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Many Genres, One Craft: Lessons in Writing Popular Fiction
In Many Genres, One Craft, award-winning author Michael A. Arnzen and Heidi Ruby Miller gather the voices of today's top genre writers and writing instructors alongside their published students. It fosters the writing process in a way that focuses almost exclusively on writing the novel. Using a compilation of instructional articles penned by well-known authors affiliated with Seton Hill University's acclaimed MFA program in Writing Popular Fiction, the book emphasizes how to write genre novels and commercially appealing fiction. The articles are modeled after actual "learning modules" that have successfully taught students in the program how to reach a wider audience for over a decade.
384 pages, Hardcover
First published May 10, 2011
24 people are currently reading
451 people want to read
About the author
Michael A. Arnzen
81 books280 followersMichael Arnzen has won multiple awards for his fiction and poetry, including four Bram Stoker Awards and the International Horror Guild Award. He teaches horror and suspense writing at Seton Hill University, as faculty in their unique MFA degree program in Writing Popular Fiction.
To catch up with Arnzen or hunt down collectable editions, visit the author's website, GORELETS.COM Or tune in his new podcast: 6:66 w/Michael Arnzen at http://6m66s.com/
To catch up with Arnzen or hunt down collectable editions, visit the author's website, GORELETS.COM Or tune in his new podcast: 6:66 w/Michael Arnzen at http://6m66s.com/
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Displaying 1 - 22 of 22 reviews
May 3, 2013
This is pretty much the bible for writing popular fiction. I go to Seton Hill University for the MFA in Writing Popular Fiction in which most of the contributors are actual professors there (and successful writers in their perspective genres).
Just from reading this book, my writing improved. I still go over it from time to time.
Just from reading this book, my writing improved. I still go over it from time to time.
September 22, 2012
Just plain outstanding. I'm really glad I happened to run into one of the contributors at a little crafts fair off a secondary highway in the mountains near where I live; he showed me this book and I came home and ordered a copy, and I'm deeply impressed. I've been collecting books on writing for decades and this is one of the best I've found.
The contributors are graduates or instructors or both of the same MFA program in writing at a school called Seton Hill; the book makes a pretty good ad for that program. The various sections cover just about every genre of popular fiction as well as a lot of guidance about writing fiction in general, both the creative side and the business end.
If I was only going to buy one book on writing fiction this year, this would probably be the best choice I could make.
The contributors are graduates or instructors or both of the same MFA program in writing at a school called Seton Hill; the book makes a pretty good ad for that program. The various sections cover just about every genre of popular fiction as well as a lot of guidance about writing fiction in general, both the creative side and the business end.
If I was only going to buy one book on writing fiction this year, this would probably be the best choice I could make.
October 22, 2012
For many writers, attending graduate school or a writing conference to work on their craft is simply not possible. The point of Many Genres, One Craft: Lessons in Writing Popular Fiction is that one can get much of that knowledge from this book. Editors Michael A. Arnzen and Heidi Ruby Miller assembled over sixty expert contributors, many of them connected to Seton Hill University’s MFA program in Writing Popular Fiction for this over 350 page textbook. A book full of wisdom that you can work through at your own pace.
Published in 2011 by Headline Books, Inc., the book is broken into roughly three sections titled “Craft “and “Genre,” and “The Writer’s Life.” Each section has several sub-sections related to the main topic of the section. This design allows readers to move back and forth through each section or the book as a whole to find the information they need at the time they need it.
The “Craft” section opens the book with a sub-section on “Style Ad Process.” Information on opening lines, how to handle point of view and how not to information dump is here among other items of interest. Each article is of several pages and features a brief author bio at the end. This same format is used throughout the book.
“Character And Dialogue” is the next sub-section starting on page 64. This section is all about making your characters realistic, making them suffer, and in the end, making them as well as your writing and the story stronger.
“Plot And Structure” follows next with interesting pieces such as “Demystifying What Editor’s Want” by Venessa Giunta. Now that you have strong characters and know what the editors want in them, it is time to put your characters into a good story. A good story is made up of a lot of elements such as pacing, characters that can save themselves, find romance when warranted, as well as the setting they are placed into for the story.
In the novels by James Lee Burke, the setting is as important as the characters. The sub-section on “Setting” comes next starting on page 111. While Susan Crandall does not reference Burke in her piece “Setting as a Character: It’s More than a Backdrop” she uses plenty of other references to make the same point while also explaining how to do it. She isn’t the only author to discuss setting as there is a lot more information here on this key part of your tale.
