It would behoove readers to know that purchasing a book, about writing books, authored by someone whom has never written professionally before (much less a book), is a gamble of the highest order.
Unpredictable and aimless, but occasionally full of intellect and whimsy, RYAN HIGA'S HOW TO WRITE GOOD doesn't hold much value outside of being a thrift read at a local library. This, of course, belies the purpose of the book, which, it seems, even the author struggles to identify by the closing chapter.
HOW TO WRITE GOOD is oddly, poorly structured and is likewise oddly, poorly narrated. For starters, the book has three voices, and it's not always clear which point-of-view holds greater authority or what the hierarchy is supposed to be. The book follows (1) Adult Higa as he writes about (2) Adolescent Higa, growing up on Big Island, Hawaii (an over-the-shoulder glance of an author sharpening their craft). During which, (3) Ghostwriter Pal plays the straight-faced character to Higa's goofball by way of illustrated conversations that are conveniently/inconveniently inserted in-between Adult/Adolescent Higa's story. Said illustrations are meant to teach Adult Higa a lesson about professional writing, storytelling, or what it means to act responsibly in general.
Got all that?
The result is a story-within-a-story, diary turned graphic novel, which would have fared better as an animated short film than as a hardcover book. Indeed, perhaps the book's failings are a matter of format. The linear nature of book reading means Adult Higa's error-driven comedy routine is only funny if the tempo of the humor reflects the tempo of the story; Adolescent Higa's various bouts of depression read as emotionally valid only in cases where HOW TO WRITE GOOD, more obvious than not, is explicitly seeking to teach the reader something (as opposed to blithely entertaining them); and Ghostwriter Pal's casual, third-rail injunctions are only successful if the timing is absolutely and unequivocally perfect.
HOW TO WRITE GOOD does have a few gems. In Chapter Three, Ghostwriter Pal discusses the importance of balancing competent drama with guided humor:
"This is the part of the story that gets dark. During the serious parts of a book, a little sarcasm goes a long way [..] because humor can be a way to keep people at bay. When you don't want them to see how much something hurts you [..] [T]his is exactly the part of the book where we want to invite the reader to get closer, so they can really feel what you're going through. Maybe even relate to it because of something they're going through in their own life" (p. 44).
For writers both professional and amateur, this is solid advice. Understanding how to control a reader's emotional investment in a story through specific rhetorical and narrative cues or character dynamics is an enduring, fundamental truth of quality writing.
HOW TO WRITE GOOD also discusses the impact of having a good backstory, of consequential foreshadowing, and of integrating meaningful details into a narrative. Not all of this advice is clear-cut, and not all of it is properly or adequately manifest in Higa's story-within-a-story format . . . but it's there, somewhere.
Nugroho's illustrations add a lot of personality to the book. And although the lettering isn't particularly good, the comic inserts do a better job of articulating Higa's emotional resilience than do the young man's back-and-forth Adult/Adolescent narration. If one is to resolve the problem of overlapping perspectives in HOW TO WRITE GOOD, producing separate, alternating chapters of comics/narration and story, in turn, may have more crisply conveyed the relevance of each point-of-view from start to finish.
Further, separating the publication's constituent parts would have provided room for debate. Was Higa's familiarity with bullying at a charter school in Hawaii as consequential as he says? Perhaps, but his experience certainly wasn't unique. Was Higa's seesaw relational drama with his invisible crush as genuine as he says? Perhaps, but it's difficult for readers to get in sync with secondary characters whose emotions they aren't privy to.
HOW TO WRITE GOOD is a serviceable read for middle-school or early high-school writers. (Even so, the quantity of educational content is strikingly low.) Beyond this, professional writers or writers with a college-level education are not likely to learn much, if anything, from this book.