Book Review:
Writing the Novel: From Plot to Print
Reviewed by Erin Hartshorn
© 2007, Erin Hartshorn
"After twenty years and a hundred
books, I at least realize that I don't know how to write a novel,
that nobody does, that there is no right way to do it. Whatever
method works -- for you, for me, for whoever's sitting in the chair and
poking away at the typewriter keys -- is the right way to do it."
Thus ends Lawrence Block's introduction
to Writing the Novel: From Plot to Print. He makes it clear from
the very start that what he has written in this book is merely his
opinion (unless he is quoting someone else, in which case it's their
opinion). And some of his opinions are quite interesting.
One such opinion is that if you want to
write a novel, the novel, rather than the short story, is the place to
start. He contends that skill and ideas are less important with a novel
than with short stories -- not that they are unimportant, but that a
paragraph of poor prose in a novel is less of a problem than it is in a
short story where it takes up more relative space.
He also tackles deciding which novel to
write, developing plot ideas, and developing characters, with examples
of how he has approached each. Ideas, he believes, arise in the mind
"when the conditions are right," and then he gives concrete example of
how to make conditions right: read the kind of things you want to write,
pay attention (including an anecdote about how he created the character
of Evan Tanner), remember what you're looking for. I'd have to say that
his chapter on developing plot ideas resonated with me the most; his
anecdotes are similar to my own collection process for plot bunnies. I
may never write like Mr. Block (which is good, since I'd rather write
like me), but in some ways, my mind functions like his. I find that
comforting.
His emphasis on individual patterns in
writing continues throughout the book. The chapter on outlining states
near the beginning, "There is no right way to do this -- or, more
correctly, there is no wrong way. Whatever works best for the
particular writer on the particular book is demonstrably the right way."
He includes quotes from Willo Davis Roberts, Tony Hillerman, and
Richard S. Prather on their outlining habits to show how different
attitudes can be. (Show, don't tell.)
Other good advice comes in his chapter
on "Getting It Written." Concern yourself with the work of the day.
Don't worry about what comes next, or whether you'll be able to sort
out tomorrow's problems. If nothing seems to come out right, write it
anyway; you can throw it out later.
I don't agree with everything he says;
nor should I, if I am to follow the advice of "whatever works." For
example, he says that when he puts aside a book for a week to work on
something else, he's setting it down forever. That's not true for me
with all projects. With some, if I don't maintain momentum, they won't
be completed. With others, I can set them down and pick them up again
many times before I reach "The End." It all depends.
This book is a fun read and can be
useful for someone looking for specific pointers on process, alternative
methods of working, or just glimpses of how one author thinks about
writing. I recommend it for everyone.
Remember: whatever works -- always good
advice.
Writing the Novel: From Plot to Print
by Lawrence Block
Writer's Digest Books paperback
copyright 1979, paperback first published 1985.
ISBN 0-89879-208-8 |
