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Essential reading for the creative writer. Award-winning novelist Samuel R. Delany has written a book for creative writers to place alongside E. M. Forster's "Aspects of the Novel" and Lajos Egri's "Art of Dramatic Writing". Taking up specifics (When do flashbacks work, and when should you avoid them? How do you make characters both vivid and sympathetic?) and generalities (How are novels structured? How do writers establish serious literary reputations today?), Delany also examines the condition of the contemporary creative writer and how it differs from that of the writer in the years of Hemingway, Fitzgerald, and the high Modernists. Like a private writing tutorial, "About Writing" treats each topic with clarity and insight. Here is an indispensable companion for serious writers everywhere.
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9 reviews
20 of 22 people found the following review helpful
Brilliant, astringent, yet leavened with a generous humanity.
12 Jan 2006
Format:Paperback|Amazon Verified Purchase
Delany has one of the most penetrating minds of anyone writing in English. This book should be a first resource for anyone considering writing novels--Delany discusses it as the serious pursuit that it is. I find myself reconsidering many aspects of my own writing, and not always comfortably. I'll be a better writer for it.
16 of 17 people found the following review helpful
An amazing, difficult, worth it writing book
7 Mar 2006
Format:Paperback
I had the pleasure of reading this book before it reached the final draft. I have found the book almost as valuable as the teaching I recieved from the man himself. Though this is not a book for the light reader, if you give it time Delany will reveal many truths about writing and writers. Yes, it's academic, because this book is aimed at those who seek to become writers, and that is as much an academic pursuit as an artistic one. Delany won't coddle you and won't give you feel good platitudes about what it takes to be a writer. What he will give you is a solid basis for starting a writing career. It's not a pretty road to travel, and certainly not an easy one. This is an excellent roadmap.
6 of 6 people found the following review helpful
A great reference tool for the serious writer
28 Nov 2008
Format:Paperback
For writers, About Writing is a drop-everything-and-read-right-now kind of book that can be used while you're going over your outline, while you're writing a scene or a chapter, and while you're revising that scene or chapter. This is not the kind of book you'll want to wait until the end of writing to read, rather you should consider using About Writing as a reference during the process. For teachers, his Introduction, essays, and appendix could be useful tools in an intermediate to advanced fiction writing course--although not as hand outs but as points of discussion.
Do not skip the Preface or the Introduction, as both are packed with ideas on good writing versus talented writing, which will make you study each paragraph of your writing for clarity and language. Of his essays, "Some Notes for the Intermediate and Advanced Creative Writing Student" is the most inspired and inspiring. This essay is on narrative structure, but more than that, it is about breaking away from the formulaic narrative structures that can hold a novel to mediocre writing. He advocates knowing the old structure in order to revise or subvert it. He makes a point of differentiating plot and structure: "Plot exists as a synopsis that often has no correspondence to text.... Structure exists, however, only in terms of a particular text, so that to talk about it in any specificity or detail you must constantly be pointing to one part of a page or another, at these words or at those: structure is specifically the organization of various and varied textual units." (p. 144)
Of his letters, read Letter to Q--. It is a criticism of Toni Morrison's Bluest Eye, from the intention of the writer to the failure of the historical milieu to the biased discussion on intra-racial discrimination. It's a brilliant rant: "I begrudge no one his or her enjoyment of Morrison's novel. Still, I feel obliged to say: If a reader thinks this story gives an accurate or even a meaningful portrait either of the subjective lives of dark-skinned black or of light-skinned blacks, that reader knows none of us. And that goes for black readers as well as white." (p. 176)
His interviews were included because he sees them as a form of written work, because he received the questions in writing and answered them in writing. This section could have been strengthened with the interview, "Black to the Future," which discusses William Gibson's critically acclaimed and popular Cyberpunk novel, Neuromancer.
About Writing ends with an appendix on various topics, from POV to punctuation to a discussion of the axiom: write what you know. If you only read the appendix, you'd still be better off now that where you were as a writer before.
The primary strength of About Writing is the many ways Delany discusses writing from the point of view of writer, reader, a teacher, and a critic.
The primary weakness is that the package deal of Delany's experience, success, and knowledge comes with a tone that can be off-putting, a tone supported by his edict in the Preface that only serious writers should read About Writing.
Do not skip the Preface or the Introduction, as both are packed with ideas on good writing versus talented writing, which will make you study each paragraph of your writing for clarity and language. Of his essays, "Some Notes for the Intermediate and Advanced Creative Writing Student" is the most inspired and inspiring. This essay is on narrative structure, but more than that, it is about breaking away from the formulaic narrative structures that can hold a novel to mediocre writing. He advocates knowing the old structure in order to revise or subvert it. He makes a point of differentiating plot and structure: "Plot exists as a synopsis that often has no correspondence to text.... Structure exists, however, only in terms of a particular text, so that to talk about it in any specificity or detail you must constantly be pointing to one part of a page or another, at these words or at those: structure is specifically the organization of various and varied textual units." (p. 144)
Of his letters, read Letter to Q--. It is a criticism of Toni Morrison's Bluest Eye, from the intention of the writer to the failure of the historical milieu to the biased discussion on intra-racial discrimination. It's a brilliant rant: "I begrudge no one his or her enjoyment of Morrison's novel. Still, I feel obliged to say: If a reader thinks this story gives an accurate or even a meaningful portrait either of the subjective lives of dark-skinned black or of light-skinned blacks, that reader knows none of us. And that goes for black readers as well as white." (p. 176)
His interviews were included because he sees them as a form of written work, because he received the questions in writing and answered them in writing. This section could have been strengthened with the interview, "Black to the Future," which discusses William Gibson's critically acclaimed and popular Cyberpunk novel, Neuromancer.
About Writing ends with an appendix on various topics, from POV to punctuation to a discussion of the axiom: write what you know. If you only read the appendix, you'd still be better off now that where you were as a writer before.
The primary strength of About Writing is the many ways Delany discusses writing from the point of view of writer, reader, a teacher, and a critic.
The primary weakness is that the package deal of Delany's experience, success, and knowledge comes with a tone that can be off-putting, a tone supported by his edict in the Preface that only serious writers should read About Writing.
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