Starting on page 129 with “Genre” it is on to specifies. After a general sub section on “Genre and Originality” which makes the point there are certain expectations for each genre, their limitations, and how to deal with those while pursuing originality, it is on to the various genres with each section getting their own detailed sub section.
“Romance And Women’s Fiction” begins on page 150. While some are arguing for a clear distinction between the two, in this book they are grouped together. In a poignant and inspirational essay by Crystal B. Bright titled “Write from the Heart” she explains how she pursued her dream and the novel she wanted to write despite the “no’s.” Her inspirational story does not apply just to romance novelists, but to all writers in all genres. That fact ties into a key point noted in the introduction of the book and constantly reinforced though many examples throughout Many Genres, One Craft: Lessons in Writing Popular Fiction. Regardless of the genre you write in, you can learn from those in other genres because there are universal principals that link all types of writing together.
Following the essays on many types of romance is the subsection titled “Science Fiction And Fantasy.” Pieces on world building, cyberpunk, using myths, realism and more are here and provide a lot of interesting reading.
Then it is on to those of us who want to kill people for fun and profit, have no underworld connections, and don‘t want to be arrested. “Horror, Mystery and Suspense Thrillers” begin on page 196 with essays on plotting, getting the dialogue correct, surprising readers and lots of other good information. Along with an excellent piece on plotting by Victoria Thompson there is an excellent advice piece by David Morrell about thrillers.
“Children’s And Young Adult Fiction” are their own deal and have a section starting on page 227. Getting those readers into your work and how not to lose them is the point of this section. It is not just about those teen readers either. How to properly do picture book illustrations based on the text and other information is present here.
While the book is primarily about novels it also explores other approaches in the sub-section “Alternative Approaches.” Prolific author Michael Bracken leads off this section with his essay, “I Write Short Stories” that begins on page 264. He makes the point that short stories can be more lucrative than novels while also making you a stronger writer. He also helpfully explains how to find those short story markets, how to write for them, and how to be productive. As he points out on page 249 – “Writing short fiction requires the same skills as writing novels: the ability to create coherent plots, to develop believable characters, to write realistic dialogue, and to mesmerize readers into suspending disbelief for the length of a story.”
Also included in this section are essays on topics such as magical realism, how magna is gaining in popularity and how to write for that market, and movie tie in books.
Having moved through the genres and then some it is back to advice that will definitely help all with “The Writer’s Life.” Starting on page 269 this nearly 90 page section is devoted to sub sections on. “Learning” and “Working” and Promoting.
“Learning” as a writer never ends and can come in many forms. This can be from graduate school, brutal critique, workshops, or just about anything. Even TV shows that are hated in the beginning as Catherine Mulvany explains in “Lessons from the Vampire Slayer.”
“Working” starting on page 289 is all about productivity. Writing more, pleasing readers in multiple genres, and time management among other topics are covered here. As Lee McClain points out in her essay “Time Management: Creative Paths to Productivity.” . . . unlike literary fiction, genre fiction requires you to be prolific. Stephanie Meyer wouldn’t have had the same success if she’d waited two years before bringing the second Twilight novel to completion.” (Page 297) As a genre writer, you simply have to be productive and get a lot of work out because readers expect and demand it. Her informative essay is about how to be productive in terms of novels, but this piece also ties in nicely to Michael Bracken’s essay referenced above about why he chose to pursue short stories over novels and editing anthologies.
Also in this section are excellent essays by Shelly Bates titled “The Seven Habits That Got Me Published” and “How to Get an Agent” by Ginger Clark among other very informative pieces. Professionalism in how you act and your work is a key part of both pieces and the others. That includes adjusting to the rise of e-books as well as being dumped by your publishing house. A very informative section and one that will help you no matter where you are as a writer.
Marketing your own work is a job many of us dread and hate. After all, the book should sell itself, right? These days, if it ever did, things don’t work that way which is why a section titled “Promoting” is necessary. With essays on the basics of author bios, contact information, press releases, book reviews and more, this section gives you the framework to tell the world about your book. Getting information on your book out there so readers/buyers know about it is key here with lots of basic yet very good information.
The book closes with a detailed “Resources And References” section that covers where to go for more information imprint and online.
