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How Fiction Works
Format: Paperback|Change
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on 19 February 2014
This book encouraged me to read more books. A series of concise and clear lessons on how to appreciate the creative process of writing.
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on 12 September 2013
There are others but this gives great insights others don't. I thought it was especially good for differing writing styles.
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on 27 May 2014
Very good book. I would recomend this work to anyone embarking on a study of literature or who is consdering a writing carreer
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on 11 December 2013
An excellent user-friendly book that outlines clearly the way in which to develop style. my guide now. every writer should have it.
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on 19 January 2013
Whether you are learning to write or whether you are already a writer, this book will show the little things that make certain works of fiction the masterpieces that they are considered today. A great read. I wish there was more of it.
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on 4 August 2013
Very well written. interesting for booklovers, writers etc. I recomend it for every body with an interest in novels and ficition
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on 30 April 2011
It is a great reference book, particularly for the sections on free indirect discourse point of view and character creation.
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on 2 April 2009
An engrossing examination of the writers art, and a must read for anyone with a love of books and writing. James Wood explores classic and modern writers and their works to divine the essence of what makes great literature - looking at narration, detail, dialogue and other characteristics that make up a novel. This illuminating and erudite study of fiction should be read by all aspiring authors and book worms who ponder over the elusive qualities that create great literature.
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on 28 August 2009
I enjoyed this review of writing styles very much. The author opens up and displays the very obvious but craftily hidden techniques of the great novelists, focusing on the concept of voice - who is speaking and how. The book opened my horizons and may make me a better writer, too.
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on 3 May 2016
From the description and the other reviews I expected much more of this. It started well but the more I read of it the more I felt the author simply wanted to air his own views, quite possibly well-founded, but somehow he didn't seem to think it necessary to support his opinions with a wealth of examples. Surely any teacher or critic of literature should not only be able to do so but should also understand that opinions without adequate evidence are rarely convincing. It was almost as though he were addressing a common-room of colleagues, so he felt that they should identify all the specific examples for themselves - and if they couldn't, they did not deserve his further consideration. I don't presume to contradict his ideas, but feel that as part of his target audience I was not presented with a clear and well-argued case that I might readily agree with.
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