The Anatomy of Story by John Truby


THE ANATOMY OF STORY is not for “pantsers” (writers who write without an outline). It’s an extremely technical manual for people who like to have their whole story planned out ahead of time, including every plot point, character change, motif and theme. Following Truby’s method will give you a detailed map of your entire plot.

The problem is, Truby’s method strips story down to bare mechanics, bleeding all the life out of it. I’m someone who loves to devote herself to an outline, and I found Truby’s method tedious, so I can only imagine what a seat-of-the-pants writer will think.

Truby makes some things more complex than they need to be, and some things just downright incomprehensible. For example, I never did get a handle on what Truby meant by “designing principle.” It seemed to be a mashup of theme and mythical structure. It’s a pretty useless concept anyway, as many books and movies have been written without the author knowing what the “designing principle” is supposed to be.

Truby is more sure-footed when he’s talking about setting and plot. His ideas are concrete with many examples. However, Truby shows what elements all stories have in common without ever explaining how to put those elements into practice. Describing what a good screenplay needs then giving examples of movies that worked well is not the same as teaching someone how to use those same elements in her own story. Writing is more than reverse-engineering from examples, no matter how comprehensive the examples.

THE ANATOMY OF STORY  is one of those neither-here-nor-there books. It might be useful for intermediate writers who have finished a few novels or screenplays and read a few other how-to books. But those same writers would quickly outgrow anything Truby has to teach. THE ANATOMY OF STORY might help a certain kind of writer (those looking for “the one true way”) but for most of us, it’s too rigid and more likely to frustrate than inspire.


THE ANATOMY OF STORY can be found here.


Rating: 2 stars


I recommend Save the Cat by Blake Snyder instead of this book.

Smarter Faster Better by Charles Duhigg


I enjoy general nonfiction books that demystify scientific research, especially when the author uses anecdotes to illustrate a point. I loved Duhigg’s previous book and thought SMARTER FASTER BETTER would be similar. I’m a writer who is trying to fit her creative life around other responsibilities, and I’m always looking for new productivity hacks, so the subtitle, “The secrets of being productive in life and business” appealed to me.

However, SMARTER FASTER BETTER isn’t a book about productivity. I’m not really sure what it is, except a collection of interesting narratives. Duhigg is a reporter for the New York Times and finding cool stories to report is what he’s trained to do. However, most of the time, I couldn’t figure out what idea the stories were meant to illustrate.

I don’t want my books dumbed down or explained point-by-point. But I want the examples to make sense. Even when I extracted meaning from the stories in SMARTER FASTER BETTER, the following chapter often contradicted what I’d surmised. For example, Duhigg insists that Saturday Night Live was so great because the cast members felt safe being in such a close-knit, stable group. However, he also states that the movie Frozen was creatively stuck until the Disney bosses shook things up by changing the dynamic of the team. So, which method produces hit entertainment?

Worse, at no time does Duhigg tell stories about people who stopped wasting time or put their time to better use (my definition of “productive”). The people he profiles—a poker champ, an airline pilot, the writers of Frozen—all worked extremely long hours to achieve success. They all put in an obscene amount of effort at the cost of personal and family time. That doesn’t sound smarter or better to me.

SMARTER FASTER BETTER has some good ideas in it, but they are crammed into a small appendix in the back. Duhigg explains that you need big goals, broken down into action steps. Those closest to the problem should have the decision-making power to solve it. The hardest part of any endeavor is getting started. Feeling in control will make you more motivated.

Nothing in this book is new, nor is it particularly interesting. This is probably why Duhigg relied on gripping stories of plane crashes, military intelligence failures, and high-stakes poker games to carry the book. They are wonderful tales well-told, but not something that will help anyone become more productive.


SMARTER FASTER BETTER can be found here.


Rating: 2 stars



I recommend Tell Your Time by Amy Lynn Andrews or Eat that Frog by Brian Tracy instead of this book.


Stein on Writing by Sol Stein


Sol Stein does not believe in encouraging writers. He’s here to teach, full stop. Stein has been an editor and a writer for years and clearly knows his craft, but in his desire to deliver straightforward instruction, he’s stripped out all the helpfulness as well. I always admire good practical instruction, but not when it’s delivered so harshly and dogmatically that I can’t take it in.

