Writing Instruction Books: Proceed With Caution

Thoughts on "how-to" writing guides (with three recommendations)

If you’re considering writing a novel or memoir (or if, like me, you have just begun), chances are you’ve read one or two, or in my case, a stack of writing instruction books. I would advise not reading too many of these (like I did, frankly). It can lead to too much time spent analyzing the pros and cons, weighing which approach might work best, and soon you’re spending more time reading about how to write than on what you should be doing, which is actually writing.

Still, there are useful guides out there. I suggest sticking to suggestions from friends and fellow writers (in this case, me), absorbing what connects, taking a few notes, and then putting them aside. I think there is a tendency, once you identify a book that resonates with you, to become enamored with the approach and treat it as gospel—to force your writing to fit what the author prescribes. Be wary of guides that present a rigid, all-encompassing framework for writing your story. It’s important to remember that each of these books is the advice of a single person based on what has worked for them. So, apply the suggestions that hit home with you, and put the rest aside.

In that spirit, here are three recommendations that have worked for me.

Story Genius by Lisa Cron

The strength of this book is its insistence on using plot as a vehicle for your protagonist’s inner struggle. Readers don’t “come to story simply to watch events unfold,” Cron writes, they want to “experience them through the protagonist’s eyes, as she struggles with what to do next.” This rings true. I’m not fascinated by The Catcher in the Rye because I can’t wait to see where Holden Caulfield goes or who he meets next but because I am captivated by how those events impact his troubled (but relatable) worldview. Cron treats plot points as stops along the ride of a main character’s evolving personal journey. “Your protagonist’s worldview must change a little bit in each scene as he or she struggles with what to do, what action to take,” she says, propelling the next set of actions (and the next), toward eventual resolution, from which the reader gains insight, vicariously.

Truth Is the Arrow, Mercy Is the Bow by Steve Almond

The selling point here is Almond’s voice. He tells entertaining stories in the process of teaching us how to write entertaining stories. From no-nonsense advice on specific elements of craft to anecdotes about coping with procrastination and doubt, he shares hard-won wisdom with humor and humility. On managing chronological shifts: “Find those moments when the past and present reveal themselves as connected.” On opening paragraphs: “Be as swift as possible in apprising us of the pleasures and hazards to come.” And unlike most books of this type, he illuminates his advice with a mixture of personal anecdotes, quotes from songwriters and comedians, and a wealth of examples from modern texts, from poetry by Natasha Trethewey to novels by Jennifer Egan and Celeste Ng.

Write Now with Sarah Werner

This one is a podcast, but I’m sharing it here because it’s my latest discovery. Primarily a solo podcast in which Werner shares her developing thoughts on every imaginable writing-related subject, from saying vs. doing to coping with distraction to ditching your laptop and writing by hand, it would be tempting to think that she just turns on the mic and speaks extemporaneously, but that is clearly not the case. Every episode is a well-crafted personal essay. She makes no claim to expertise but comes off sounding authoritative, nonetheless, which is a testament to her thoughtfulness and preparation. It’s like listening to a trusted friend work through problems that every writer—if not every artist—faces. Each episode makes me feel less alone with my own writing journey.

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Writing is a solitary process. And it is hard. You spend hours at a time struggling through the ins and outs of these stories. There’s an understandable (and very human) desire to search the pages of a book for a mentor—a guide to lead you through the fire. But I think you’re better off finding a trusted friend, a fellow writer, or a writer’s group to troubleshoot your story problems with instead of seeking the answers in a book. I get it. You’re a book person. It makes sense to go there. But there is no substitute for human connection. That said, there is value in some of these guides if you choose wisely and don’t treat them as an antidote to the reality that writing is slow and challenging work.

What are your thoughts on writing manuals, or how-to books in general? What guides have worked, or not worked, for you? Let us know in the comments!

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