| List Price: | |
| Price: | $14.00 & eligible for FREE Super Saver Shipping on orders over $25. Details... |
| You Save: | $0.00(0.00%) |
| Binding: | Kindle Edition |
| EAN: | |
| Feature: | |
| Label: | Vintage |
| Publisher: | Vintage |
| Studio: | Vintage |
| Tags: |
Editorial Reviews
"John Gardner was famous for his generosity to young writers, and (this book) is his . . . gift to them. The Art of Fiction will fascinate anyone interested in how fiction gets put together. For the young writer, it will become a necessary handbook, a stern judge, an encouraging friend."--The New York Times Book Review.
From the Trade Paperback edition.
From the Trade Paperback edition.
Related Reviews
Still relevant for writers today
The best Creative Writing text book there is.
I bought this book about ten years ago; it was the text book in an undergrad Creative Writing class. It wasn't until last year that I really read it. I have just finished reading it again for the second time.
I think that all of Gardner's advice for beginning writers is valid. I was shocked at the negative reviews that some other readers have posted. They find fault with Gardner because he makes reference to classic works of literature. First off, one does not have to have read EVERY book that Gardner makes reference to in order to understand his point.
What shocks me is that people seem genuinely offended that Gardner thinks that aspiring writers should read! EVERY creative writing teacher expects his students to read as much good literature as possible. Why is this? Because IT IS IMPOSSIBLE TO BE A GOOD WRITER UNLESS ONE IS WELL READ. You don't believe me - just ask Stephen King. If you are offended that Gardner expects you to be familiar with names like Hemmingway and Faulkner, you should be ashamed of yourself.
The elitism argument isn't even supported by the text. Sure he talks about Homer and Shakespeare, but he also comments that great writing can also be found in Spider-Man comic books and other unlikely sources. (I am comforted because the negative reviews themselves are not very well-written.)
These are dangerous times we live in. People no longer want to hear that they can't just pick up a pen and be the next Fitzgerald. And who's to say that Fitzgerald is any better than James Paterson, say? It's all relative, is it not?
It is not.
This is a book for the serious writer - for ANY writer who wishes to write better. In order to do that, one must do the work. If this book makes writing sound like a hard thing to do, that is because WRITING IS A HARD THING TO DO. If it is not, you are doing it wrong.
Gardner covers all aspects of fiction techniques: plot, style, genres, voice - everything a beginning writer NEEDS TO AT LEAST CONSIDER. If you don't like this book, find another book on the art of fiction...but I fear you will have the same reaction. Any creative writing book worth its salt will offer the same advice.
Absolutely and unequivocably the best
I wish this book didn't specify young writers in its subtitle because that's likely to turn away older writers if they haven't heard about Gardner and his books. That would be quite a loss but for Gardner and the readers.
As a published author of many book reviews as well as magazine articles and newspaper pieces, I was at a loss as to where to turn when I needed advice on writing fiction. My solution was to take a course and this book was the required reading. Otherwise I would have overlooked it since I would in no way classify myself as young.
It's simply one of the best books available, especially for those who want to write literary fiction and who care about the quality of his/her writing. Character building, plotting, vocabulary, sentence structure, style and the idea of fiction as a dream are studied in depth here. It is a book to be studied and re-studied, read and re-read, for as the reader practices writing fiction and gains more experience, there's more to be found.
At the back of the book there are exercises. These are best done in a group so that you can get the benefits of others' critiques. The concepts here are deep and often open to more than one interpretation -- those come out in a group setting.
Read carefully. Be sure you understand the subtleties of what he's saying. If you give this one a shallow reading, you're likely to misinterpret. If you do, you'll loose a lot.
I'd put this at the top of my favorites books in a list of books for writers along with Jack Bickham's, Dwight Swain's and Gary Provost's books on the craft.
Sensitivity, not simplification
This is no easy read (especially for a non-native speaker like me), but it's worth the troubles. As some other reviewer mentioned the language doesn't really flow, but this in part due to the deepness of thought contained in each paragraph. You can't just scan this book in some hours (like other books on creative writing I've skimmed through); only by reading carefully and slowly (as I was obliged to by my lack of English fluency...) you will enjoy Gardner's artistic sensitivity. All right, he is a literary snob as someone wrote - but there are too many others who make art look like something that can easily be described with some simple recipes. Gardner's true love for literature shows in every sentence and it's probably exactly his meaning of literary "truth" that makes him difficult to read sometimes. Other books I've read on the topic left me with a feeling of oversimplification, of missing the point by showing just the surface of the literary process. "The art of fiction" provides what its title promisses: an inspiring introduction to the ART of WRITING. And this means that this is neither another book on the theory of literature nor some Reader's-Digest-like "How to write a novel in ten steps" but a book on the THEORY of WRITING. I do not know of any other book that shows the literary process in such a sensitive way. If you're offended by the word theory, know that the exercices at the end of the book are extremely helpful and intelligent. They shed light on practical AND conceptual problems (and possibilities!) you maybe wouldn't have thought of without doing them. Great book.
This book explained to me why there are books I pick up and immediately put back down, why there are books I loose sleep just to read, and why there are books that I have to put down in order to think.
It's also the first book on writing I've ever read that explains (so I can understand) about texture, layering, symbols, integrating all that, and how to rewrite smoothly, and how to give a story more depth. I feel like I can write now, without feeling so lost.
On-the-level advice for aspiring fiction writers
John Gardner has created an excellent resource for aspiring fiction writers who want to know how to write well. Gardner is direct in his tone, providing his readers with upfront and honest advice about what makes good fiction writing.
