Making Shapely Fiction

by Jerome Stern

A deft analysis and appreciation of fiction―what makes it work and what can make it fail. Here is a book about the craft of writing fiction that is thoroughly useful from the first to the last page―whether the reader is a beginner, a seasoned writer, or a teacher of writing. You will see how a work takes form and shape once you grasp the principles of momentum, tension, and immediacy. "Tension," Stern says, "is the mother of fiction. When tension and immediacy combine, the story begins." Dialogue and action, beginnings and endings, the true meaning of "write what you know," and a memorable listing of don'ts for fiction writers are all covered. A special section features an Alphabet for Writers: entries range from Accuracy to Zigzag, with enlightening comments about such matters as Cliffhangers, Point of View, Irony, and Transitions.

Genres: Writing, Nonfiction, Reference, Crafts, Read For School, Teaching, Self Help

270 pages, Paperback

First published January 1, 1991

About the author

Jerome Stern (1938 (?) - 1996) was the head of the Creative Writing program at Florida State University and taught writing workshops and classes on popular culture.

While at FSU he created the "World's Best Short Short Story Contest" and edited the book Micro Fiction: An Anthology of Fifty Really Short Stories. His other books include Making Shapely Fiction (1990), Florida Dreams (1993), and Radios: Short Takes on Life and Culture (1997). He wrote for the Tallahassee Democrat and his essays, which he called "Radios," were often heard on National Public Radio.

Reviews

[Lee Klein · Rating 4 out of 5]

I taught this one (and learned from it, too) -- it's real clear and funny and comprehensive and efficiently ordered. The basics, but not done in a way that makes you wanna barf.

[Bradley · Rating 4 out of 5]

It wasn't so much a manual of how to write as it was an encyclopedia of writing terms and conventions, all conveniently laid out in alphabetical order.

Seriously, nothing new is under the sun, and I've known about all of these since high-school, but sometimes it's kinda nice to be reminded of what you might have forgotten in your old, old, old age. You know, kinda like that old saying, "I've forgotten more than you've ever known." It makes me feel a little bit like a curmudgeon and an old fogey.

It's not a bad state to live in, btw. I recall that I wanted to be a curmudgeon when I was 16.

Now that I've read this, I feel like my life-long dream has finally come true.

[Kurt Reichenbaugh · Rating 5 out of 5]

Jerome Stern was one of my professors at FSU back in the 80s. I've carried this book with me since its publication in 1991. I hear his voice when I read from it. I remember his tough but fair grades and the warmth and care he showed his students. I also remember him asking me what did I plan on doing when I got to the desert after Florida. I told him I didn't know. He said that he hoped it would inspire me to keep writing. The section "Don't Do This: A Short Guide to What Not to Do" is pure gold. One never really "finishes" a book like this. Anyone interested in the craft of creative writing would enjoy this book.

[Robb Lightfoot · Rating 5 out of 5]

Wow. This is the best book I've read in 5 years on the subject of writing. I say this as someone who owns scores of how-to-write books and has been reading them for the past 40 years.

I came across this book as required reading in the now defunct UC Davis creative writing program. I could see immediately why they chose it. The first half of the book is outstanding, the second half merely great. The first half discusses a variety of story-forms, structures, that are useful to solve problems or achieve a result. I've never seen writing described in this manner, it offered solid tips and techniques. Kudos.

[Julie Dill · Rating 5 out of 5]

This is one of, if not the best writing manual I've ever read. It's thoughtfully written and it's not geared toward someone who hasn't ever written before. It seems to speak to someone who's been writing since birth, but needs unsubtle nudges in the right direction to sculpt the talent into an intricately wrought topiary, pruning out the... ridiculous metaphors like that one. The book came close to making me switch from poetry writing to fiction writing in grad school.

Caution: it makes it nearly impossible to ignore the "novel ideas" drawer in your desk.

[Alan · Rating 4 out of 5]

got a workshop to run soon on writing stories and thought I'd better re-acquaint myself with some techniques.. I've read a few of this type of manual and this one looks one of the best.
yes this did prove to be one of the better ones, with useful dos and don'ts, although never prescriptive, and a fine alphabetical list of cross referenced terms.. will add more later, haven't got the book with me at the moment.

