I cannot help but wonder if the emotional isolation is a result of her less than perfect childhood or if this state is a soul searching for nourishment.

In fact, in a portion of The Great Spring, her lack of feelings comes across as a barrage of ingratitude, naval gazing and a lamentable lack of consideration for others. This near sterility parallels her longtime Zen practice, which she presents as a discipline that, at least to me and my "monkey mind," is painfully rigid. And, to top it off, with no particular theme or order, her essays are presented as a jumbled hot mess.

However, even after considering all this, The Great Spring is redeemed. Ms. Goldberg is bestowed with a maturity, a rare perception, that exemplifies her work and makes it is so yellow-highlighter worthy! Her insights on aging, death and letting go, for instance, tickle the brain to endorphin bliss of no return.

Writing about her mothers death, she says, I cant wrap my mind around her death. It fol-lows me like a ghost. But every time I turn around to look at it, it vanishes. I have a lot of crying to do, but it isn't coming. Something is over, but I don't yet know what it is.

The final chapters mark the point where her fear of intimacy unravels both with herself and the reader. For example, after she describes, ironically, the lack of depth in Palo Alto, California, she writes, Layer by layer I was pulling off the old protections. Nowhere could I find a foothold to drag myself away to some safe cave. Everywhere I turned was confusion and suffering, inside me and outside me. No difference. I was saying good-bye to all of my old recoursesI could name a dozen right off the topfrom just feeling the pain, from settling down into its scratchy nest. Finally there was nowhere to go, no more hiding place, not even Zen.

Her poetry is the fruit of the vine in The Great Spring. After wrestling with my own writing demons for more than three decades, her book gifted me with the answer I have been seeking particularly for these past five years.
Often I ask:
Was it worth it
to dedicate yourself so completely?
The answer
No

Then I remember:
I saw inside the night sky.

Reading and rereading these two dozen words with my moist eyes, I had discovered my own Great Spring.