Gardner describes fiction as a dream world into which the writer takes the reader. His ultimate advice is to always consider the flow of the dream, and to be wary of any pitfall that might awake the reader from the story. He discusses such issues as style, grammar, plotting, and how they are necessary and contribute to excellent fiction writing.
The book closes with a series of exercises, a set for groups and a set for individuals, that provide an excellent jumping point for developing the superior writing skills that Gardner tries to teach.
Gardner describes fiction as a dream world into which the writer takes the reader. His ultimate advice is to always consider the flow of the dream, and to be wary of any pitfall that might awake the reader from the story. He discusses such issues as style, grammar, plotting, and how they are necessary and contribute to excellent fiction writing.
The book closes with a series of exercises, a set for groups and a set for individuals, that provide an excellent jumping point for developing the superior writing skills that Gardner tries to teach.
Gardner's ideas are important considerations for the beginning writer, and important refreshers for the established writer. If you want to learn how to write fiction, but only want to buy one book on how to write, this is the one.
What most people don't know about good writing could fill a book. This is probably that book. If you're considering purchasing it, don't hesitate. 'The Art of Fiction' is worth any price if you honestly want to learn to write. Gardner is the most readable authority. However, I offer one warning: His mathematical explanation of plotting profluence is cold. Profluance can be achieved more organically, I believe, and the process of artificially constructing emotive 'triggers' (as will be plain all over 'Grendel' after reading his instructional book) is, to use Gardner's own term, a little frigid. But then again, if it hadn't been for John Gardner, I might never have become that sensitive to linguistic nuances. Get this book, buy it for anyone who you believe wants to write. But do not be wooed into thinking John Gardner's mastery can be your own. 'The Art of Fiction' is a path, not a destination.
Okay, first the negatives. Mr. Gardner is (was) a hard-core literary snob. He has no use for 'pornography', horror, science fiction, romance, or anything like that, and at times seems to view the whole purpose of writing as more an extension of the practice of philosophy than as either an art or a craft.
However, within that context he still has a lot of good advice that any writer, including what Gardner would describe as a 'trash' writer, would do well to consider. His chapters on fiction as the art of producing a credible dream-like state in the reader are right on target, and his discussion of the roots of various types of fiction (the short story, the folkloric tale, etc.) are highly edifying. His Helen of Troy example of step-by-step story building could be used to add depth and complexity to even the most straightforward of genre tales.
Overall, I must give hearty approval to this book, even though I feel sure that the author would not give hearty approval to me!
John Gardner, I imagine, was a man who buttoned his shirts to the top. If he was a father, he would have been cold, stern, aloof, and a strict disciplinarian. He must have been a fierce little man. His words are as dry as the white page they're printed on. He lectures mainly with reason and abstraction. Writing, he says, should be approached with the "utmost seriousness."
His tone is not encouraging; on the contrary, it is often daunting, threatening the reader with the occasional possibility that he or she may not have what it takes to be a writer.
Still here? Good. Because for all of the forceful rigidity that Gardner impresses upon the reader, he has a reason for it. He has tremendous respect for the art of fiction, and he's taking your interest in the art seriously. That is, he is going to tell you what it takes to be a writer, in the highest sense of the word.
While some of the principles in this book were just too abstract for me to be useful, many of the ideas put forth were helpful and gave me new perspective on what it means to write fiction.
The writing exercises in the back are (as expected) exceedingly challenging; and yet I suspect they may be exceedingly helpful as well, if I'm ever up to pressing through them.
Although Gardner feels comfortable calling his book, "the most helpful of its kind," I don't recommend this as a first book on fiction writing. Something encouraging like Bradbury's "Zen in the Art of Writing," or fundamental like Burroway's "Writing Fiction" will serve that purpose much better.
I do recommend this book as a set of essays that will help you in your continuing struggle to learn what it means to write (and then to write) true literature.
This is an excellent book that covers a wide range of issues in fictional writing, in fact, I would venture that it covers most everything that an aspiring writer needs to consider. Gardner's fundamental principle is to view all fiction as a 'fictional dream', and this leads to a lot of very useful advice and criticism. He goes on to discuss various more philosophical as well as practical, technical issues in a superbly informative and entertaining manner, with lots of excellent examples from very good literature. But beware that Gardner expects his student (reader) to think for himself! Above all Gardner tries to teach the reader to think like a writer, and I believe that he succeeds.
Unique, helpful writing reference book
As a writing instructor and literary agent, I am a regular visitor to writing reference sections. John Gardner's book is sometimes hard to read and follow, but it does explain the basics. And I haven't found any other writing reference book that discusses psychic distance (a very important beginner concept, *not* ESP!) and word rhythms (an advanced concept) quite as well as this one does. This should probably be the third or fourth book a writer should buy, after Stein on Writing, Getting the Words Right, and perhaps Valerie Storey's The Essential Guide for New Writers.
Excellent Book on the Craft of Writing Fiction
Although there are more "accessible" books on writing available, nevertheless _The Art of Fiction_ is one of the finest. Gardner goes beyond discussing plot, scene, character development, and dialog; indeed, he forces one to think about how words fit together on a page and synthesizes the so-called elements of story writing. His advice reveals the true difficulty of creating an excellent story, but he encourages one to struggle through them. Especially helpful are the mind-bending exercises at the back of the book. _The Art of Fiction_ was an epiphany for my writing--and for me.
If you are aspiring, achieving, or just are a writer, this book is an excellent read. It gives off an aura of finality; this is the way it is, this is the way it should be. And for John Gardner, this is the way it was. He writes with a fluid motion, and never leads one to boredom. Sure, he says a writer could use some college courses. But he advocates the use of writer's workshops even more; a group of writers, whether in a university or not, to get together and slog through the process of constant revision. In the end, that's his advice; and that is the way it should be. Writer's don't need to have great education; Harvard doesn't produce more writer's then the rest of the country. Practice and the eyes of others help more then anything. This book helps some, too.
