Small Demon
Mar 172009
 

When I first began writing poetry as a teenager, I could not get enough of books like John Ciardi’s How Does a Poem Mean? I was interested in the technical nuts and bolts of writing and at the time the Ciardi book and a couple of others were the only things available. As my competence increased, I got more interested in theory. The theory that was available in the 1960s to a suburban kid with a library card was almost exclusively the New Critics: I remember reading big swathes of Patriotic Gore and The World’s Body — even though I was reading Eliot’s poems, I didn’t get around tho the predecessor texts, Eliot’s essays, until I got to college. Such were my obsessions and fascianations as a young poet; over the last few months I have returned to my youthful state of obsession, but this time with the writing of fiction. I never thought I could do it until a few months ago, but now I have written a handful of stories and I find myself interested in technique more than in theory, though the two form a kind of moibus strip, or course. Following, then, are a few notes on some of the books I have found most useful as a beginning fiction writer (though one in the unusual position of not being a beginning writer, as such.)

The Art of Subtext – Charles Baxter: This was the first “how-to” book on fiction I read and it’s not really a how-to at all, but a meditation on what makes literary fiction literary. Fiction that has a subtext and is overdetermined operates in a different way from commercial fiction.

Method and Madness — Alice LaPlante: This is the most gracefully written textbook I’ve ever encountered in any field. LaPlante’s sensible dissection of the “show don’t tell” rule, for instance, is the essence of clarity. The choice of examples and the explanation of techniques is virtually perfect.

The Practice of Creative Writing — Heather Sellers: Another good textbook. I bought this originally on Joshua Corey’s recommendation and I probably will use the book next time I teach my introductory creative writing class. In the meantime, I’ve found it chock full of useful advice for a beginning fiction writer such as myself.

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Note: Subtext is part of a very sweet little series of books on writing from Graywolf Press that also includes Donald Revell’s The Art of Attention, with which I have many disagreements but is nevertheless an elegant and useful book, as well as James Longenbach’s very useful The Art of the Poetic Line.

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