The Tampa Writer’s Alliance recommended five books that should be on very author’s bookshelf (or in their Kindle). I’ve read Stephen King’s “On Writing” and Renni Brown’s “Self Editing For Fiction Writers.” I’ve refer to both often as I write. I’m currently reading “The First Five Pages.” I’ll be checking out the last two soon.
Any other suggestions? Post in the comments.
The difference between The First Five Pages and most books on writing is that the others are written by teachers and writers. This one comes from a literary agent–one whose clients include Pulitzer Prize nominees, New York Times bestselling authors, Pushcart Prize recipients, and American Book Award winners. Noah Lukeman is not trying to impart the finer points of writing well. He wants to teach you “how to identify and avoid bad writing,” so that your manuscript doesn’t come boomeranging back to you in that self-addressed, stamped envelope. Surprise: Agents and editors don’t read manuscripts for fun; they are looking for reasons to reject them. Lukeman has arranged his book “in the order of what I look for when trying to dismiss a manuscript,” starting with presentation and concluding with pacing and progression. Each chapter addresses a pitfall of poor writing–overabundance of adjectives and adverbs, tedious or unrealistic dialogue, and lack of subtlety to name just a few–by identifying the problem, presenting solutions, giving examples (one wishes these weren’t quite so obvious), and offering writing exercises. It’s a little bizarre to think about approaching your work as would an agent, but if you are serious about getting published, you may as well get used to it. Plus, Lukeman has plenty of solid advice worth listening to. Particularly fine are his exercises for removing and spicing up modifiers and his remedies for all kinds of faulty dialogue. –Jane Steinberg, Amazon.com Editorial Review
Hundreds of books have been written on the art of writing. Here at last is a book by two professional editors to teach writers the techniques of the editing trade that turn promising manuscripts into published novels and short stories.
In the completely revised and updated second edition, Renni Browne and Dave King teach you, the writer, how to apply the editing techniques they have developed to your own work. Chapters on dialogue, exposition, point of view, interior monologue, and other techniques take you through the same processes an expert editor would go through to perfect your manuscript. Each point is illustrated with examples, many drawn from the hundreds of books Browne and King have edited.
Short and snappy as it is, Stephen King’s On Writing really contains two books: a fondly sardonic autobiography and a tough-love lesson for aspiring novelists. The memoir is terrific stuff, a vivid description of how a writer grew out of a misbehaving kid. You’re right there with the young author as he’s tormented by poison ivy, gas-passing babysitters, uptight schoolmarms, and a laundry job nastier than Jack London’s. It’s a ripping yarn that casts a sharp light on his fiction. This was a child who dug Yvette Vickers from Attack of the Giant Leeches, not Sandra Dee. “I wanted monsters that ate whole cities, radioactive corpses that came out of the ocean and ate surfers, and girls in black bras who looked like trailer trash.” But massive reading on all literary levels was a craving just as crucial, and soon King was the published author of “I Was a Teen-Age Graverobber.” As a young adult raising a family in a trailer, King started a story inspired by his stint as a janitor cleaning a high-school girls locker room. He crumpled it up, but his writer wife retrieved it from the trash, and using her advice about the girl milieu and his own memories of two reviled teenage classmates who died young, he came up with Carrie. King gives us lots of revelations about his life and work. The kidnapper character in Misery, the mind-possessing monsters in The Tommyknockers, and the haunting of the blocked writer in The Shining symbolized his cocaine and booze addiction (overcome thanks to his wife’s intervention, which he describes). “There’s one novel, Cujo, that I barely remember writing.”
King also evokes his college days and his recovery from the van crash that nearly killed him, but the focus is always on what it all means to the craft. He gives you a whole writer’s “tool kit”: a reading list, writing assignments, a corrected story, and nuts-and-bolts advice on dollars and cents, plot and character, the basic building block of the paragraph, and literary models. He shows what you can learn from H.P. Lovecraft’s arcane vocabulary, Hemingway’s leanness, Grisham’s authenticity, Richard Dooling’s artful obscenity, Jonathan Kellerman’s sentence fragments. He explains why Hart’s War is a great story marred by a tin ear for dialogue, and how Elmore Leonard’s Be Cool could be the antidote.
King isn’t just a writer, he’s a true teacher. –Tim Appelo, Amazon.com Review
Writers are defined by their readers.
Originally published in 1940, this book is a rare phenomenon, a living classic that introduces and elucidates the various levels of reading and how to achieve them—from elementary reading, through systematic skimming and inspectional reading, to speed reading. Readers will learn when and how to “judge a book by its cover,” and also how to X-ray it, read critically, and extract the author’s message from the text.
Also included is instruction in the different techniques that work best for reading particular genres, such as practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science works.
Finally, the authors offer a recommended reading list and supply reading tests you can use measure your own progress in reading skills, comprehension, and speed.
Think you’ve got a book inside of you? Anne Lamott isn’t afraid to help you let it out. She’ll help you find your passion and your voice, beginning from the first really crummy draft to the peculiar letdown of publication. Readers will be reminded of the energizing books of writer Natalie Goldberg and will be seduced by Lamott’s witty take on the reality of a writer’s life, which has little to do with literary parties and a lot to do with jealousy, writer’s block and going for broke with each paragraph. Marvelously wise and best of all, great reading.
“Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he’d had three months to write. It was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother’s shoulder, and said, ‘Bird by bird, buddy. Just take it bird by bird.'”