An extensive and inspirational book filled with lots of practical advice for any writer at any stage in his or her career, Many Genres, One Craft: Lesson in Writing Popular Fiction is one of those books that writers just have to have on their shelves. Unlike many of the courses and books bandied about online, this book features practical and realistic advice and tips from writers who have managed to build prolific and solid careers stretching back decades. No matter your particular writing interest, the information in this book will not only be specific to that interest, but to the craft of writing as a whole. Simply put --this is an excellent book that you must have and use.
Many Genres, One Craft: Lessons in Writing Popular Fiction
Editors Michael A. Arnzen and Heidi Ruby Miller
http://manygenres.blogspot.com/
Headline Books, Inc.
http://www.headlinebooks.com
May 2011
ISBN# 978-0-938467-08-3
Hardback (also available as e-book)
384 Pages
$29.95
Material supplied by the publisher quite some time ago in exchange for my objective review.
Kevin R. Tipple ©2012
Published in 2011 by Headline Books, Inc., the book is broken into roughly three sections titled “Craft “and “Genre,” and “The Writer’s Life.” Each section has several sub-sections related to the main topic of the section. This design allows readers to move back and forth through each section or the book as a whole to find the information they need at the time they need it.
The “Craft” section opens the book with a sub-section on “Style Ad Process.” Information on opening lines, how to handle point of view and how not to information dump is here among other items of interest. Each article is of several pages and features a brief author bio at the end. This same format is used throughout the book.
“Character And Dialogue” is the next sub-section starting on page 64. This section is all about making your characters realistic, making them suffer, and in the end, making them as well as your writing and the story stronger.
“Plot And Structure” follows next with interesting pieces such as “Demystifying What Editor’s Want” by Venessa Giunta. Now that you have strong characters and know what the editors want in them, it is time to put your characters into a good story. A good story is made up of a lot of elements such as pacing, characters that can save themselves, find romance when warranted, as well as the setting they are placed into for the story.
In the novels by James Lee Burke, the setting is as important as the characters. The sub-section on “Setting” comes next starting on page 111. While Susan Crandall does not reference Burke in her piece “Setting as a Character: It’s More than a Backdrop” she uses plenty of other references to make the same point while also explaining how to do it. She isn’t the only author to discuss setting as there is a lot more information here on this key part of your tale.
Starting on page 129 with “Genre” it is on to specifies. After a general sub section on “Genre and Originality” which makes the point there are certain expectations for each genre, their limitations, and how to deal with those while pursuing originality, it is on to the various genres with each section getting their own detailed sub section.
“Romance And Women’s Fiction” begins on page 150. While some are arguing for a clear distinction between the two, in this book they are grouped together. In a poignant and inspirational essay by Crystal B. Bright titled “Write from the Heart” she explains how she pursued her dream and the novel she wanted to write despite the “no’s.” Her inspirational story does not apply just to romance novelists, but to all writers in all genres. That fact ties into a key point noted in the introduction of the book and constantly reinforced though many examples throughout Many Genres, One Craft: Lessons in Writing Popular Fiction. Regardless of the genre you write in, you can learn from those in other genres because there are universal principals that link all types of writing together.
Following the essays on many types of romance is the subsection titled “Science Fiction And Fantasy.” Pieces on world building, cyberpunk, using myths, realism and more are here and provide a lot of interesting reading.
Then it is on to those of us who want to kill people for fun and profit, have no underworld connections, and don‘t want to be arrested. “Horror, Mystery and Suspense Thrillers” begin on page 196 with essays on plotting, getting the dialogue correct, surprising readers and lots of other good information. Along with an excellent piece on plotting by Victoria Thompson there is an excellent advice piece by David Morrell about thrillers.
“Children’s And Young Adult Fiction” are their own deal and have a section starting on page 227. Getting those readers into your work and how not to lose them is the point of this section. It is not just about those teen readers either. How to properly do picture book illustrations based on the text and other information is present here.
While the book is primarily about novels it also explores other approaches in the sub-section “Alternative Approaches.” Prolific author Michael Bracken leads off this section with his essay, “I Write Short Stories” that begins on page 264. He makes the point that short stories can be more lucrative than novels while also making you a stronger writer. He also helpfully explains how to find those short story markets, how to write for them, and how to be productive. As he points out on page 249 – “Writing short fiction requires the same skills as writing novels: the ability to create coherent plots, to develop believable characters, to write realistic dialogue, and to mesmerize readers into suspending disbelief for the length of a story.”
