Editorial Review

Reviews

An Unequalled Pinnacle of Artistic-Comedic Genius Finally Gets its Due, September 13, 2010
There was a time, kids, when popular humor meant more than LOLcats and people getting hit in the crotch on America's Funniest Home Videos. It gave us deft, subversive parodies of Titus Andronicus, da Vinci's notebooks, Kafka, and the Code of Hammurabi and dared the audience to keep up.

The National Lampoon was a pure flash of genius in 1970s America due in no small part to its corps of genius artists, who finally get the celebration they deserve in Rick Meyerowitz's wonderful book.

For a kid like me discovering the scathing power of satire at the intersection of Vietnam and Watergate, 1972-73, the National Lampoon was a gust of visual and verbal nitrous oxide in an oleo world; nothing in my life has made me laugh harder. NatLamp boldly ran long, texty pieces that would likely be spiked today over lack of faith in readers' attention spans; one high point was a perversely intricate 12,000-word overview of the "law of the jungle" (literally, an invented legal system for animals) complete with demented Latinate citations, lovingly reprinted here.

But it was the art direction that genuinely made your jaw drop, and a lot of the best of it is in here. You'll find astonishing, gorgeous, dark-side takes on Herge's Tintin books, the Yellow Pages, SAT tests, Nazi zeppelin tourism brochures, insane niche mag titles they made up like Brave Dog magazine... from artists like Gahan Wilson, Charles Rodrigues, Bruce McCall, Brian McConnachie, and so many more... this was genius, fearless, hysterical and important stuff of a type wholly AWOL from today's scene. People who forward Onion or Colbert links to each other today would probably be struck dead silent by NatLamp's Vietnamese Baby Book parody or fake - and hilarious - Dutch hate campaign. The Onion is pretty thin soup in comparison.

But what gets you about this excellent collection of Lampoon high points is how the artists and writers trusted their audience to get it - catch the allusions, make the connections, and dig the bravery of the thing no matter how far it went. We got it. Today, on the other hand, big swaths of Onion and Colbert fans have to have it explained to them that these are jokes they're enjoying.

So I wish it were possible to call the Lampoon "seminal" -- there's a word that gets trotted out a lot for important old work -- but that would mean we'd see its descendants all around us today. I don't. The mag dried up in the 1980s, SNL grew cautious and corporate, and today our culture has grown sour and ultra-sensitive; we shall not see the like of this work again.

I loved this magazine for its literacy, intelligence, and fearlessness and this book captures the very essence of National Lampoon in its high-water years, 1970-77 or so. If you're old enough to remember and love that era but failed to save your back issues, this book will delight you. If you're not, and you think you know what far-out subversive humor is, this book will educate you.

It still makes me laugh, September 12, 2010
I spent a good portion of the 1970s in my room listening to music and reading National Lampoon. During its prime years it was probably the funniest magazine that ever existed - at least to my teenage mind. I still have a pile of them in storage, including the 1964 Yearbook, the 199th Birthday Book, and The Very Large Book of Comical Funnies. Pure gold! This book is great. Rick Meyerowitz gives us a generous selection of the magazine's greatest work. He also includes reminiscences about the writers and artists who made it all possible. In 1976 I thought these guys had the greatest job on earth. I was probably right.

It was funnier the first time., December 3, 2010
Way back when, I occasionally enjoyed the National Lampoon. Sometimes the humor was absolutely hilarious, such as the classic cover with a dog, a gun pointed at its head, and the headline "If you don't buy this magazine, we'll kill this dog". On the whole, National Lampoon contained many wondrous gems - and a lot of fool's gold and clinkers too.

For five years, National Lampoon was cutting edge, bleeding edge in fact, but the humor became more and more strained as the magazine had to compete with its own past. By 1975, a slow downward trajectory set in. But National Lampoon's progeny, a uniquely talented bunch of writers and artists went on to bigger and better things, such as forming the core of the original Saturday Night Live writing staff, producing "Animal House" and "Caddyshack".

But as the title of this self-reverential orgy implies, many of the first cadre were heavy users of alcohol and other substances. Some, including one of the founders, didn't make the traditional three score and ten. One didn't make it to thirty.