[Philip Athans · Rating 5 out of 5]

An interesting and informative basic primer on fiction in general and the short story in particular that's a great place for beginning authors to get acquainted with the language of fiction writing and publishing.

[Carolyn · Rating 2 out of 5]

A few interesting points, but mostly felt like a book by someone who set out to write a book, not someone with something to say.

[Rebekah · Rating 4 out of 5]

1 Sentence Summary: Advice on writing.

My Thoughts: The advice was pretty good and helpful but not the best I’ve seen.

Recommend to: Aspiring writers.

[witzelsucht · Rating 4 out of 5]

One of the better "bite-sized insights" books for writers. In the first main part, Stern proposes story "shapes" into which readers' rough ideas might fit: the Journey, the Onion, the Iceberg, and more. The second part is a brisk A to Z run-down of literary concepts, ranging from the commonplace (allegory and red herrings) to the less discussed (pathetic fallacy and roman à clef), including their pros and cons. These parts were mostly familiar if you've read a few writing books, but I liked that they neatly crystallised a few more unusual devices for me.

[Wordsworth · Rating 5 out of 5]

4.5 stars.

What a useful book! As someone with extensive reading experience but a writing background limited to non-literary work, I found the first section of the book particularly enlightening. This was one of about a half-dozen writing guides I checked out at the same time, and this is one of the best. I think this will be an essential reading choice for anyone concerned with structure and form (and it makes a compelling case that you should be).

The first part is a very straightforward list of literary "shapes" you can aim to make when crafting a scene, a short story, chapter, or even a novel, moving far beyond Freytag's pyramid (also, "shape" is a metaphor, you can't graph them all), with a short essay on when and how to deploy them effectively. These are given catchy one-word, mnemonic names, but include concepts like an inciting conflict or intrusion, trauma or foreshadowing to engage the reader's emotions, mundane but crisp scene-setting as either a vivid illustration to immerse the reader or an opportunity to establish tension, and subverting the rules and expectations for the format. I'm sure one could come up with more than included here, but this is a great start on the essentials.

The bulk of the book is an A-Z glossary of literary terminology and concepts, covering genres and concepts from basic building blocks to technical minutiae. These entries are more than definitions: they discuss approaches to using the concept, as well as examples. This section's utilitarian format has been superseded by internet searches, but it's easy to browse and rich with information.

In short, this is the perfect browse for the early stages of a writing project and something handy to come back to for a dose of inspiration. If you are an experienced literary writer you might still pick up a few good ideas from the first section particularly.

[Printable Tire · Rating 4 out of 5]

This was the "required reading" for a writing class I just took. Since part of taking the class was being able to use Brown University's resources, I ingeniously borrowed it from their library (they in turn had to borrow it from SUNY Buffalo). Now it's quite a bit overdue but since I am persona non grata in the library now I am taking my time.

The first part of the book, which deals with different "shapes" of fiction (thus explaining the somewhat embarrassing title) is excellent. It's basically a collection of plots to inspire writing.

The A-Z section, though, is a bit didactic, and lacks the fun and creative tone of the first half (although the examples of good and bad prose are equally entertaining- where are they from? It's probably not such a good idea to have examples of bad prose be so much fun in their badness). This section is also somewhat repetitive: what's the difference, really, between voice and style and a million other sections on basically the same topic?

Still, this section has some good advice and insights, and by the end the tone has lightened up a bit and it seems less preachy and patronizing.

Altogether this is a very good writing book, as far as writing books go.

[gay wrongs · Rating 5 out of 5]

I'm using this text in the creative writing course I teach. It provides both structures for short fiction that can be developed as prompts, and good craft readings to help students digest the crux of a writing concept in a way that is convincing and concise.

The sections on workshops, trusting your material, premise, narrators and POV, local color and setting, dialogue, description, and what not to do are especially insightful.

[Heather Gibbons · Rating 4 out of 5]

I love the way Stern clearly and succinctly articulates these ideas about craft. This book seems to be just the right amount of detail for my beginning students (unlike the Burroway text which seemed to be too much for them). I just wish it were organized in a way that lent itself more easily to sequential lesson plans/units...