Also included in this section are essays on topics such as magical realism, how magna is gaining in popularity and how to write for that market, and movie tie in books.
Having moved through the genres and then some it is back to advice that will definitely help all with “The Writer’s Life.” Starting on page 269 this nearly 90 page section is devoted to sub sections on. “Learning” and “Working” and Promoting.
“Learning” as a writer never ends and can come in many forms. This can be from graduate school, brutal critique, workshops, or just about anything. Even TV shows that are hated in the beginning as Catherine Mulvany explains in “Lessons from the Vampire Slayer.”
“Working” starting on page 289 is all about productivity. Writing more, pleasing readers in multiple genres, and time management among other topics are covered here. As Lee McClain points out in her essay “Time Management: Creative Paths to Productivity.” . . . unlike literary fiction, genre fiction requires you to be prolific. Stephanie Meyer wouldn’t have had the same success if she’d waited two years before bringing the second Twilight novel to completion.” (Page 297) As a genre writer, you simply have to be productive and get a lot of work out because readers expect and demand it. Her informative essay is about how to be productive in terms of novels, but this piece also ties in nicely to Michael Bracken’s essay referenced above about why he chose to pursue short stories over novels and editing anthologies.
Also in this section are excellent essays by Shelly Bates titled “The Seven Habits That Got Me Published” and “How to Get an Agent” by Ginger Clark among other very informative pieces. Professionalism in how you act and your work is a key part of both pieces and the others. That includes adjusting to the rise of e-books as well as being dumped by your publishing house. A very informative section and one that will help you no matter where you are as a writer.
Marketing your own work is a job many of us dread and hate. After all, the book should sell itself, right? These days, if it ever did, things don’t work that way which is why a section titled “Promoting” is necessary. With essays on the basics of author bios, contact information, press releases, book reviews and more, this section gives you the framework to tell the world about your book. Getting information on your book out there so readers/buyers know about it is key here with lots of basic yet very good information.
The book closes with a detailed “Resources And References” section that covers where to go for more information imprint and online.
An extensive and inspirational book filled with lots of practical advice for any writer at any stage in his or her career, Many Genres, One Craft: Lesson in Writing Popular Fiction is one of those books that writers just have to have on their shelves. Unlike many of the courses and books bandied about online, this book features practical and realistic advice and tips from writers who have managed to build prolific and solid careers stretching back decades. No matter your particular writing interest, the information in this book will not only be specific to that interest, but to the craft of writing as a whole. Simply put --this is an excellent book that you must have and use.
Many Genres, One Craft: Lessons in Writing Popular Fiction
Editors Michael A. Arnzen and Heidi Ruby Miller
http://manygenres.blogspot.com/
Headline Books, Inc.
http://www.headlinebooks.com
May 2011
ISBN# 978-0-938467-08-3
Hardback (also available as e-book)
384 Pages
$29.95
Material supplied by the publisher quite some time ago in exchange for my objective review.
Kevin R. Tipple ©2012
September 14, 2015
For fiction writers - this is a great collections of helpful advice for all aspects of writing.
December 23, 2012
This fine volume is essentially a condensed MFA in Writing between two covers. Those contributing to this anthology of writing advice are affiliated with the MFA program at Seton Hill University. Professors, graduates and visiting lecturers all added their articles of the best writing advice. If you believe that they cobbled together some obscure academics and graduates whose greatest accomplishment is their MFA to slap together some quick articles, you are quite wrong. Among the authors are many award winners and a number of highly acclaimed writers you would be familiar with. Names such as: Tess Gerritsen (Rizzolli & Isles), David Morrell (First Blood/Rambo) and Lawrence C. Connolly (Borderlands), as well as many others; fill out this book.
This is a must have for all who take up the pen – or keyboard – whether it be for a living or as an impassioned hobby. Many articles fill out sections on style, characterization, plotting and setting about the craft of writing as well as sections on the many genres. Romance, Science Fiction, Horror, Mystery, Thrillers and Childrens' books are all covered. Then to complete the volume, the subjects that leave writers wondering where to start or asking what to do next are covered. Learning, Working and Promoting are all worthwhile sections.