This book is actually two books. One book is composed of reprints from the National Lampoon. Some of it is the first-rate material and a lot simply hasn't withstood the ticking of the clock and is no longer funny - if it ever was.

The second is a collection of articles in which the writers and artists praise each other's genius. You'll miss little if you read none of this.

Overall, it is an uneven effort. Those who remember National Lampoon from their own youth may find at least parts of it as funny as the first time around. Others who never cottoned to it, won't find it any more appealing than it was 40 years ago. I question if today's young people will find it funny at all. Humor has become very coarse, disrespect of all institutions and officials pervasive, so the revolutionary appeal of National Lampoon simply isn't there for today's generation.

But for fans of the original, even lukewarm fans like me, it's still a fun trip.

Jerry

Brings back old memories, September 21, 2010
Loved the book. Well done by the author. Explained just enough too not too much of what it was like to work at NL with the crew.
I did not realize there were so many personalities in one office. A hell of a clash.
If this book brought back memories as a reader, I can only imagine what it was like to have lived it.
I guess the title of the book says it all.

The chums of NatLampCo, October 3, 2010
A wonderful and very welcome book about the Lampoon. The thirty-six writers and artists who are featured made it an essential monthly read before it evaporated into blandness in the late eighties only to close in the nineties.

I remember coming across the Lampoon for the first time with issue ten and I just loved the format, especially the comic and magazine parodies finely crafted by Design Director Michael Gross and Art Director David Kaestle. I attribute a lot of the circulation success to these two. Gross, rightly, dismissed the design of the first few issues by Cloud Studios as inadequate because they lacked the vision that the writing clearly deserved.

Issue after issue through the seventies and the early eighties delivered some of the funniest writing around and the look of the material was just so perfect. Odd in a way because according to comments from some of the book's contributors the Lampoon offices were a bit like the frat joint in Animal House.

I thought the material for each contributor was a well-rounded selection, whether it was for a writer, cartoonist or illustrator. No doubt those who were regular readers will remember their favorite page that is not here. I would have preferred a page or two more to show the wonderful graphic work of Bruce McCall and a real omission, in my view, is the stunning sixteen page Mad parody from October 1971, written by John Boni, Sean Kelley and Henry Beard.

All this wonderful material is presented in a large page sized book and beautifully printed on decent paper as one would expect from Abrams. I was though, rather disappointed with some of the layouts. This is a book about a highly visual magazine and I would have expected all the material to be reproduced as it appeared in the Lampoon. There are several pages where this has happened but lots of other pages have taken the original photos or graphics and presented them as new page layouts. Michael Choquette's excellent March 1972 photo story about Hitler living on a Pacific island is a different layout using photos not in the magazine and leaving out others in the original pages. As a publication designer I would have used a light color panel for the page shape with a drop shadow on two sides and then printed the original page on it. The Lampoon pages looked great so why alter their look for this book?

Despite the design comment above (I'll knock off half a star)this book is a worthwhile celebration of a unique American humor magazine.

***LOOK AT SOME SPREADS FROM THE BOOK by clicking 'customer images' under the cover.

WONDERFUL! BRILLIANT! AT LAST!, October 16, 2010
This brought back a lot of great memories and new laughs. If you are too young to remember the greatness that was the National Lampoon magazine then you definitely need to get this book. And if you do remember, then you don't need me to tell you that you want this book. It's not only a collection of some of the writings and drawings from the magazine; it's also a close look at the people who created this influential publication. The chapter on the cartoonist Rodriguez was worth the price of the book alone for me. It also contained a photo of the pen he used to create his wonderfully warped cartoons. I must have stared at that photo for fifteen straight minutes! I admit that is pretty geeky, but Rodriguez was THE cartoonist I always wanted to draw like-- and still do. Seeing the actual photo of Rodriguez himself was startling to me. I never knew what he looked like until I got this book, but I never imagined he looked like THAT!
My older brother and sister subscribed to the magazine when I was a kid and I would secretly read it while they were out of the house. Then my mom finally looked at a copy and from then on began tossing them straight from the mailbox into the trash without telling anybody. So some of the stuff in the book I had never seen before, thanks to mom!
There has never been another publication like the Lampoon, Get the book and relive its history or discover for the first time what made it so wonderful.