Stein is quite long-winded and it takes him forever to make a point, which is sad because he’s not saying anything new. Some say STEIN ON WRITING is “timeless” but that’s another way of saying it’s old hat.

Even so, STEIN ON WRITING is thorough and full of solid information and decent examples. He covers things like the intersection of character and plot, cutting flab during revision, the basics of good dialog, and the importance of suspense. He also shows how and when fiction techniques should be applied to non-fiction.

This is all important stuff that writers need, but it’s presented in such a condescending package I could barely get through it. The best teachers empower students, while Stein seems to find us hopeless. While reading STEIN ON WRITING, I got the feeling that Stein was sharing specific writing techniques not so that we can employ them in our own novels, but simply to show us how much he knows.

Writers pick up how-to books with a sincere desire to learn. I’m not asking to be coddled, but I don’t need to be talked down to, either. I’m a professional writer, and with so many how-to books already on my shelf, I have little time for books that don’t treat me with respect.


STEIN ON WRITING can be found here.


Rating: 2 stars


I recommend Writing The Novel From Plot to Print to Pixel by Lawrence Block or Writing Fiction for All You’re Worth by James Scott Bell instead of this book.

Story Logic and the Craft of Fiction by Catherine Brady


A friend once told me that in her MFA program, plot was a dirty word. When I read how-to books aimed at literary writers, I believe it. Literary writers emphasize pretty prose, without much thought about how to get from Once upon a time… to the end. STORY LOGIC AND THE CRAFT OF FICTION attempts to bridge that gap. It’s an admirable goal, but sadly, there is nothing new here. Even worse, Brady dresses up the information in that overblown, wordy style that academics are so fond of.

For example, she never uses so common a word as cliffhanger. She calls them “strategic postponements” and goes on to define them thusly:

Effective chapter divisions tend to splice plot at moments when literal discovery generates new pressure on characters–pressure that is only felt in the next chapter or chapters, that has yet to be acted upon, so that the action overflows the “frame” of the chapter.

Or when she is trying to discuss what to leave in and what to leave out, we get this:

When you write fiction, you are in the peculiar position of striving to discover and exploit multiple connections among the elements of a narrative and simultaneously working to submerge all surface traces of this coherent “argument.”


In addition to plot, Brady blunders through chapters on characterization and POV, although she seems more sure-footed when discussing things like imagery and setting.

The best section was on showing and telling. Brady breaks apart the “show, don’t tell” myth to discuss ways in which telling is useful and even necessary to a good story. Showing is for the important things, the main conflict. Telling is not. But besides being a bridge between chapters, exposition can also be used to establish intimacy with a character, raise the tension, and set up what’s to come. Brady gives decent examples of each technique, if you’re willing to wade through the jargon to find them.

Perhaps to Brady’s MFA students, the idea of plot is a new concept. But serious writers are also serious readers. We’ve been devouring stories our whole lives and don’t need a basic primer on how stories work. Dressing it up in academic speak doesn’t elevate it and won’t fool writers into thinking they’re getting new insights. I believe Brady can teach the craft of fiction at the sentence level, but her “story logic” leaves a lot to be desired.




rating: 2 stars



I recommend Techniques of the Selling Writer by Dwight V. Swain or The Complete Handbook of Novel Writing edited by Writer’s Digest instead of this book.

The Art of Subtext by Charles Baxter


Charles Baxter is an extraordinary writer. Let me just say that up front. The only time I would ever use a word like luminous is when I’m talking about Baxter’s books. In short, I’m a fan. And one of the things I like about his writing is the way he handles subtext–those moments in fiction where the implied is as powerful as the shown.

In THE ART OF SUBTEXT, Baxter gives an embarrassment of examples of subtext well done, proof that he is a careful and thorough reader. However, if you’re looking for practical advice about handling subtext in your own stories, you’ll have to look elsewhere.

Baxter discusses how writers set a scene–where objects and people are in relation to others. For example, a man towering over a woman implies one thing, crouching at her feet implies another. He also discusses a character’s wants versus his true needs, the tone people use when speaking to (or ignoring) each other, and how the description of faces affects our perception of characters. There were a few good ideas sprinkled here and there, but most of them were rather obvious and most were handled better in other how-to books.