I have barely scratched the surface of all this book covers. I highly recommend that you pick up a copy of this and keep it handy. Any time you feel weak in any area of your writing, a quick thumb-through will yield an article that will almost certainly strengthen your efforts.
This is a must have for all who take up the pen – or keyboard – whether it be for a living or as an impassioned hobby. Many articles fill out sections on style, characterization, plotting and setting about the craft of writing as well as sections on the many genres. Romance, Science Fiction, Horror, Mystery, Thrillers and Childrens' books are all covered. Then to complete the volume, the subjects that leave writers wondering where to start or asking what to do next are covered. Learning, Working and Promoting are all worthwhile sections.
I have barely scratched the surface of all this book covers. I highly recommend that you pick up a copy of this and keep it handy. Any time you feel weak in any area of your writing, a quick thumb-through will yield an article that will almost certainly strengthen your efforts.
July 19, 2011
I'm a writer. I knew that before reading Many Genres, One Craft, but I was reminded of the art and high level of creativity that must always be put at the forefront of any serious fiction writing.
Before I roll into my musings, I must admit, I know several of the contributors to this book.
The editors, Michael A. Arnzen and Heidi Ruby Miller, assembled one hell of a strong support book for the "how-to" of writing popular fiction in the modern era. Many, and I mean many contributing writers (but not me) were pulled to share expertise and strengths, with their readers. Assembled as a collection of articles, this book reads fast and allows the writer to easily flip to the section he or she needs while in the middle of a writing project.
I was especially impressed with Jason Jack Miller's article, Painting Your Setting With Concrete Nouns. This is a vital topic for any novice writer, and even for us veterans. In the fifteen or so how-to-write books I've consumed I've never really seen concrete nouns discussed so plainly. For that, Jason gets two snapped fingers.
Several other contributors really hit home as well. Pointing out Miller's article is not to diminish the others, but simply to shine a light on the one in the sense that all can share it. I'll be keeping Many Genres, One Craft on a shelf near my writing desk, so I'll always be able to reach for it when the need arises.
Good job.
Before I roll into my musings, I must admit, I know several of the contributors to this book.
The editors, Michael A. Arnzen and Heidi Ruby Miller, assembled one hell of a strong support book for the "how-to" of writing popular fiction in the modern era. Many, and I mean many contributing writers (but not me) were pulled to share expertise and strengths, with their readers. Assembled as a collection of articles, this book reads fast and allows the writer to easily flip to the section he or she needs while in the middle of a writing project.
I was especially impressed with Jason Jack Miller's article, Painting Your Setting With Concrete Nouns. This is a vital topic for any novice writer, and even for us veterans. In the fifteen or so how-to-write books I've consumed I've never really seen concrete nouns discussed so plainly. For that, Jason gets two snapped fingers.
Several other contributors really hit home as well. Pointing out Miller's article is not to diminish the others, but simply to shine a light on the one in the sense that all can share it. I'll be keeping Many Genres, One Craft on a shelf near my writing desk, so I'll always be able to reach for it when the need arises.
Good job.
August 29, 2014
Great resource for writers. It includes strategies and insight on a variety of topics (from craft, publishing, marketing) from several authors, many of whom are faculty of the Seton Hill University fiction program.
December 4, 2011
This is a book with something for every writer! It's a book I plan to refer back to during many stages of the writing process.
April 30, 2013
One of the best books on writing that I've read. The depth of the articles and wide range of topics makes it indispensable.
June 22, 2013
Wonderful - full of useful information. I may go out and buy this one.
February 4, 2015
This is a must-read for genre writers. Like Dean Koontz' Writing Popular Fiction or Steve King's On Writing, one craft cover some of the things all genre writers need to know.
June 23, 2012
Writers, if you only buy one book on wordsmithing, make it this one. The MA/MFA program in Writing Popular Fiction at Seton Hill University has a well-earned reputation for graduating story craftsmen, writers who wow, and this engaging textbook includes excellent writerly advice, not only from instructors but also from numerous published graduates. You can check the full list, but it includes four-time Bram Stoker winner Michael A. Arnzen, Maria V. Snyder (Poison Study), mystery writing with Victoria Thompson (the Gaslight series), Kaye Dacus (The Ransome Trilogy), and some amazing indie writers such as Heidi Ruby Miller and Jason Jack Miller (magical realism).
[Disclaimer: yep, I'm a graduate. So sue me.]