Well Done, September 14, 2010
Excellent trip down memory lane for NatLamp fans - well selected, well designed and well written. My only small complaint, no offense intended to the author, is that I would have preferred a little less Meyerowitz and a little more Gross when it comes to the reprints. ... Read more

Editorial Review

The Sixteenth Edition is available in book form and as a subscription website.  The same content from The Chicago Manual of Style is in both versions.

While digital technologies have revolutionized the publishing world in the twenty-first century, one thing still remains true: The Chicago Manual of Style is the authoritative, trusted source that writers, editors, and publishers turn to for guidance on style and process. For the sixteenth edition, every aspect of coverage has been reconsidered to reflect how publishing professionals work today. Though processes may change, the Manual continues to offer the clear, well-considered style and usage advice it has for more than a century.

The sixteenth edition offers expanded information on producing electronic publications, including web-based content and e-books. An updated appendix on production and digital technology demystifies the process of electronic workflow and offers a primer on the use of XML markup, and a revised glossary includes a host of terms associated with electronic as well as print publishing. The Chicago system of documentation has been streamlined and adapted for a variety of online and digital sources. Figures and tables are updated throughout the book—including a return to the Manual’s popular hyphenation table and new, comprehensive listings of Unicode numbers for special characters.

With the wisdom of a hundred years of editorial practice and a wealth of industry expertise from both Chicago’s staff and an advisory board of publishing professionals, The Chicago Manual of Style, 16th edition, is an invaluable resource in this rapidly changing world. If you work with words—no matter what the delivery medium—this is the one reference you simply must have.

Reviews

Chicago has updated itself enough so I think I can actually toss some of my other reference books!, September 23, 2010
The new version is certainly worth the purchase price! They've added an entire new section on electronic publishing, updated capitalization rules (web [lowercase] is now acceptable), made things more consistent, and speaking of consistency, added a new section on parallel structure. :)

The updated rules for numbers now allow me to toss the ancient GPO Style Manual kept handy for that (I work in science and technology), not to mention the new usage section covering most of the troublesome words means I'll be reaching for my American Heritage dictionary less frequently.

Well done Chicago! Thank you!

Improvement over 15th edition, October 22, 2010
I find this edition much easier to use and more complete than the 15th edition. I was able to toss my "addendum" reference material that I kept with my 15th edition because each of those items are clearly covered in this version. I highly recommended this book for everyone.

Still tops in style manuals, September 21, 2010
Although a professional writer, I still get stuck on questions of basic usage. The Chicago Manual of Style remains the final word on what is correct. I'm glad to have the updated edition since some rules may change over time.

Chicago Manual of Style, 16th Edition, November 13, 2010
As a book editor (also called a book doctor), I must keep up with the latest style issues for books, and CMOS is the bible of book style. It may not be easy to find entries in the printed version, but I use the CMOS Web site to search the subject I need. It tells me the sections to examine in the book, which simplifies and speeds up the process. I also have an "Ask the Book Doctor" column that appears in many newsletters and Web sites for writers, and I welcome readers of the column to send me questions. I often turn to the Chicago Manual of Style to find the absolute and final answers to those questions. It's especially essential for resolving differences of opinions among members of critique circles and writers groups.The Chicago Manual of Style, 16th Edition

Probably the single most important book ever written, September 10, 2010
This is an indispensable reference to all academic writers. Without it, I would be be most definitely lost. The updates in the 16th edition are most helpful as we live in a world of ever-changing media. The 15th edition did not tell me how to document material from kindle edition books.

Chicago Manual of Style is a helpful guide for all writers, editors, and proofreaders., November 10, 2010
I do freelance work as an editor and proofreader. I also tutor students in writing and they need to follow specific style guidelines. I find the Chicago Manual of Style to be a very helpful, detailed guide. Most publishing companies use CM as their style guide, so I recommend it to freelancers. Even though I've tried the online subscription, I find a printed version easier to navigate.

A Must Have For Editors, December 13, 2010
Admittedly, there is nothing exciting about reading an editing manual. If you need to know the rules there is no better go to source though. I wish I would have had this in college because it would have saved me a lot of frustration!