An excellent guide if you already know a whole lot
Although there is much to be learned from Gardner's classic, when I've used this text in my college intro to fiction-writing courses, it doesn't fly too well. My students are put off by Gardner's insistence that the young writer is always male, and they usually haven't read many of the works to which he refers. Because Gardner is so exacting about what good fiction is, many students feel paralyzed after reading *The Art of Fiction*--they feel it's impossible to do anything even remotely correctly. But if you can get past those problem areas, then this book is a gold mine. The exercises are provocative and, yes, educational.
This guy is grumpy. And he tells you you won't make it and to forget writing and no one can write and he tells you what good fiction is and you won't be able to create "it." He talks of the necessity of the plot and the correct use of grammar and how style is important and they all merge to create the final product. I found it to be one of the best books on how to write that I ever read, and it helped me definitely. There are exercises included, and they were ones I found to be good working models for writing, rather than just the freestyle/free-association type. Need a book on how to write? get this one. His negativity may help spur you on as well.
Like one of the other reviewers, I came to this book as a devotee of Gardner's fictional works. Other reviewers who complain that Gardner is exacting, demanding, and challenging are correct. Yet these traits enhance rather than detract from the work. I believe that Gardner is correct in stating that excellent writing is difficult to achieve. As for the many literary references, I felt not discouraged, but encouraged to sample unfamiliar authors and improve my own sensibilities. In sum, Gardner has inspired me to begin my first novel, and I am certain that I will find his "writing bible" indispensible.
it's probably because you recognize your own mistakes derailed within its pages. The chapters common errors and technique should be every beginning writers bible.
i've heard some criticism of the book saying john gardner is an egomaniac name dropper, but if you aren't willing to wade through a little ego mania and name dropping to understand gardner's ultimatly correct observations on fiction then you'll never be able to make it as a writer. you'll never make it through an m.f.a. or doctorate program, and you'll certainly never realize you own mistakes.
i found the examples helpful and plentiful, the advice sound, and the humor (though for critics of the book it may have gone over their heads) beautifully crafted. a fabulous and worthy addition to any library.
This is simply one of the best books on creative writing I have ever read (a sizable list by this point.) Gardner not only breaks down the process very carefully but elucidates with such beautifully precise language that the book is a joyous as well as an instructive read. In addition, Gardner focuses on the purpose and history of fiction, bringing his extensive academic knowledge to the fore. Rather than a how-to book, Gardner explains how some of the best works were constructed and shows how different narrative structures achieve different effects on their audiences. Perhaps the only drawback, and only a drawback for some, is how vociferously opinionated Gardner is, never afraid to laud his favorites (Tolstoy) and censure those who don't cut the mustard (Steinbeck, Faulkner). Yet even if you don't always agree with him, you can certainly admire his analysis.
I recommend this book to anyone who cares about literature, drama, and narrative (I actually read it for a screenwriting course).
I recommend this book to anyone who cares about literature, drama, and narrative (I actually read it for a screenwriting course).
John Gardner's books are on most short lists of the best advice on how to create fiction. I have read Gardner's Art of Fiction and his On Becoming a Novelist. I recommend both books, but only for those who want to become serious literary artists.
There are many aspects of AOF that I enjoyed. Readers get a long, interesting explanation of Gardner's most-famous advice; writers should craft fiction of such high quality that it creates a "vivid and continuous" (page 31) "fictional dream" (page 32) in the reader's mind. Gardner also discusses the three basic story types: realistic, yarns, and tales. Finally, Chapter 5 examines "Common Errors" in fiction. (It was, however, a bit sobering to realize how many of those errors appear in my writing).
Gardner has extremely strong opinions on how authors should approach fiction; undoubtedly, he will rub some people the wrong way. I thought, moreover, that there were some "dead" spots in the book. The section on the necessity of university study is too long, even for serious artists. Also, the depth of Gardner's material often causes the reader to miss important points.
In the end, Gardner has good advice, but the advice is for a small audience. If you think that you can win the Nobel Price for Literature, Gardner is the teacher for you. If you are interested in writing to entertain your readers, you will also pick up some great advice, but much of AOF will be irrelevant to your development as a writer.
There are many aspects of AOF that I enjoyed. Readers get a long, interesting explanation of Gardner's most-famous advice; writers should craft fiction of such high quality that it creates a "vivid and continuous" (page 31) "fictional dream" (page 32) in the reader's mind. Gardner also discusses the three basic story types: realistic, yarns, and tales. Finally, Chapter 5 examines "Common Errors" in fiction. (It was, however, a bit sobering to realize how many of those errors appear in my writing).
Gardner has extremely strong opinions on how authors should approach fiction; undoubtedly, he will rub some people the wrong way. I thought, moreover, that there were some "dead" spots in the book. The section on the necessity of university study is too long, even for serious artists. Also, the depth of Gardner's material often causes the reader to miss important points.
In the end, Gardner has good advice, but the advice is for a small audience. If you think that you can win the Nobel Price for Literature, Gardner is the teacher for you. If you are interested in writing to entertain your readers, you will also pick up some great advice, but much of AOF will be irrelevant to your development as a writer.
"The writer who can't distinguish truth from a peanut butter sandwich can never write good fiction."
This is one of those books that I liked because of its digressions, rather than in spite of them. Gardner has a formidable voice, and the occasionally wandering structure is bound together by the strictness of his tone. As I read, I could imagine him sitting in front of me-- rubbing his hands and paging through his notes as he spoke. I have the distinct feeling that he would not quite have approved of me.