Writing's a massive topic. Many Genres, One Craft breaks it down into short, manageable chapters, each a comfortable read, and I've spent the last year reading a chapter every few days and thinking it over in between. Did I absorb it all? Shoot. Who could? And while I don't necessarily agree with everything I've learned (bobble-headism is occasionally useful and shouldn't be written off entirely, IMO), there's no doubt what I have absorbed will only help my writing. Besides, it was like the greatest reunion ever.
Five strong stars.
[Disclaimer: yep, I'm a graduate. So sue me.]
Writing's a massive topic. Many Genres, One Craft breaks it down into short, manageable chapters, each a comfortable read, and I've spent the last year reading a chapter every few days and thinking it over in between. Did I absorb it all? Shoot. Who could? And while I don't necessarily agree with everything I've learned (bobble-headism is occasionally useful and shouldn't be written off entirely, IMO), there's no doubt what I have absorbed will only help my writing. Besides, it was like the greatest reunion ever.
Five strong stars.
December 16, 2015
There's a certain kind of blog that, for SEO purposes, hosts frequent guest posts around whatever its theme is. Those guest posts are often poorly-executed statements of the blindingly obvious, there only to fill up space and increase keyword density.
Unfortunately, I felt that some of the contributions to this book fell into the same trap. There are sixty chapters in all, none of them very long, which means that they're also not in much depth. If there were one or two good points in each chapter, that would be OK, though not really what I was looking for--I want something that goes into depth on intermediate to advanced topics in writing craft, not another restatement of the basics. However, a few of the contributions don't even have much to say that would be helpful to a beginner, and some of them also make headdesk-worthy simple writing errors (mostly homonyms). These are graduates of the Seton Hill MFA in Popular Fiction, which doesn't fill me with confidence in the value of the course. (Of course, it isn't setting out to teach "how to write valuable, insightful nonfiction". The graduates may write perfectly fine popular fiction, and homonym errors are hardly rare even among award-winning authors. Still, such skills do matter.)
Did not finish.
Unfortunately, I felt that some of the contributions to this book fell into the same trap. There are sixty chapters in all, none of them very long, which means that they're also not in much depth. If there were one or two good points in each chapter, that would be OK, though not really what I was looking for--I want something that goes into depth on intermediate to advanced topics in writing craft, not another restatement of the basics. However, a few of the contributions don't even have much to say that would be helpful to a beginner, and some of them also make headdesk-worthy simple writing errors (mostly homonyms). These are graduates of the Seton Hill MFA in Popular Fiction, which doesn't fill me with confidence in the value of the course. (Of course, it isn't setting out to teach "how to write valuable, insightful nonfiction". The graduates may write perfectly fine popular fiction, and homonym errors are hardly rare even among award-winning authors. Still, such skills do matter.)
Did not finish.
October 2, 2013
An excellent collection of tips and how-to's on specific genre-related topics. Unique because this text is good for writers at every level--beginners, the experienced, the "just published" and the professional who wants to switch genres. The emphasis is on telling a good story, but also on how to tell it in a particular popular genre, the means and ends and special requirements of horror, SF, fantasy, mystery, romance, YA and children's. A very useful horizontal gaze over a wide array of genre topics.
May 17, 2013
Disclaimer: I am the publicist for the publishing house that put out this book.
As a writer, I hope my opinion carries weight. I don't write in the popular fiction genre, but I still learned from this book. There is plenty that nonfiction and other writers can learn about the industry, framing stories and living the writer's life. And it's remarkable that so many famous authors contributed to it. It's a must-have, and I'm not saying that just because I work for its publisher.
As a writer, I hope my opinion carries weight. I don't write in the popular fiction genre, but I still learned from this book. There is plenty that nonfiction and other writers can learn about the industry, framing stories and living the writer's life. And it's remarkable that so many famous authors contributed to it. It's a must-have, and I'm not saying that just because I work for its publisher.
February 26, 2016
It took me a ridiculously long time to read this whole book, because I wanted to treasure each individual article like its own little gem. The book is full of practical and inspiring writing advice without ever becoming obnoxious or preachy, and it offered multiple approaches to tackling problems. Now to go put some of this inspiration and wisdom to the test.
Read
August 26, 2017This book for writers, which I co-edited with Heidi Ruby Miller, is now available on amazon.com and elsewhere, and is starting to get some wonderful reviews. Visit http://manygenres.blogspot.com for more information.