Thrilled, October 14, 2010
As usual, a necessity for any editor. There isn't a great deal of difference between the 15th and the 16th, but some of the changes are pretty big. Very pleased, and I love the light blue color inside. (Hey, I like pretty things, too!) ... Read more

Editorial Review

On Writing Well has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sole, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

Editorial Review

This is the writer?s bible to freelance success by providing the updated information writers need to get published and get paid for their work. Features include: more than 3,500 completely updated listings from the previous edition; exclusive interviews with successful writers, such as Charlaine Harris, Gwendolyn Heasley, and Cliff Dorfman; completely updated ?How Much Should I Charge?? rate chart for freelancers; and new articles on topics such as how to use social media and online freelance writing. ... Read more

Reviews

basically a good rescource for writers, August 8, 2010
I was disappointed to find that some of the information for the publishers and literary agents is outdated or changed. So be careful.

Easier to use, August 12, 2010
I found the new product much easier to navigate in the Consumer Magazine section, which is the one I mostly use. The magazines are grouped together by catagory in the Table of Contents. This puts all the information at your fingertips instead of having to flip back and forth.

90th anniversary edition, September 5, 2010
If you are serious about writing, you cannot live without this book. For dabblers like me it is fun to turn the pages and speculate on what you can do. I have started a collection of rejection slips.

Decades ago, everything you ever needed was in this one book. Now I have to buy separate books for different purposes like Poets Market. However, I still use this as my main source. There are grey tabs to tell you what section of the book you are reading. The last page has a legend on reading listings. Be careful you might accidentally find something to subscribe to.

I would describe the book in more detail except most people already know the details from older versions. If you ever start to make money you can write the price of this book off on your taxes.

Got it early, July 7, 2010
This is a revised review:
I found a huge number of typos, sometimes the same one over and over again. It seems like multiple people entered the listings and each one had a different way of formatting, so there is an inconsistency in the listings.

Under book publishers they say they don't list subsidy publishers and to let them know if anyone asks for money, yet one of the listings (which offers to write, illustrate and publish a book with your message) is just that.
Insufficient or incorrect contact information. For example one listing said to only contact the editor through email but didn't give an email address.

I'm hoping they accidentally published an early draft and that the quality hasn't really dropped to such a low level. I'm not sure how reliable the listings are with all these errors, so I think I will be returning my copy.

As a freelance writer this book is a "must have", December 25, 2010
This book provides, not only a writers market, it also provides clear instructions to writing query letters, steps to writing various genres to blogging successfully and launching a freelance writing business. Whether you are just getting started as a freelance writer or a seasoned freelance writer, this is a "must have" book.

No library should be without this key reference!, September 11, 2010
Continuing its history of publishing annual, winning references - a 90-year history - this provides over 3,000 updated listings key to any would-be writer's professional success. From book publishers to magazines, literary agents, newspapers and greeting card companies, this covers virtually anyone using a writer's output, juxtaposing listings detailing needs and acceptance routines with interviews and articles on basics such as what to charge for writing and how to produce a professional query letter. No library should be without this key reference!

2011 Wirter's Market, July 25, 2010
Always a valuable reference book, every year. I am certain this will be no exception. ... Read more

Editorial Review

Reviews

Collects all the titles you wish you knew, October 6, 2010
Nancy Pearl is back! In case her name doesn't ring a bell, she's probably just about the coolest librarian you can imagine. If you tell her you want something adventurous, she won't simply hand you a Jon Kraukeur book, she'll ask you to be more specific. She could probably ask you half a dozen questions and then suggest the perfect title for you. She did this for the world when she wrote Book Lust a few years ago. In it, she compiled lists of authors and book titles (often with a synopsis) that have connections to other books. So if you wanted Irish Fiction, the category would give you a large list of fiction titles, some well known and others long out of print. Similarly, she classified hundreds of books under different categories, some general(cold war spy novels) or more specific (novels written by physicians).