Or most people for that matter. Somewhere amidst all the detail about writing, there are some strong and buried core messages. These center on the morality, courage and honesty of the aspiring writer. Gardner insists on head, heart and something else as well. He calls it soul; I am not sure what I call it. Will? Discipline? Ethics? Something like that.
I found a lot to chew over in the work. Some thoughts that I'm still considering:
nature of metafiction
role of honesty in fiction
faults of the soul: sentimentality, frigidity and mannerism
In addition, there are a number of useful points on technique and style that caused me to take some notes and ruefully reread more than a few paragraphs. I have to agree with most of these things without reservation. On the larger subjects, I still have some doubts about a few of his ideas-- particularly the places where he takes a harder line.
If you are planning to read this book, be aware that Gardner uses examples from literature and the visual arts to illustrate a number of his points. You either need to be reasonably well-read or be willing to read over these moments and trust to the text itself. I found that I got enough from the examples to see his point. I also added a number of books/authors to my reading list for further reference. I can imagine, however, if you have not read a lot of novels or short stories than it may feel frustrating to keep reading references that you do not understand. The average English Lit major or aficionado should do just fine.
Recommended.
Or most people for that matter. Somewhere amidst all the detail about writing, there are some strong and buried core messages. These center on the morality, courage and honesty of the aspiring writer. Gardner insists on head, heart and something else as well. He calls it soul; I am not sure what I call it. Will? Discipline? Ethics? Something like that.
I found a lot to chew over in the work. Some thoughts that I'm still considering:
nature of metafiction
role of honesty in fiction
faults of the soul: sentimentality, frigidity and mannerism
In addition, there are a number of useful points on technique and style that caused me to take some notes and ruefully reread more than a few paragraphs. I have to agree with most of these things without reservation. On the larger subjects, I still have some doubts about a few of his ideas-- particularly the places where he takes a harder line.
If you are planning to read this book, be aware that Gardner uses examples from literature and the visual arts to illustrate a number of his points. You either need to be reasonably well-read or be willing to read over these moments and trust to the text itself. I found that I got enough from the examples to see his point. I also added a number of books/authors to my reading list for further reference. I can imagine, however, if you have not read a lot of novels or short stories than it may feel frustrating to keep reading references that you do not understand. The average English Lit major or aficionado should do just fine.
Recommended.
Target Audience: Literary Writers, But Genre Can Gain Too
John Gardner let's you know in his preface that he is writing this book for the serious writer (who he defines as the literary writer), so my fellow sci fi and fantasy writers (genre), we are not his target audience. However, that does not mean we can not learn from him.
I do not recommend this to the writer who is beginning their journey. By beginning, I mean who has never written a novel-length manuscript (unpublished of course) or at least a novella. I think Gardner presents too much detail and too much content, and at this point in your journey you will probably be overwhelmed. I simply refer to the other reviewer comments who provide suitable alternatives for an introductory to fiction writing.
I have rated this book as highly as I did because if you can wade through the loquacious prose, the elongated tangential didactics,--which by page 50 gets to be annoying--the obvious pedagogical diction and the references to Faulkner, Melville, Gaas, and plenty other writers whom I've not read (out of cognizant choice--though they are clearly renown for a reason) there is so much to learn from his book. (This paragraph was meant as an example--and I'm being generous.)
Take heart, he does reference more "popular" fiction: Spider Man, early comic books, and Sam Delaney (although briefly), so it's not a complete rebuff of fiction that sells.
Why I rec'd this book:
1) Because after writing a few manuscripts, I was able to see through Gardner's examples some of the mistakes that I make in my writing--this enough is worth the price of the book in my opinion.
2) Also, because I have reinterpreted his "serious" writer to mean someone who is dedicated to improving their writing skills. Simply put. If you are serious, then you are willing--albeit begrudgingly--to come out of your comfort zone and learn even from those who have a tendency to look down their nose at you (at least it's not in your face).
Examples of what I've learned:
1) Tales vs. Yarn vs. Realistic (and what voices are more commonly linked to each type of fictional story).
2) The importance of rhythm.
3) That a character's internal obstacles must be as compelling as his external ones (might seem like a no-brainer, but I guess not for me).
4) The vocab list that you get from reading his writing.
Lastly, while yes you can get most of the above from some of the other books on writing, you won't get the seriousness (dare I say abrasive truths) of what it means to be a writer and then what it takes to write well. This is not meant to be "inspiring" (so you won't be uplifted and told repeatedly throughout that "yes, you can write that novel"); it is meant to be eye-opening.
I do not recommend this to the writer who is beginning their journey. By beginning, I mean who has never written a novel-length manuscript (unpublished of course) or at least a novella. I think Gardner presents too much detail and too much content, and at this point in your journey you will probably be overwhelmed. I simply refer to the other reviewer comments who provide suitable alternatives for an introductory to fiction writing.
I have rated this book as highly as I did because if you can wade through the loquacious prose, the elongated tangential didactics,--which by page 50 gets to be annoying--the obvious pedagogical diction and the references to Faulkner, Melville, Gaas, and plenty other writers whom I've not read (out of cognizant choice--though they are clearly renown for a reason) there is so much to learn from his book. (This paragraph was meant as an example--and I'm being generous.)
Take heart, he does reference more "popular" fiction: Spider Man, early comic books, and Sam Delaney (although briefly), so it's not a complete rebuff of fiction that sells.
Why I rec'd this book:
1) Because after writing a few manuscripts, I was able to see through Gardner's examples some of the mistakes that I make in my writing--this enough is worth the price of the book in my opinion.