[Shannon · Rating 2 out of 5]

There's some good general advice for writers in here, but it's all very basic stuff. If you need to know what "plot" is, for example, this is a good place to find out. I'd use this in a high school writing class, but if you're beyond that level or looking for more advanced advice...ehhh, not so much. The list of resources in the back dates to the late 80s or early 90s, so is of minimal use.

[Anna · Rating 4 out of 5]

I reread this, since I'm using this for my Introduction to Fiction workshop, and it holds up after all these years. It's clear, concise, and practical. It also has the bonus of being clear that none of its precepts are set in stone, which is always refreshing when looking at craft books. Excellent for beginning to intermediate writers.

[Ann Douglas · Rating 5 out of 5]

A very helpful writing guide that explains the finer points of writing fiction. The book is divided into a series of topic-specific chapters, each of which focuses on a topic related to fiction writing. Highly recommended.

[Liz Shine · Rating 3 out of 5]

This book is an A to Z list exploring the function and importance of some elements of fiction. It'd be great for beginning writers. I read it as a way to launch into a new writing schedule and summer writing. It held many nice reminders for me.

[Balbina · Rating 5 out of 5]

An informative, entertaining and inspiring reference book on writing fiction. Reading it made me impatient to sit down and not only write, but revise anything I've ever written so far. I know I will reread and browse through the book for years to come. Definitely reccommended reading.

[Skye · Rating 4 out of 5]

A great resource for every fiction writer. Stern's book covers a huge range of topics, succinctly. I'm surprised this book was never required reading in any of my previous writing courses.

[Elizabeth Haynes · Rating 5 out of 5]

This is THE best book I've read on writing fiction to date. I will refer to it again and again. Just a very clear, easily digestible presentation of essential concepts.

[Chris brown · Rating 3 out of 5]

Initially this was assigned reading for a class and some of it I found intriguing. Ill have to give it another go later in life when I have enjoy it and not pick at it for class.

[Calvin · Rating 5 out of 5]

I snarfed it down.

[Mark · Rating 4 out of 5]

There's an ancient, ageless line of speculation about the universality of subjective embodied experience. The conversations, often prompted by sleep-deprived would-be philosophers, often begin with questions like, "How do we really know that what you experience is red is the same as I experience as red? I mean, you know, man, my red might be your green." The persistence of such questions reflects unnecessary and unhelpful distraction from the fact we humans readily perceive others' subjective experiences and, with emotional states, often shift our own experience to resonate with the other. How can writers — story crafters — create such subjective resonance in their readers?

Stern answers through extended analysis and demonstration. He shows how writers can modulate readers' resonance with story characters' embodied subjective experiences—what philosophers call qualia. His term for the medium of such experience transmission is 'the shapes of fiction.' His thesis is:

A shape invites you to fill it. The shapes of fiction inspire by presenting ways to embody your experiences, memories, and imaginings. Some of these shapes are particularly suited to the creation of individual scenes, short stories, or single chapters. Others could be extended to develop entire novels.

The shapes he highlights, which you should not take as an exhaustive list, includes:
- façade
- juggling
- iceberg
- last lap
- trauma
- specimen
- gathering
- day in the life
- onion
- journey
- visitation
- Aha!
- bear at the door
- snapshot
- blue moon
- explosion

I recommend this book for story crafters who would like to better understand the broader patterns of stories and story elements from the scene, upward in scale, and how these may be crafted to generate particular felt experiences in readers.

[Riski Oktavian · Rating 3 out of 5]

Aku tertarik untuk beli buku ini karena judulnya yang menarik dan desain sampul yang menurut aku simpel, tapi somehow cukup memikat. Dan karena aku juga punya sedikit ketertarikan di dunia kepenulisan, jadi kupikir bolelah aku untuk coba baca.

Impresi pertamaku saat membaca buku ini aku syok. Karena membaca buku ini benar-benar seperti buku panduan atau lebih tepatnya text book, di mana kita akan dikasih lihat definisi tentang istilah-istilah kepenulisan atau di dunia penerbitan. Dan aku sendiri bisa kubilang cukup banyak dapat informasi dari buku ini.