In her third book, Book Lust To Go, she tackles travel. To me, it's the best of the series. These aren't Lonely Planet guides: you aren't going to learn language or customs or cheap places to stay. Instead, it collects a list of titles based on the destination. You want books set in Finland? There's a section for that, and it includes fiction and nonfiction from the region, as well as history books that may be useful. She covers the world with books; even the most obscure countries and cities have titles listed. Being able to see a grouping of several genres in one geographical category makes this the ultimate resource if you are studying a particular area or doing a regional reading challenge.

Besides travel to real cities, states, and countries, she includes sections on imaginary travel destinations. Also listed are groupings of books based on sailing, walking, rowing, travel by plane, etc. The book is complete and thorough: this just released new collection is up to date. Books that were released as recently as a few months ago are listed in their appropriate region. It's hard to hide my enthusiasm for this title, it's just that good, especially for those of us who are curious about the world around us...

Highly recommended for active and armchair travelers, September 24, 2010
I love Nancy Pearl's new book. What a great idea to give suggestions for books that will enhance your travel experiences. Several years ago I took a cruise down the Seine from Paris to Honfleur. I decided to take along the book Bel Ami (Vintage Classics) by French writer Guy de Maupassant, not realizing that he was an author from the very region we were passing through - Normandy. It really enhanced my experience to be reading stories about the very area we were visiting. Book Lust to Go encourages you to have this same experience no matter where you are traveling. Even if you are an armchair traveler, this book would be an invaluable aid to the study of many different places.

A book for everybody who can read, October 25, 2010
I am shedding no tears of sympathy for NPR book maven Nancy Pearl. As far as I'm concerned, she has the best writing job in the world. She gets to write books about books, and in the process, research and select the best of the books, including the ones she likes, and recommend them to others. In fact, she can create the categories to suit her literary proclivities. Heavens, is there no limit to this lady's good fortune?

In this book about books, Pearl shines the luster of her book lust on books for travelers, both the inner and outer variety. BOOK LUST TO GO is subtitled "Recommended Reading for Travelers, Vagabonds, and Dreamers." Does this not include, well, just about everybody who can read?

This is not a trip read; it's a book to read before you go, to help you choose some books to take along. If you're traveling to Sweden, grab a trendy Stieg Larsson mystery for the journey (but be advised, as Pearl points out, Larsson's books are as dark as a far northern winter). If to Botswana, throw in your pack the writings of the delightful Alexander McCall Smith and the more complex Bessie Head --- a study in contrasts, but both writers are equally true to the soil of their home. Head's MARU, a bit darker and more poetic than the offering Pearl chose, is a near-poetic depiction of tribal prejudice and personal pride.

Going to Cornwall? Corfu? There's a book for you.

Maybe you just want to travel "in the footsteps of." Try Tim Butcher's BLOOD RIVER: A Journey to Africa's Broken Heart, about the great explorer H.M. Stanley, or CHASING CHE: A Motorcycle Journey in Search of the Guevara Legend, by Patrick Symmes. If you're a hiker, walk along with Dan White and his girlfriend Melissa in THE CACTUS EATERS: How I Lost My Mind - and Almost Found Myself - on the Pacific Crest Trail.

You may not wish to visit Haiti in these troubled times, but you can read about it in the classic TELL MY HORSE: Voodoo and Life in Haiti and Jamaica, by Zora Neale Hurston, a Southern black writer who is finally, posthumously, getting the attention she deserves. If Burma is on your literal or literary itinerary, you can read George Orwell's remarkable BURMESE DAYS, and if that piques your interest, you can follow up with FINDING GEORGE ORWELL IN BURMA by Emma Larkin.

I agree with Pearl in hoping that people still read J. P. Donleavy and will do so if Ireland is the destination. His THE GINGER MAN is, as she attests, "probably one of the funniest, raciest, and most outrageous novels you'll ever encounter." And so Irish!

In such a collection, because it is expansive but not exhaustive, there are bound to be little sins of omission. I would have loved to have seen a few of the many books about the Pilgrim Walk in Spain, and was surprised at the exclusion of any but peripheral mention of India, home to some of the greatest literature of modern times. E. M. Forster's marvelous A PASSAGE TO INDIA is de rigeur for the sub-continental vagabond, and no one should bypass the immortal Rudyard Kipling's KIM or HEAT AND DUST by Ruth Prawer Jhabvala. Vikram Seth's epic A SUITABLE BOY sprang at once to my mind, along with the older but no less powerful NECTAR IN A SIEVE by Kamala Markandaya. I read the latter as a child and was infused with the goal to see India, which I was able to fulfill in my 20s.