2) Also, because I have reinterpreted his "serious" writer to mean someone who is dedicated to improving their writing skills. Simply put. If you are serious, then you are willing--albeit begrudgingly--to come out of your comfort zone and learn even from those who have a tendency to look down their nose at you (at least it's not in your face).
Examples of what I've learned:
1) Tales vs. Yarn vs. Realistic (and what voices are more commonly linked to each type of fictional story).
2) The importance of rhythm.
3) That a character's internal obstacles must be as compelling as his external ones (might seem like a no-brainer, but I guess not for me).
4) The vocab list that you get from reading his writing.
Lastly, while yes you can get most of the above from some of the other books on writing, you won't get the seriousness (dare I say abrasive truths) of what it means to be a writer and then what it takes to write well. This is not meant to be "inspiring" (so you won't be uplifted and told repeatedly throughout that "yes, you can write that novel"); it is meant to be eye-opening.
For once, something truly sincere and educational. With powerful criticisms and such gentle encouragement, I finally found a truthful teacher. Must buy, must study thoroughly.
In my opinion, The Art of Fiction is both a stellar example of good writing and a highly encouraging tome on the art of fiction. Gardner's language usage and word flow is worth the cost of it alone.
In reading it, you recognize it is more of a philosophical look at the art of writing than it is a nuts-and-bolts piece on the craft of writing. This book does not delve into as many ABC's or 1-2-3's as other how-to books concerning fiction writing. It aspires more to the abstract process of story within the artist, rather than a point-by-point discourse on writing methodology.
Gardner advocates that quality fiction is as smooth and real as a dream and is built upon use of vivid details and believable charaterization, and that it must be completely void of the author's involvement of ego (strange twists, intrusive vocabulary, etc.) I found particularly helpful the theme of "fiction as a dream." He argues that in a modern novel, the author's presence must not intrude into the storyline itself.
The subtitle of the book, 'Notes on Craft for Young Writers,' leaves out an older audience that stands to gain just as much or more. My father was in his sixties when he first read this book. I read it for the first time in my mid-forties. Writers of all ages will stand to gain from reading this wonderful tome.
In reading it, you recognize it is more of a philosophical look at the art of writing than it is a nuts-and-bolts piece on the craft of writing. This book does not delve into as many ABC's or 1-2-3's as other how-to books concerning fiction writing. It aspires more to the abstract process of story within the artist, rather than a point-by-point discourse on writing methodology.
Gardner advocates that quality fiction is as smooth and real as a dream and is built upon use of vivid details and believable charaterization, and that it must be completely void of the author's involvement of ego (strange twists, intrusive vocabulary, etc.) I found particularly helpful the theme of "fiction as a dream." He argues that in a modern novel, the author's presence must not intrude into the storyline itself.
The subtitle of the book, 'Notes on Craft for Young Writers,' leaves out an older audience that stands to gain just as much or more. My father was in his sixties when he first read this book. I read it for the first time in my mid-forties. Writers of all ages will stand to gain from reading this wonderful tome.
Written for Writers of Literature, not Junk
It is true that this book should perhaps not have been entitled, "Notes on Craft for Young Writers." There is meat enough here to engage the full intellectual appetite of a professor of literary criticism. On the other hand, there's also a lot for the young and inexperienced by way of direction. If the instruction is sometimes abstract, it always points a direction by example and suggested reading. I don't think Gardner is a literary "snob". He is straightforward at the beginning about his target audience. It doesn't include pornographers, but he gives several examples of his precepts from many other genres, including science fiction. I suppose there are books out there for pornographers if they need them. Gardner is trying to nurture the next Dostoyevski.
This is not a how-to for newbie hacks.
Gardner makes more good points in any given chapter of this book than are found in most college courses. He writes about the production of serious literature, and for those of us foolhardy enough to mount that horse, his prose is full of wise, kind advice.
Every writer should read this book.
I have read this book four times and given it to about ten writers I know. Its like a bible and each time I read it I find something new. I never could have written my novel, Lip Service if I hadn't studied Gardener. Especially importand are his comments on rewriting.
The best book on fiction writing I've ever read.
My summary pretty much says it all; no fiction writer should be without this book. I first read it almost 20 years ago, and every few years I re-read it to refresh myself. It offers both mentally stimulating exercises, as well as clear rules for writers to follow. For aspiring fiction writers who heed its wisdom, this book gives you one of the best gifts imaginable: it makes you *think* like a great writer as you sit down to put words to paper. (In addition, I recommend Gardner's "The Art of the Novel" as well.)
The Good Stuff is Buried in Wordy Prose
I'm a journalist and writing teacher and do not think this book is very well-written or reader-friendly. It's dense, wordy, sometimes pompous and intimidating, too. At times, Gardner seems to be putting down young writers. I made myself read his book since I've been hearing that it's a classic for years. Finally, after three attempts, I got to some good stuff in it--i.e. don't put yourself between the reader and the story or say things like, 'Mary saw...'--just tell us what she saw and make it more direct. But there is far too much to wade through! I much prefer books like BIRD BY BIRD or IF YOU WANT TO WRITE for inspiration (they don't put you down)and SELF-EDITING FOR FICTION WRITERS for craft (a gem of a book, beautifully written). If this book were not written by a noted novelist, I doubt that it would have been published without substantial editing. I think it's more disheartening than encouraging of young writers and writers in general.
Reading this book one needs to take into account it's written in a very different time than now. The publish world changed drastic from that time to ours, most in the book about publishing is dated or not relevant. Mr Gardner his view on the world is also from another era, a time with less political correctness, the way he explains certain things can seem insensitive to some (not me).
What's still current in this book and is the most relevant, is how he explains the art of writing. This book is not a how to write instruction book, but more the why one writes and should write in the way he explains. I don't agree with everything he writes, but I understand what he tries to say.