September 12, 2014
I took this book as directed, reading the essays that were most relevant, sampling a few more that ending up being relevant, then sensing that I was procrastinating, recommitted myself to my work.
April 22, 2021
I always come to these types of books with trepidation, ready to skim through a certain amount of BS. There's always going to be some “Think hard about your characters,” without much specific advice, some “Write from the heart,” and some “Do a ton of research, but also a ton of writing, and also read constantly.” Yes, I'm aware that I would be a better writer if I devoted every waking minute to it. Unfortunately, I'm not independently wealthy.
I guess the way I judge writing books, then, is the amount of actual helpful content interspersed between the platitudes. I should also mention that I almost completely skip all “writing lifestyle” advice, since my lifestyle produces writing and so I'm pretty set on that. I'm skeptical of any assertions about the ever-changing publishing landscape too. I've also read a lot of these kinds of books, and so I probably have a bias towards seeing content as unhelpful not because it's thoughtless, but because I've read it before. That said, truly actionable ideas in this book felt pretty sparse. I got a few nice quotes, and some interesting ideas in the opening essays about managing perspective. After that I found myself taking almost no notes at all. I hate to be a snob, but I think one ends up with two stars like so many others.
I guess the way I judge writing books, then, is the amount of actual helpful content interspersed between the platitudes. I should also mention that I almost completely skip all “writing lifestyle” advice, since my lifestyle produces writing and so I'm pretty set on that. I'm skeptical of any assertions about the ever-changing publishing landscape too. I've also read a lot of these kinds of books, and so I probably have a bias towards seeing content as unhelpful not because it's thoughtless, but because I've read it before. That said, truly actionable ideas in this book felt pretty sparse. I got a few nice quotes, and some interesting ideas in the opening essays about managing perspective. After that I found myself taking almost no notes at all. I hate to be a snob, but I think one ends up with two stars like so many others.
November 8, 2023
⭐️⭐️⭐️⭐️ RECOMMENDED FOR NEW WRITERS
⭐️⭐️⭐️ FOR WRITERS WITH MORE EXPERIENCE
I’m jaded from reading numerous other craft books and writing business books before this one. I found some of the essays timeless and incredibly helpful, and others well-written but not particularly enlightening. (Again, because of my prior experience.)
That said, I think this book shines when it comes to structure and basic content. Few books offer both craft and business advice. To my knowledge, this is the only book to bring multifaceted advice together for writers of various genres, with a specific focus on commercial fiction.
I wholeheartedly recommend it for all new writers, whether they envision a career in literary fiction or genre fiction.
⭐️⭐️⭐️ FOR WRITERS WITH MORE EXPERIENCE
I’m jaded from reading numerous other craft books and writing business books before this one. I found some of the essays timeless and incredibly helpful, and others well-written but not particularly enlightening. (Again, because of my prior experience.)
That said, I think this book shines when it comes to structure and basic content. Few books offer both craft and business advice. To my knowledge, this is the only book to bring multifaceted advice together for writers of various genres, with a specific focus on commercial fiction.
I wholeheartedly recommend it for all new writers, whether they envision a career in literary fiction or genre fiction.
June 2, 2025
Perfect for beginner authors! This is a book of articles on different topics, and it does a GREAT job of covering a lot of the common errors nearly everybody makes when they're first starting out. As an editor for nearly 10 years now, I'm surprised at how CONSISTENT the patterns are in what writers need to know when they first start, and this book includes a lot of my most commonly repeated speeches to clients.
It's 10 years old now, so a touch of the stuff about agents and marketing has become outdated, but most of the stuff later in the book on the author's life is still applicable and useful to people in their later careers. Definitely will be recommending this one to clients!
It's 10 years old now, so a touch of the stuff about agents and marketing has become outdated, but most of the stuff later in the book on the author's life is still applicable and useful to people in their later careers. Definitely will be recommending this one to clients!
October 14, 2020
Chock full of short essays on writing craft, genre insights, and the publishing business, there's sure to be plenty in this tome for the aspiring novel writer to learn from. A product of the Seton Hall Popular Writing MFA program, the emphasis is on the things you have to do to regularly create genre fiction and get published, with plenty of personal examples from the writers featured here. Recommended for any aspiring novelist (even the lit fic types).
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