Understanding Show, Don’t Tell by Janice Hardy

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This is the second book on this topic I’ve reviewed this year, but while Sandra Gerth’s how-to book is excellent, and a must-buy, Janice Hardy’s book could be considered the follow-up to it. UNDERSTANDING SHOW, DON’T TELL is extremely in-depth and will be useful for writers who want to go beyond the basics to take a detailed look at showing and telling in fiction.

Hardy starts by explaining why telling happens in prose, and how to watch out for subtle problems like the author filtering the experience, improper narrative distance, and naming a character’s emotions. Hardy’s explanations are filled with examples that perfectly illustrate her points as she shows writers how to spot telling in their own work. She examines telling trouble spots like backstory, description, and infodumps, and gives a list of red-flag words such as decided, tried, felt, or seemed.

Hardy’s chapter on the uses of telling, however, is a scant three pages long. It probably should have been longer, since there are areas where telling comes in handy and Hardy could have expanded on that point. Showing and telling need to work hand-in-hand to make a novel complete.

But most novels could use more showing and less telling, and Hardy is an excellent guide for fixing told prose. For every problem, she has a solution, and is right there with writers as they identify telling and convert it to showing. By going through all the chapters of UNDERSTANDING SHOW, DON’T TELL writers will be able to fix point of view problems, and get out of the characters’ way to let them tell the story. (Or rather, show the story.)

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UNDERSTANDING SHOW, DON’T TELL can be found here

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Rating: 4 stars

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This book is best for: advanced writers

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I recommend this book

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Note: Everyone is hurting right now, my household included, but lots of people are hurting more than me. Are you okay? I hope you’re okay. Please do NOT click on the ko-fi link on my sidebar this month. If you do, I’ll just spend it on something to ease my own anxiety, like buying yet another bottle of hand sanitizer for my mom. Hang onto your dollars this time, my friends. Take care of you.

 

 

5 Secrets of Story Structure by K.M. Weiland

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Not every how-to book is for every writer. That’s why my blog exists. But even knowing that, I’ve never had such mixed feelings about a book before. Depending on how far you are on your writing journey, and what kind of writer you are, 5 SECRETS OF STORY STRUCTURE could either be a rocket booster or blow up in your face.

5 SECRETS OF STORY STRUCTURE is ideal for people who have read at least one other book on story structure but still want a deeper dive into the topic, filled with the most granular details. If you’re the kind of writer who loves to outline, wants to know exactly which scene goes where, and has a bottomless appetite for plot dissection, this book will grow your writing craft by leaps and bounds.

However, not every writer works that way. If you’re a pantser who hates outlines, thinks story structure is a “formula,” and relies on good instincts for your plotting needs, you’ll find this book overwhelming and/or baffling.

Personally, I’m a planner. I embrace the power of story structure and rely on it for my novels’ success. Save the Cat is my bible and nothing thrills me more than a well-ordered outline. I liked 5 SECRETS OF STORY STRUCTURE a lot. This book gave me a deeper understanding of how and why stories work. It made me feel like I was building my own stories on a more solid framework.

Anyone who has read a single craft book knows about the big turning points that happen at every quarter, but Weiland goes beyond them to show what goes between those big plot points, and why. For example, Weiland introduces the concept of pinch points, which are exciting scenes in the middle of each act that serve as a reminder of what’s at stake. Weiland also shows how character change and growth are integrated into plot structure, and she explains it better than anyone else.  Too many books about plot ignore character change and vice-versa. Weiland knows the importance of both.

However, I was frustrated by the fact that all of Weiland’s examples were from movies. Not even books that had been turned into movies, but actual original screenplays like Captain America: The Winter Soldier and Ice Age. She quotes the great screenwriting teachers Syd Field and Robert McKee, and includes an exhaustive breakdown of one of the most overused and cliché examples possible: Star Wars. Weiland even tells writers to watch the facial expression of actors in movies for clues about story pacing. 5 SECRETS OF STORY STRUCTURE is a book about writing novels, not screenplays. The mediums are very different, so using all movie examples and zero novel examples made no sense.

5 SECRETS OF STORY STRUCTURE is going to be a love-it-or-hate-it book. For a certain kind of writer, this will feel like being given the Rosetta Stone. For a different kind of writer, this is going to feel like  a warped party game where everyone pretends to be in the writer’s room on a film set while playing pin the tail on the donkey.

If you think this book is for you, you’re probably correct. If you think it’s not for you, you’re probably also correct. 5 SECRETS OF STORY STRUCTURE is very short and the ebook is currently free, so if you’re not sure, this is an ideal time to check it out for yourself.