I'm much a different writer than him. He was a literary writer and I'm a genre writer. He had not that a high of opinion of genre writers. Still the approach of writing may be different, but what he says about the art of writing is important for all writers that they should at least take notice of it. Your work needs to be made in the best possible way you can create it, without trying to cut corners or settle for less. His words are great for understanding the craft and the reason why somethings should be done and others shouldn't.
I advise this book to all that want to learn more about writing fiction in itself, if it's an instruction book you want, you be best picking up another book.
A.Rosaria, Author of "Finitum"
What's still current in this book and is the most relevant, is how he explains the art of writing. This book is not a how to write instruction book, but more the why one writes and should write in the way he explains. I don't agree with everything he writes, but I understand what he tries to say.
I'm much a different writer than him. He was a literary writer and I'm a genre writer. He had not that a high of opinion of genre writers. Still the approach of writing may be different, but what he says about the art of writing is important for all writers that they should at least take notice of it. Your work needs to be made in the best possible way you can create it, without trying to cut corners or settle for less. His words are great for understanding the craft and the reason why somethings should be done and others shouldn't.
I advise this book to all that want to learn more about writing fiction in itself, if it's an instruction book you want, you be best picking up another book.
A.Rosaria, Author of "Finitum"
Against Mediocrity, or The Art of Good Fiction
I suspect those who accuse Gardner of being arrogant, egotistical, condescending, etc., ad nauseum are likely to be the sort who either have a ideological agenda of their own, or prefer their egalitarianism served with a thoroughgoing relativism. Gardner was never soft-spoken in stating his opinions, and he had the good sense not to qualify every opinion with "that's just my opinion," or "ymmv," or "but what do I know."
I find Gardner's opinions welcome and often enlightening. His allusions to numberless works which I have yet to read -- and some I only learned about from him -- are an inspiring challenge to read more. The fact that he doesn't water down his message to spare the ego of his less experienced readers is a sign of respect for them -- they can take it, because the alternative is a vapid mediocrity. And if they can't take it, well, they're free to write scathing reviews castigating the hubris of a dead man.
The theoretical and practical concepts and techniques discussed in the book are reasonably thorough and engaging. It is clear that his purpose is to challenge would-be writers to aim for the very best, while making clear -- for those actually paying attention -- that good-enough-for-publication writing is achievable by most anyone willing to put in the time. The implicit idea here is that if you want to be a writer, you will have to put in the time anyway, so why not aim to be a very good writer? I fail to see how this is anything but an inspiring affirmation to anyone who really wants to write.
I find Gardner's opinions welcome and often enlightening. His allusions to numberless works which I have yet to read -- and some I only learned about from him -- are an inspiring challenge to read more. The fact that he doesn't water down his message to spare the ego of his less experienced readers is a sign of respect for them -- they can take it, because the alternative is a vapid mediocrity. And if they can't take it, well, they're free to write scathing reviews castigating the hubris of a dead man.
The theoretical and practical concepts and techniques discussed in the book are reasonably thorough and engaging. It is clear that his purpose is to challenge would-be writers to aim for the very best, while making clear -- for those actually paying attention -- that good-enough-for-publication writing is achievable by most anyone willing to put in the time. The implicit idea here is that if you want to be a writer, you will have to put in the time anyway, so why not aim to be a very good writer? I fail to see how this is anything but an inspiring affirmation to anyone who really wants to write.
Honest and relevent. These are the words of a great writer.
After reading many of John Gardner's works of fiction, I happened upon this book in a used bookstore and bought it without only a moment's hesitation. I paused because, before this book, I had not found a writer who could effectively write about the process of writing in a way that was encouraging and honest. This book has proven to be far more than I had expected, and, like Gardner's other work, it was completely satisfying.
As an MFA student, I thought this classic would be useful, but I found it extremely difficult to focus on what Gardner was trying to say because his message is relayed in such a pompous tone that it was nearly impossible for me to see past it. I understand that he's good at what he does, and bravo to him-- but please, it's hard to take someone seriously when they tout their opinions as facts. I'd recommend reading this because every person is different and what someone else might find this book brilliant, but personally I was so turned off by his cockiness that I had to stop reading.
I like to think of this book as a strict English professor. I'm not sure if I'd assign this to a freshman composition course but definitely for beginning creative writers. This book contains the foundation that's helpful to all writers.
Don't expect to cruise through this book. Its a wonderful, intelligent guide to writing but it is DENSE. You have to re-read things constantly and getting though a page is like getting though a chapter of any other book. I am learning a lot.
I wanted a book that would tell me what fiction really is. To think foundationally about fiction, to understand its power, to learn how a seed thought grows into a complete story, these things are important to me at my stage in the pursuit of writing. And, this book is fulfilling my expectations well.
Concepts exposed are complex and abstract. When reader understands the underlying ideas, he finds profond and pertinent tools to become a serious artist/fiction writer. Author goes to the heart of the craft with deep concepts and practical advices that make the difference between writing and creating art.
finely crafted advice to writers
This is one of the best books about writing I know, and not just fiction writing. Gardner had thought so deeply about what he does, and shares it cleanly and brilliantly.
Other fine books about writing include Anne Lamott's Bird by Bird and Ursula K. Le Guin's Steering the Craft.
Other fine books about writing include Anne Lamott's Bird by Bird and Ursula K. Le Guin's Steering the Craft.
Difficult, Demanding Text on Writing
If you're a beginning fiction writer, odds are that this book will be too difficult for you. Don't be misled by the glowing reviews. Sure, Gardner knows more about writing than most of us ever will. But his philosophical discussions and frequent allusions to classic literature make this book suitable only for the best of students. Browse it in the library before you plunk down your money.