Selain dapat definisi, kita juga bisa lihat contoh penerapan atau contoh kasus yang dikasih sama si penulisnya. Penulisnya sendiri ternyata banyak menggunakan referensi dari penulis-penulis terkenal, khususnya penulis klasik sih ya. Dan setelah aku cari tahu ternyata buku ini terbitnya udah lama sekali, di tahun 1991. Nggak heran kalau ternyata penulis menggunakan penulis klasik sebagai referensi/acuannya. Bahkan bisa kubilang memang vibe buku ini cukup "kuno".

Sayangnya, menurut aku layout buku ini sedikit kurang menarik karena hanya menyajikan teks saja. Tanpa ada permainan dalam font, ukuran, warna, atau setidaknya pemberian grafis kecil-kecilan untuk membuat buku ini semakin menarik. Jadi jatohnya kayak aku lagi baca novel, in someway.

Mungkin buat kalian yang sudah jenuh dengan buku yang cuma isi teks aja, membaca buku ini harus dikuat-kuatin lagi. Apalagi ini buku nonfiksi yang pembahasannya cukup detail, jadi siap-siap untuk pay attention. Nggak jarang aku merasa loss di beberapa bagian tertentu.

Overall ini oke, tetap banyak informasi yang kudapat, bahkan sticky notes-ku sampai habis untuk menandai bagian-bagian dari buku ini!

3,8 stars.

[Melanie Faith · Rating 4 out of 5]

Wonderful advice for fiction writers. I read this book, after wanting to for several years, keeping it in mind for a future fiction syllabus I'm going to prepare and to get tips for my own writing. Oodles of inspiration and insider insights here.

The resources section in the back could use a refreshing (it was originally published in the early 1990s, before the online revolution in publishing) and there aren't exercises/prompts, but neither of these slight drawbacks affect the quality of insights or fiction craft tips at all.

I especially love the "Workshops" and "Red Herring" sections.

I'd also like to say that this book is a sold 4.5/5 for me, but Goodreads doesn't give halves, so I'm writing my half-point here. ;) This book has humor, lots of examples, and some sound craft tips. The organization is different from many other texts, especially the alphabetical section, which some readers/writers might find tedious after a while but which others will find refreshing. To each their own.

This is a strong contender for a text for one of my fiction courses and a craft book I'll keep handy on my shelf.

[John Robin · Rating 5 out of 5]

This book is an amazing tour de force that any writer or editor should read, for education as well as edification. What I found most impressive about Stern's approach is his vast references to foundational authors and works that define fiction. I have read many books on the craft of writing and often am disappointed by a dearth of such examples -- either there are too few or the author seems to have latched onto a few ideas on how fiction should work derivative of a few of their favorite books; or, there are many obscure references. in the growing fiction market where more than 1,000,000 books are being published per year, a book such as this, which draws on the roots and foundations of fiction is a good resource to ground writers as they grow upward and spread their branches on the cutting edge.

[Erika · Rating 5 out of 5]

I was assigned a chapter of this book to read for a writing class, but I always buy recommended writing books because I feel like they can always teach you something. This book was very good, especially the terms in the back as Stern breaks down each element of writing and what it's for and how to use it. I also appreciated the chapters as he talked about what works and what doesn't. So I would recommend this book to any aspiring writer, but I will remind them that this book isn't the law, these are just suggestions. And that if you get offended by things other writers suggest for writing, maybe you should consider another profession.

[Samantha · Rating 3 out of 5]

This is more of a glossary of writing/literary terms but it's not dictionary-esque in explanation. Each vignette goes into the term with examples and insights on how it's been used well and advice on how to use said device. For instance, there's a term "zig zag" that goes into back and forth plotting and there's more typical terms like "point of view," "pacing" "mis en scene" It's a crazy-quick read. Nice and tight and insightful! Highly recommend for writers who want to procrastinate writing but feel productive and "research" ;) WINK WINK.

[Sharon Bakar · Rating 4 out of 5]

I really love the first part of this book where Stern explores the idea of story shape and provides some useful examples. This could form the backbone of a short writing course. Each category lends itself to story ideas Would have loved more examples from contemporary fiction though.

The rest of the book is a useful reference book for writers, but most of it is stuff that any established writer will know already.