Different books are meant for different purposes, and perhaps THE ART OF SUBTEXT was never meant to be more than a piece of literary analysis. (With a fair amount of “get off my lawn” sniping at the modern world for good measure.) I don’t want to criticize a fish for not knowing how to climb a tree, but I couldn’t help but be disappointed in this book. Baxter is, after all, a college professor, so I expected a bit of actual instruction along with all the theory.

While THE ART OF SUBTEXT is a good warm-up to get you thinking about the idea of subtext in your fiction, it’s truly more about reading well than writing well, and therefore does not offer much to the fiction writer.


THE ART OF SUBTEXT can be found here.


Rating: 2 stars


I recommend The Secret Life of Pronouns by James W. Pennebaker or Emotional Structure by Peter Dunne instead of this book.

Story Trumps Structure by Steven James


The title of STORY TRUMPS STRUCTURE certainly got my attention. I was interested in how discovery writers, or “pantsers,” write a successful book without an outline. James promised instruction, insight, and a way to turn traditional story structure on its head.

STORY TRUMPS STRUCTURE spends a long time convincing writers that structure isn’t as important as the story arc and the narrative flow. That is true. It’s also not something any writer would argue with. Even the most die-hard plotters treat outlines like the pirate code: more like guidelines than actual rules. I read on, hoping for the revolutionary insights that were sure to come.

And then, this:

“Regardless of how many acts or scenes your story has, for it to feel complete it’ll need an orientation to the world of the characters, an origination of conflict, an escalation of tension, rising stakes, a moment at which everything seems lost, a climatic encounter, a satisfying conclusion, and a transformation of a character.”

I did a double take. Did James just name everything he’s supposedly fighting against? By listing the things a story needed, he just explained story structure in a nutshell.

James spends the rest of the book going into detail about these story elements. He teaches the same principles that are in a hundred other books but has given them cool new names. He then denies that he’s teaching those very same principles. That’s like telling people to hydrate instead of drink water and then claiming to have a bold new health initiative.

Then James bemoans the fact that people aren’t taught to write organically. (Taught to write organically?) Writers don’t need instruction to open their computers and follow their muses. They need instruction on shaping the narrative to make it as effective as possible. There is a reason there are a hundred books about story structure including–make no mistake–this one.

This is not the first time I’ve encountered this kind of arrogance and hypocrisy. It’s sad, because STORY TRUMPS STRUCTURE is not a bad book for beginning writers. It’s just that there’s nothing new here, and giving the book an in-your-face title doesn’t hide the fact that James is teaching everything that’s been taught before, and taught better, by other writers.


Rating: 2 stars


I recommend Emotional Structure: Creating the Story Beneath the Plot by Peter Dunne or Techniques of the Selling Writer by Dwight V. Swain instead of this book.

What We See When We Read by Peter Mendelsund


Mendelsund is an art director at Alfred A. Knopf, so naturally he thinks visually. He has to depict an entire book in a single cover image, and since his career relies on this ability, he’s given it a lot of thought.

The central idea of WHAT WE SEE WHEN WE READ is that novelists don’t describe every physical feature of a hero the way they’d describe him to a police sketch artist. An author’s language is more figurative, evoking a picture through action and emotion. Therefore, is it any wonder that everyone visualizes characters differently? This “insight” is not groundbreaking, and Mendelsund never gets beyond this obvious assertion into anything noteworthy or useful.

WHAT WE SEE WHEN WE READ is heavily illustrated, but the pictures don’t add anything. They are mere gimmicks—things like movie stills or pages of text with most of the words blacked out or pages with a single word in a huge font.

The text is broken up with these heavy-handed visuals, making a murky book even murkier. WHAT WE SEE WHEN WE READ wanders all over the place, raising questions (“How do you know what Anna Karenina looks like?”) without ever giving answers. Mendelsund clearly did no research into neuroscience, psychology, or pedagogy to pinpoint what we actually see in our minds when we read.

Even on the level of a personal essay, this book doesn’t work. It’s like one of those late-night college gabfests when the beer is gone and the dorm is quiet and you have to get up in a few hours but the conversation is so interesting because at that point, even the most bland ideas seem profound.