For fans of John Gardner or experienced writers who might enjoy an articulate critique of their craft, this book is fine. But for a "young writer" looking for guidance its value is questionable.
It reads like a narcissistic tribute from a self-satisfied college professor who likes to hear himself speak. There are plenty of other books available dealing with the fundamentals of writing that should prove far more helpful for beginners.
Vividness, Psychic Distance, and Word Rhythms
After finishing this book, I had mixed feelings. I liked how it helped integrate three quality concepts into my writing (mentioned in title), but at the same time, I felt like Gardner's audience was only white male MFA (masters of fine arts) students. I had only read about half the classic literature works used as references, and of those, I hated several (notably the works of Faulkner). Gardner mentions novels a modern editor would be horrified at as 'shining examples.'
"The Art of Fiction" succeeds in identifying helpful concepts not covered in my other books on writing, but it's stuck in the past. Books written hundreds of years ago are overly idolized. Literature and writing have advanced since the works of Chaucer, Melville, and Tolstoy. Modern novels are better constructed and more readable than classic literature, and rather than explaining why this is, Gardner ignored this issue.
Overall, I found half the book useful, and it should NOT be relied upon as an accurate compass to novel writing. If read in conjunction with other writing books, it can be helpful. Don't expect an instant revelation from this dense book; give it a good skim and try a few examples exercises in the last section.
"The Art of Fiction" succeeds in identifying helpful concepts not covered in my other books on writing, but it's stuck in the past. Books written hundreds of years ago are overly idolized. Literature and writing have advanced since the works of Chaucer, Melville, and Tolstoy. Modern novels are better constructed and more readable than classic literature, and rather than explaining why this is, Gardner ignored this issue.
Overall, I found half the book useful, and it should NOT be relied upon as an accurate compass to novel writing. If read in conjunction with other writing books, it can be helpful. Don't expect an instant revelation from this dense book; give it a good skim and try a few examples exercises in the last section.
First for the bad. The entire first half of the book was filled with opinion stated as fact in his over-confident manner that is painful to read through. There was very little of value in that first half - in fact, I'd recommend skipping it if you do purchase the book.
Second - the good. The second half was extremely valuable and informative. It gave me several aspects of writing I hadn't given much consideration to a new light. I do recommend the book for this alone. His condescending let up almost entirely and Gardner actually shared the knowledge he had on the subject.
Second - the good. The second half was extremely valuable and informative. It gave me several aspects of writing I hadn't given much consideration to a new light. I do recommend the book for this alone. His condescending let up almost entirely and Gardner actually shared the knowledge he had on the subject.
Foundational teaching for writers
Where so many books on writing are fluff ("dream yourself into publication") this book gives solid advice to make you a great writer.
This book is recommended in SELF-EDITING FOR THE FICTION WRITER, a book I have read twice and enjoyed a great deal. I had to give Gardner a try.
This is a tough review to write because I can't say this is a fantastic book to help one write fiction. At the same time, there is little or nothing said that I disagree with. So, what's the problem?
My confusion starts with my expectations when reading a book about writing. It's a situation where I want to gain information and hints on how to write better, without being bombarded by direction on how to write. This criteria has served me well and I've found a number of writing books that made me write or want to write better; SELF-EDITION FOR THE FICTION WRITER is one, THE FICTION WRITER'S WORKSHOP is another.
Judging by that, this book didn't pass muster. Rather than coming away with a new awareness of what I want to include or exclude from my own work, I'm left feeling like I've been having coffee with an experienced author full of sweeping opinions on craft.
He's crafty in one way, his ability to pull me in with the sense of being an insider, watching other fiction writers through thick glass. He uses a lot of lines like "The writer who can't distinguish truth from a peanut-butter sandwich can never write good fiction. What he affirms, we deny, throwing away his book in indignation..." The implication isn't about writers of bad fiction so much as it is about 'us', him and I, being partnered in our unique ability to indignantly recognize a lousy writer. In fact, we're pretty decent to only discard the book when we're entitled to exact creative justice on its sloppy author.
Still, and here's the rub, it isn't a bad read. Don't skip an hour of writing to sit down with this book but if you're between projects and have the time, I'd recommend it.
This is a tough review to write because I can't say this is a fantastic book to help one write fiction. At the same time, there is little or nothing said that I disagree with. So, what's the problem?
My confusion starts with my expectations when reading a book about writing. It's a situation where I want to gain information and hints on how to write better, without being bombarded by direction on how to write. This criteria has served me well and I've found a number of writing books that made me write or want to write better; SELF-EDITION FOR THE FICTION WRITER is one, THE FICTION WRITER'S WORKSHOP is another.
Judging by that, this book didn't pass muster. Rather than coming away with a new awareness of what I want to include or exclude from my own work, I'm left feeling like I've been having coffee with an experienced author full of sweeping opinions on craft.
He's crafty in one way, his ability to pull me in with the sense of being an insider, watching other fiction writers through thick glass. He uses a lot of lines like "The writer who can't distinguish truth from a peanut-butter sandwich can never write good fiction. What he affirms, we deny, throwing away his book in indignation..." The implication isn't about writers of bad fiction so much as it is about 'us', him and I, being partnered in our unique ability to indignantly recognize a lousy writer. In fact, we're pretty decent to only discard the book when we're entitled to exact creative justice on its sloppy author.
Still, and here's the rub, it isn't a bad read. Don't skip an hour of writing to sit down with this book but if you're between projects and have the time, I'd recommend it.
