Amazon.co.uk
Sol Stein likens the reader of fiction to a baseball fan. The "tension, suspense, anxiety and pleasure" a spectator experiences are "all the things readers hope for when they turn to a novel". In
How to Grow a Novel Stein coaches fiction writers in providing exactly those things for their readers. First off, says Stein, you must write what you read; don't try to pull off a romance novel if you are a student of serious literature, or a literary masterpiece if you thrive on thrillers. With that in mind, Stein gears his book towards both "those who are trying to write a good book and those who are trying to write a good read". Most of
How to Grow a Novel delineates what Stein considers to be a writer's obligations to his readers. A writer, he says, should be "amusing, entertaining, interesting", should create characters with character and should maintain interest primarily by "never tak[ing] the reader where the reader wants to go". Stein illustrates his points with examples from his own experiences as a novelist and as a fiction editor.
The final section of the book is devoted to the responsibilities of the publisher. Any but the most stalwart writer can't help but be disheartened by the book business. It has often been said that a publisher determines a book's fate--barring a miracle--long before it is even released, by the funds allocated to publicise it. Stein takes this one step further, positing that a book's positioning is determined "when the agent submits it for consideration ... There are reportedly nearly a thousand literary agents in North American alone, but fewer than a dozen have clout".
Still, take heart, and try to enjoy the process. "Writing is the second most exciting activity a higher power invented for human beings", says Stein. "And when you get to your eighties, it's the first most exciting activity". --Jane Steinberg
Amazon.com
Sol Stein likens the reader of fiction to a baseball fan. The "tension, suspense, anxiety, and pleasure" a spectator experiences are "all the things readers hope for when they turn to a novel." In
How to Grow a Novel, Stein coaches fiction writers in providing exactly those things for readers. First off, says Stein, you must write what you read; don't try to pull off a romance novel if you are a student of serious literature, or a literary masterpiece if you thrive on thrillers. With that in mind, Stein gears his book toward both "those who are trying to write a good book and those who are trying to write a good read." Most of
How to Grow a Novel delineates what Stein considers to be a writer's obligations to his readers. A writer, he says, should be "amusing, entertaining, interesting," should create characters with character, and should maintain interest primarily by "never tak[ing] the reader where the reader wants to go." Stein illustrates his points with examples from his own experiences as a novelist and as a fiction editor.
The final section of the book is devoted to the responsibilities of the publisher. Any but the most stalwart writer can't help but be disheartened by the book business. It has often been said that a publisher determines a book's fate--barring a miracle--long before it is even released, by the funds allocated to publicize it. Stein takes this one step further, positing that a book's positioning is determined "when the agent submits it for consideration.... There are reportedly nearly a thousand literary agents in North American alone, but fewer than a dozen have clout."
Still, take heart, and try to enjoy the process. "Writing is the second most exciting activity a higher power invented for human beings," says Stein. "And when you get to your eighties, it's the first most exciting activity." --Jane Steinberg