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5 SECRETS OF STORY STRUCTURE is available here

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Rating: ??

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This book is best for: advanced writers

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I recommend this book or Save the Cat Writes a Novel by Jessica Brody or Plot and Structure by James Scott Bell.

On Cussing by Katherine Dunn

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I adore creative swearing. I love when someone drops a curse word in just the right place, or wields forbidden language like a dagger, or goes poetic with a long string of swear words. I love naughty language used for humor, because I’m secretly twelve and I think a well-deployed f-bomb is funny.

Dunn thinks so too. ON CUSSING is a celebration of taboo language, covering the history and neuroscience of swearing while also giving plenty of examples of how to do it well. At a short 70 pages, ON CUSSING is like good cussing itself—it makes its point without any wasted words.

At their core, curse words are emotional. Some scientists think they’re even processed in a different part of our brain. Their connotations are blasphemous or sexual or just plain filthy. These words don’t add much grammatically to a sentence. Most sentences would make just as much sense without them. But boy, do they pack a punch. And therefore, Dunn argues, these words need to be used carefully.

Curse words can be used to complain, to threaten, to solidify an oath, to lay on a curse, to insult, and to emphasize. Dunn gives examples of each, along with instruction on how to make it your own. Cussing needs to fit the character, the tone of the book, and the time period. Different eras had different curse words. Something we think of as mild would shock our ancestors, and vice-versa.

Dunn includes excerpts from classic books, although I didn’t find these very helpful. She also cautions against using curse words carelessly. There is, after all, a time and place, even for a well-deployed f-bomb.

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ON CUSSING can be found here

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Rating: 4 stars

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I recommend this book

Show, Don’t Tell by Sandra Gerth

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“Show, don’t tell” is something that every writing instructor says. It’s repeated so often because it’s the thing that beginning writers struggle with the most. Even when we understand the concept, applying that concept to our own work is difficult. Even more difficult is knowing when to show and when to tell.

SHOW, DON’T TELL is a powerful solution to this common problem. In this short book, Gerth explores every facet of storytelling to explain how to show a story instead of telling it. Gerth begins with definitions to give a writer a firm grasp on exactly what showing is. Details, not conclusions. Concrete, not abstract. Dramatization, not summary. She explains how to get the reader up close and personal with the story and why it’s so necessary to do so.

Once a writer has identified the telling in her manuscript, Gerth gives examples and exercises to convert that telling into showing, concentrating on trouble areas like backstory, dialogue, description, and emotion. She gives before-and-after examples, helping writers truly see how it’s done.

Many how-to books include exercises that are meant to be done for their own sake, which is fine. Writing requires practice. But most writers will skip those kinds of exercises in the belief that theory is enough. The exercises in SHOW, DON’T TELL, however, are meant to be done on a writer’s own work in progress, specifically chapter one. Gerth shows writers how to fix their own prose, giving the exercises an immediacy that is extremely useful.

Of course, stories shouldn’t be a hundred percent showing, either. Telling is sometimes the better choice, and Gerth wraps up SHOW, DON’T TELL by detailing the uses of narrative. Telling is useful for things like transitions, repeated information, and unimportant details.

Showing is like a spotlight, focusing reader attention on the important events of a story. When a writer has complete control over her narrative, she will use that power wisely—showing the important things, telling the less important parts, and skillfully weaving foreground and background to create a harmonious whole. SHOW, DON’T TELL is the perfect guide for this essential writing skill.

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Show, Don’t Tell can be found here

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Rating: five stars

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This book is best for: beginning writers

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I recommend this book

 

Spider, Spin Me a Web by Lawrence Block

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Back in the 1980s, Block wrote the “fiction” column for Writer’s Digest, sharing short essays about the writing craft and a writer’s life. SPIDER, SPIN ME A WEB is a collection of some of those columns, first published as a book in 1988. At last, it’s now available as an audiobook, read by Richard Neer, who reads with a delightful cadence and knows exactly how to deliver Block’s wry humor. The material itself isn’t new, but Block’s advice has aged well, and SPIDER, SPIN ME A WEB can hold its own against newer how-to books on the shelves. In many cases, Block’s classic instruction is better than the new stuff.

SPIDER, SPIN ME A WEB is divided into four sections. The first two deal with the nuts and bolts of fiction writing. Block covers things like the use of flashbacks, how to incorporate backstory, techniques for sex scenes and fight scenes, and how to make a reader identify with your characters. The second two sections are about a writer’s mindset and lifestyle. Fear, procrastination, and perfectionism all get a chapter here, and Block also discusses rejections, budgets, schedules, and how to believe in yourself.