Comment about a previous review (with 23 'This helped me')
I am sorry! A previous review had this to say: "...when I've used this text in my college intro to fiction-writing courses, it doesn't fly too well. My students are put off by Gardner's insistence that the young writer is always male, and they usually haven't read many of the works to which he refers...they feel it's impossible to do anything even remotely correctly." My opinion is that a good teacher will show his(or her :->)students the value of great tools that they can learn from, and put away their cheap opinions (bred by current politics and ideas) about very stupid little points in the style of writing. If we can't teach our kids this, then they will head in the direction of spoiled people who want everything on a silver platter. UGH to this reviewer. YEAH to this book
This book contained some fascinating insights into the art of writing fiction, but frankly, I thought it was written very poorly(!). I did not flow at all and read much like some of the worst textbooks I've seen. He obviously has read a wide variety of books, but he assumes the reader is familiar with them.
I think this may be a good book for English majors or experienced writers, but not for young writers. For us young and inexperienced writers, he talks above our heads.
Even the style can scare a person away. He writes in the style of John Smith and others who could fit maybe one paragraph on a page. It's just not conducive to digesting the material.
In short, if you're a young writer, go trying "Writing Fiction Step By Step" by Josip Novakovich or something like that. But experienced writers, you may enjoy this.
This writer goes beyond mere technique and talks about what fiction really is and how it works its magic. Any writer wants to use fiction should have this understanding of the fiction tool.
Get it. It might be slow going at first because you have been dumbed down. Stay with it and something will happen deep in your brain. It will be good.
Excelent book, but sometimes it goes very metaphysical
This is an excelent book, full of pretty good exercises that show you that after all you could be a real writer. I did not gave it the full five stars only because from time to time the author chose a philosophical approach to writing that had little to do with solid tips or exercises. This book is not intended to be a strict manual, but a good and uplifting piece of literature.
Seasoned Writers Need This Too!
Even though the title says it's aimed at new writers, seasoned pros can greatly benefit from this book. I have been writing for many years, published a novel, etc. Wish I had read it sooner!
THE ART OF FICTION by John Gardner
The Art of Fiction is John Gardner's book on how young writers can improve their fiction writing. This book is divided into two sections: the first covers literary theory, and the second deals with technique, errors, and plotting.
Gardner, who was a teacher as well as an author, is extremely high-minded. He sets very high standards for writing, which is good. But he's one of those people who thinks you need to take college courses in Shakespeare in order to appreciate Shakespeare. His instructions on writing naturally and not trying to write above yourself often come across as pretentious and hypocritical, as he gets pretty pretentious himself from time to time.
So many talented writers who didn't study literature or fiction in a university may well throw out the first half of the book, and that's fine. The second half, however, can be of benefit to most anyone. Gardner covers frequent errors, technique, and plotting, giving specific examples and explaining things well.
Gardner is obviously much more concerned with the Hemingways and Faulkners of the world than the Stephen Kings and Michael Crichtons. Fine; take this book for what it is. Separate the wheat from the chaff and The Art of Fiction has something to help most writers improve.
Gardner, who was a teacher as well as an author, is extremely high-minded. He sets very high standards for writing, which is good. But he's one of those people who thinks you need to take college courses in Shakespeare in order to appreciate Shakespeare. His instructions on writing naturally and not trying to write above yourself often come across as pretentious and hypocritical, as he gets pretty pretentious himself from time to time.
So many talented writers who didn't study literature or fiction in a university may well throw out the first half of the book, and that's fine. The second half, however, can be of benefit to most anyone. Gardner covers frequent errors, technique, and plotting, giving specific examples and explaining things well.
Gardner is obviously much more concerned with the Hemingways and Faulkners of the world than the Stephen Kings and Michael Crichtons. Fine; take this book for what it is. Separate the wheat from the chaff and The Art of Fiction has something to help most writers improve.
This book is not for "Junk Writers". Gardner says so.
I will keep this short, since after reading Mr. Gardner's opinionated statement of page two about this book isn't for "junk writers". You know the ones that write Nurse Stories, Thrillers, Porno, and as he puts it, "the lower breed of writing, Scifi". Any writer to form an opionion such as this shouldn't be writing books on how to write, as any "good" writer knows that genre is a publicist tool invented at the turn of the 20th century for marketing. Good writing is good writing, bad writing is bad writing. I have read well written Erotica, and I have read even better "Sci/Fi" stories than the just plain Literary Realism. If you want to think of it this way, Homer's Iliad and Odyssey would be viewed today as speculative fiction: Science Fiction, the umbrella; Fantasy; and Horror. Both stories contain elements from each of these genres. I quess Homer is a "Junk Writer" with all the sex, blood, monsters, and the thrill of the high seas his stories hold for readers. Maybe we should let Gardner have a conversation with Michael Crichton.
Do yourself a favor and buy Alice Laplante's "The Making of a Story". Laplante does a great job of being less opinionated, and breaks down conventional barriers that would otherwise set young writers astray, such as with "show, don't tell".
Do yourself a favor and buy Alice Laplante's "The Making of a Story". Laplante does a great job of being less opinionated, and breaks down conventional barriers that would otherwise set young writers astray, such as with "show, don't tell".
Share your thoughts with other customers
Create your own review
Create your own review
The biggest flaw in this book, and one which might drive some readers away, is Gardner's personal biases. His intense interest in myth and classics drove his fiction, and it weighs heavily in the examples he provides. Also, he favors examples from his contemporaries - Barthleme, Coover, Barth - who might not interest younger writers who read a different set of cutting edge authors. Still, you need not be familiar with Gardner's examples to understand his points, as he himself makes few assumptions about the reader/student.
Even professional writers can benefit from Gardner's reminders since a revisiting of ideas can only sharpen one's fiction. Aspiring writers will leave these pages with an eagerness to attack their own work and with a set of wise guidelines to help them achieve their best work.