“Each writer only knows one set of truths, and those things are only true for that particular writer . . .”
Write Good Or Die is a collection of writing articles from a selection of published and unknown authors. The advice and subjects vary, as does their relevance. There’s no structure to the book: no unifying themes or thoughts or overarching point. It’s merely a mass of articles — some good, some bad — much like Lawrence Block’s Telling Lies but without the consistency, intelligence and wit of that book.
Much of the advice is obvious or clichéd, and most aspiring authors will have already read or learned it elsewhere. However, a few pieces of gold can be found amongst all the rubble. Plus it’s free and a quick read, so it’s worth checking out. Just don’t expect for it to change your outlook on writing, or unlock a secret key to success.
Download it, skim it, then delete it and move on to something better.
“This book invites you to imagine the act of writing less as a special talent and more as a purposeful craft . . .”
I’ve read numerous writing manuals and how-to guides over the years and this is one of the most comprehensive I’ve come across. Many books of this ilk promise to delve into a wide variety of issues but tend to scrimp on information in order to examine a few main areas, such as plot, or characterisation or the mechanics of writing — whereas Writing Tools covers almost everything in equal depth.
Broken up into fifty sections, each chapter focuses on a different aspect of writing: from structure to procrastination to internal cliff-hangers — using, for the most part, examples from previously published works (primarily other journalists, but also novelists and poets) to solidify, explain or elaborate on the initial point. At first it appears as if the book’s aimed solely towards journalistic writing rather than novels or scripts, but there’s a clear overlap of ideas and techniques, which can be beneficial for both authors and journalists alike. And although the chapters are quite short — probably about seven or eight pages each — the book never feels stingy on information, and Roy Peter Clark dives into each subject thoroughly and with an apparent wealth of knowledge and personal experience.
This isn’t merely a quick how-to guide; it’s more like a long, informative, insightful lesson, with an engaging, clear-minded teacher.
Whether you’re a journalist, a short story writer, a novelist, or a screenwriter, I highly recommend this book. It has a little something for everybody.