non-fiction

Let’s Get Digital: How to Self-Publish, and Why You Should by David Gaughran

My rating: 4 of 5 stars

For the most part you can just check out my review of the Third Edition of the book–everything I liked about it has been kept in the fourth edition, so I’ll mainly focus on the changes.

The biggest is that the entire book has been rewritten, so it is not merely updated, but now reflects the market as of 2020, with Gaughran offering additional wisdom he’s gathered in the years between editions.

The comprehensive resources have now been moved from the book to a specific area of his website, which allows Gaughran to continuously update them–a welcome improvement that ironically makes the book more useful even as you set it aside.

Gaughran does make a few assertions that he had not previously (or at least that I don’t recall). The biggest, for fiction writers, is that he flat out says you should write series. It’s just the way of fiction now, and unless you’re already a well-established author or writing non-genre fiction, he maintains it pretty much cannot be avoided. He presents clear arguments for this, but it still makes me sad, because I love one-off stories and prefer them to series. He softens the blow a bit by saying that a series does not have to be literal sequels, but can simply share the same setting or characters.

As with previous editions, Gaughran keeps the tone light but the advice is serious, well-researched and backed by his own experience and the experiences he has heard from other authors.

If you are interested in self-publishing or have just started dipping your toes into the experience, Let’s Get Digital is and remains an excellent introduction to new authors. As before, highly recommended.

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Save the Cat! Writes a Novel by Jessica Brody

My rating: 4 of 5 stars

The Save the Cat series of books is aimed primarily at screenwriters, but in this case Jessica Brody has reworked the formula for novel writing.

The book, as befits one concerned about plot, is well-structured, with sections designed for easy reference after the initial read-through. At its core, Brody puts forward that there are 10 core plots that are used in pretty much all successful stories (note that this success is oriented toward readers more than critics, hence the inclusion of novels that have received what some might call unkind reviews, such as Dan Brown’s The Da Vinci Code.

In the first chapter Brody describes how we are wired to respond to certain types of stories and covers the usual concerns over “How can I be daring and original if I’m following a strict plot outline?” by saying nothing is really original, but all authors have their own voices and style that separate them from other writers.

The next ten chapters are devoted to an explanation of the specific plot type, covering three essential requirements for each, followed by a “beat sheet” (beats are a big thing in the Save the Cat world) for a specific novel, explaining how it conforms to the particular plot type in question. This is followed by an even more precise summary of the beat sheet, handy for quick reference.

The final chapter is a general set of common questions Brody has addressed in related workshops, along with answers, ranging from the basics of “Where do I start?” to handling multiple narratives. Brody also provides templates on a website that serve as virtual corkboards for plotting (for those who don’t want to use actual corkboards). In all, the information is detailed, but presented in a light, informal style that will be easily accessible to young or new writers, as well as those who have yet to plot their way out of the proverbial wet paper bag.

You can get an idea of the tone of the book by observing some of the plot types discussed:

• Whydunnit
• Dude with a Problem
• Buddy Love
• Monster in the House

All of this may sound very rigid–and it is. Brody does allow that some bending of the rules may be allowed, but that overall these plots, their associated acts, scenes, and overall beats, must be followed to achieve the effect they are meant to have on that primitive part of our brain that responds so well to structured tales.

If you believe in the power of plotting, this is an excellent primer on how to write a novel using any of the ten specific plots discussed. As Brody mentions, it also works well for those trying to fix a work in progress.

For new writers or those who have a tendency to send their initially sound novels upon the rocky shoals of “I don’t know what happens next”, this is recommended.

P.S. “Save the cat” is a reference to how an unlikable main character should do something to show they have a good side or some merit, such as…saving a cat.

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Dear Writer, You Need to Quit by Becca Syme

My rating: 3 of 5 stars

I have read so many books on writing without writing that I feel it’s become my official career to write about books about writing.

Dear Writer, You Need to Quit is a good book about writing and manages to put a bit of a unique spin on the usual advice. Instead of addressing story structure, plot, characters and other mechanics, or providing the nitty gritty about finding a good agent or other specifics of the business of writing, Becca Syme instead tackles the things a new or indie writer needs to quit doing–including up to the possibility of not writing anymore.

It’s a light read and the tone is conversational–perhaps a bit too much at times–and the way Syme repeats key phrases, like “QTP” (Question The Premise) makes sections of the book feel more like a transcription of a class or talk (which it is, more or less, based on material she uses in coaching sessions and classes). On the plus side, this lends a kind of authenticity to the topics, as Syme isn’t just writing what sounds good, she’s providing advice based on her own experiences with authors. As a bonus, she is not afraid to point out where she has plainly blown it herself.

A lot of the book is built around tempering expectations and looking after yourself while pursuing the dream of making a living as a writer. Syme flatly states that for most people that this will not happen. Don’t quit your job is not a cliché here, it is a repeated mantra. Chapters are spent framing writing as a hobby you might make a little money from, but that’s all. Do it because you love it, but work it into your existing routines, don’t forfeit your job, time and money pursuing a dream that is unlikely to come true.

That sounds like a downer, and Syme admits as much–that if you don’t have the drive, it’s perfectly fine to just quit writing altogether.

She does address more specific topics, too, taking on the idea that you must plot out your story first (or just improvise and never plot), pulling back to essentially say what works for one writer may not work for you. Do what works for you.

In all, this is a breezy and eminently sensible set of tips on how to tackle the writing life. While it seems aimed at indie writers who have a few published novels already, new writers will benefit from at least considering the advice on offer.

Recommended.

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The Liar’s Bible: A Handbook for Fiction Writers by Lawrence Block

My rating: 3 of 5 stars

Anyone looking for nuts and bolts advice on writing should be warned that this is a collection of some of Block’s fiction columns from Writer’s Digest, and as such they sometimes provide instruction or advice, but sometimes Block just takes you along on his musings about the writing life.

It’s probably also relevant to add that the columns in question date from 1981 to 1987. He mentions typewriters a lot.

And that is probably what I enjoyed most about the book. Some of the writing advice is obviously dated–he has a wonderfully detailed column about self-publishing his own book that isn’t particularly relevant to how self-publishing works in the 2010s, but Block has such an affable style that the column still entertains.

The columns also serve to paint a portrait of the author as he draws extensively on his own experience writing and publishing–he had been in the business about 25 years at the time these columns were new–and in a way, this makes the pieces serve as a kind of memoir. Block recounts his early days writing soft porn novels, confesses to questionable behavior in his youth, details his fights with editors, agents and others, and regularly reminds the reader that what works for him may not work for them and to adjust as needed.

If you want a no-nonsense book about writing full of advice on plot, pacing, story structure, characters–you will find that here, to a degree. But more than that, you will get a good glimpse into the life and habits of a particular writer, and a snapshot look back at what the writing life was like in the 1980s.

I wouldn’t recommend this as your first book on writing advice, but I would recommend it as one of the books to check out.

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