Block often pretends he’s addressing a room full of students, even giving them names and allowing them to ask questions. But reading SPIDER, SPIN ME A WEB never feels like sitting in a classroom. It feels like grabbing coffee with a friend. Block offers gentle advice based on his own experience, and he’s more interested in giving options than giving a to-do list. His advice is practical, inspirational, and is delivered with warmth and wit.

I’m also surprised at how timeless it all is. Yes, there are references to typewriters and photocopies and print magazines and waiting on editors and other things that modern writers simply never deal with. But I found it charming. And the lessons still apply, even if the examples Block uses are outdated. He goes on at length about buying the best typewriter paper he can afford, but what’s important about that story isn’t the paper. It’s the idea of valuing yourself as a writer—of putting your writing first.

Block is an icon in the writing community, and every writer I know looks up to him—for good reason. Whenever I review one of Lawrence Block’s books on the Writing Slices blog, I get lots of comments from writers who say that Block was their first writing teacher—either through his magazine columns or his how-to books. Those comments always make me smile, and I always respond the same way. “He was my first teacher too,” I say. “It looks like we both started in a good place.”

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SPIDER, SPIN ME A WEB can be found here

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Rating: 4 stars

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This book is best for: beginning to intermediate writers

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I recommend this book

Hook Your Readers by Tamar Sloan

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The subtitle of HOOK YOUR READERS promises “12 Proven Strategies to Write a Best-Selling Book.” But what Sloan delivers are twelve things that all novels have in common, whether they are bestsellers or midlist novels. Things like conflict, emotions, a hero who wants something, questions, and plot twists are things that all fiction has, so it’s silly to claim that they are unique to bestsellers.

Nobody will be amazed that novels need conflict. Nobody will be surprised that novels need strong emotion, but Sloan acts as if these are groundbreaking insights. In scant chapters of just a few pages each, she sketches out her twelve “discoveries,” illustrating them with snatches of bestselling novels to prove her points (that didn’t need proving).

There isn’t any instruction in this how-to book. Telling a reader that books need conflict and then showing them an example of conflict doesn’t provide any instruction whatsoever. There are exercises at the end of every chapter, but—again—they teach how to describe fiction rather than produce fiction.

Sloan is a psychologist, and has attempted to apply her training to an instructional how-to. The problem is, knowing why something works is not the same as being able to teach others how to do it. And having extremely shallow material means she doesn’t have anything to teach anyway.

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Hook Your Readers can be found here.

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Rating: 2 stars

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I recommend Hooked by Les Edgerton or Hit Lit by James W. Hall instead of this book.

 

The Last Fifty Pages by James Scott Bell

 

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Starting a novel is easy. Ending one is hard. Bringing a narrative of 70,000+ words to a satisfying conclusion is a high-wire act that demands an epic showdown, deep character change, tying up loose ends, and an emotional resolution. No wonder every writer has files of half-finished manuscripts on her computer.

But Bell is here to help. THE LAST FIFTY PAGES zeroes in on that all-important third act. Bell discusses the mechanics of endings, which most writers already know how to do: good guy and bad guy face off, one of them wins. But Bell goes far beyond the mechanics. He’s more interested in the purpose of endings. Tying up the plot is only a small part of that.

Bringing things to a satisfying conclusion means looking through the novel for moments of character change, and then amplifying them at the last moment. Bell gives examples from stories that work, from Huckleberry Finn to the Maltese Falcon, showing examples of this technique done well. Character change is what gives the ending—and the entire novel—emotional resonance.

Bell also discusses the different kinds of endings. Different genres have different requirements for their endings and one size does not fit all. Sometimes the protagonist wins. Sometimes she loses. Sometimes she wins but at too high a cost. Sometimes she loses one thing but wins another. Bell uses examples of well-known books and movies to illustrate his points. I’m a big fan of well-chosen examples, since that’s how I learn best.

Bell has a short chapter on ending blunders, but does not dwell too much on it, which I also appreciate. It’s important to know what not to do, but instructors need to go beyond that, to teach writers what they should do instead, and Bell really delivers here.

There are numerous ways to get to those magical two words: the end, With THE LAST FIFTY PAGES along as a guide, a writer will get there, and she’ll make herself—and her readers—happy along the way.

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THE LAST FIFTY PAGES can be found here.

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Rating: 4 stars

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This book is best for: intermediate writers

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I recommend this book