There is nothing deep about WHAT WE SEE WHEN WE READ. Luckily, it’s a short book and I finished it quickly. Now I can turn my attention to a well-written novel. As I read, I will enjoy the unique pictures in my mind, knowing that I’m cooperating with the author in putting them there, which is a pleasant (but not amazing) thought.


WHAT WE SEE WHEN WE READ can be found here.


Rating: 2 stars


I recommend Writing for Emotional Impact by Karl Iglesias instead of this book.

Show Your Work by Austin Kleon


SHOW YOUR WORK is the follow-up to Kleon’s STEAL LIKE AN ARTIST. Like the first volume, this one is a tiny book with big font and lots of graphics. There aren’t many words on each page, so you’ll get a full dose of quotes and inspirational messages, but not much instruction or advice.

The book is divided into ten sections, each with a basic marketing message like “share something small every day” and “don’t turn into human spam” and “pay it forward.” Every bit of it is good advice, but none of it breaks new ground. I kept flipping the pages faster and faster, hoping to find the real meat of the book, but in the end, there was no there there. It’s marketing 101 dressed in a very hip package.

This book is fine for someone just starting out in the creative life and wondering how to make a living at it. If someone is completely new to selling their work, SHOW YOUR WORK will tell them what to do. However, it won’t tell them how to do it.


SHOW YOUR WORK can be found here.


Rating: 2 stars


I recommend The Author’s Marketing Handbook by Claire Ryan or Let’s Get Visible by David Gaughran instead of this book.

Habit Stacking by S.J. Scott


Take small habits. Gather them together. Make them into a routine.

That’s it. That’s the whole book. We all have little changes we’d like to make in our lives and incorporating them into a routine makes sense. I’ve got nothing against the idea; I’m just not sure why it’s a book. Perhaps, in other hands, it might have been a mildly interesting blog post.

Scott makes a list of ninety seven “small life changes” that the reader is meant to pick from when adding a new habit. The problem is, most of them are things we’re doing anyway. I don’t need to be told to drink water or make my bed or return a phone call. And I also don’t need to be told to put these things into a routine. Everyone who gets up in the morning and goes to work already has a routine. Children have routines. Retirees have routines. Anyone who wants to make a change will make a change by putting a new habit into her existing routine. Where else would it go?

Any functioning adult already knows everything in this book. There are a million ways to improve your habits and your productivity, but reading HABIT STACKING isn’t one of them.


HABIT STACKING can be found here.


Rating: 2 stars


I recommend The Power of Habit by Charles Duhigg or Eat That Frog by Brian Tracy instead of this book.




The Weekend Novelist Rewrites the Novel by Robert J. Ray


THE WEEKEND NOVELIST REWRITES THE NOVEL is the sequel to THE WEEKEND NOVELIST, which I found quite useful. In that earlier book, Ray took the huge task of writing a first draft and simplified it by breaking it into 52 parts, to be finished in a year of weekends. He tries to do something similar here, but instead of simplifying, he’s made rewriting so complex no one will do it. If I were a new author, I’d find Ray’s method too intimidating to try. Now that I am a seasoned author, I just find it silly.

Ray’s rewrite plan has seventeen steps. If you write only on weekends, it will take about four months to finish. But even then, you won’t be done because at that point, you’ve only restructured your novel. Ray’s plan leaves only two weekends to polish the prose.

The main problem with THE WEEKEND NOVELIST REWRITES THE NOVEL is that it breaks things down too finely. For example, Ray instructs writers to make a grid of every character who opposes the main character, detailing when they enter and exit the story, what their resources are, what object symbolizes them, and what they want. But really, only the last one is of any use. Once you know what the bad guy wants, and how it’s in opposition to the good guy, you know everything. This is just one example of the tasks Ray sets forth. Even if you had all the time in the world, there is no reason to do most of them. They are wasted effort.

I’m a person who loves story structure and loves rewriting. I color code my outlines and think of index cards as toys, yet I found THE WEEKEND NOVELIST REWRITES THE NOVEL tedious in the extreme. I’d rather spend my money on a better book and spend my time doing actual, productive work.




rating: 2 stars


I recommend Save the Cat! by Blake Snyder or Plot by Ansen Dibell instead of this book