However, it would be churlish to complain that my or your personal picks are not included, because this is not our book. It's Pearl's, and --- I will say it again --- she is one lucky lady. But luck is made by being smart and being there. BOOK LUST TO GO is a fun read, an erudite view and a helpful guide, and I will be recommending it to my traveling companions.

--- Reviewed by Barbara Bamberger Scott

My favorite in the Book Lust series so far..., December 4, 2010
The latest in the series of "Book Lust" books, Book Lust To Go is an traveler's (or armchair traveler's) reading companion. Pearl recommends books for over 120 destinations - whether you are in the mood for fiction, memoir, adventure, mystery, etc.

Pearl admits that she doesn't love travel as much as some of her friends do. Adventurous or not - it's no problem - this collection suggests books you can pack with you in your suitcase as you travel, or books that make you feel you are in a new place without leaving your couch.

Maybe it's because I happen to LOVE travel books, but this was my favorite in the series so far. While reading, I filled 6 note cards with book titles to check out someday...which might be a personal record! Another reason I like this book is there seems to be more of Nancy Pearl herself. Her earlier books contained a lot of bare lists of books, while this book seems to have more talk about the books. Pearl also tells some travel stories about herself, her family, and her friends.

Reading this book felt like a conversation with an EXTREMELY well read friend.

Oustanding resource, and entertaining too!, November 2, 2010
Nancy Pearl aims to offer selections for all reading tastes and topics rather than saying "these are the best of the best and everyone should read them." With that in mind, I don't rate her books based on whether I liked the books she suggests. Instead, I rate them for the feeling of possibility, anticipation, and excitement she creates for me. Her love of books and their authors infuses every page. She always includes interesting personal anecdotes and a sprinkling of humor, so it's not just a dry list of books you should read.

The sections in Book Lust to Go are presented according to region, city, state, or country. If you have an interest in a particular place, you can turn to that section and find both fiction and non-fiction offerings about its history, people, recent events, or fellow travelers' experiences. There are also some sections devoted to mode of travel rather than location, including sea voyages, river rides, mountain climbing, bicycle trips, train travel, and walking treks.

Whether Cavorting through the Caribbean, Frolicking in Finland, Galloping Through the Galapagos, Sheltering in the Shetlands, or Peru(sing) Peru, there's something for everyone, if only for travel of the armchair variety.

Pearl explains in the introduction that she has tried to avoid repeating suggestions. So if you think there are titles conspicuously missing from a particular section, you'll probably find they've already been mentioned in Book Lust or More Book Lust.

An enjoyable read., November 15, 2010
"Book Lust to Go" was a fun quick read that introduced me to lots of good books I've never heard of and some that I've always meant to read and some I've actually already read. Isn't reading grand!

Book Lust to Go: Recommended Reading for Travelers, Vagabonds, and Dreamers by Nancy Pearl
... Read more

Editorial Review

Editorial Review

Now includes subscription to GLA online (the agents section of writersmarket.com). Now in its 20th year, Guide to Literary Agents is a writer?s best resource for finding a literary agent who can represent their work to publishing houses, big and small. The days when a writer could deal directly with a large publisher are over.Literary agents represent writers and shepherd manuscripts to the right editor; and a good representative is the difference between a published book and a manuscript that never gets read.To help writers acquire an agent, GLAprovides names and specialties for more than 750 individual agents around the United States and the world.GLA includes more than 90 pages of original articles on finding the best agent to represent your work and how to seal the deal.From identifying your genre to writing query letters to avoiding agent pet peeves, GLA will help writers deal with agents every step of the way. ... Read more

Editorial Review

A Practical Handbook of Pertinent Expressions, Striking Similes, Literary, Commercial, Conversational, and Oratorical Terms, for the Embellishment of Speech and Literature, and the Improvement of the Vocabulary of those Persons who Read, Write, and Speak English, formatted for Kindle with a linked table of contents. ... Read more

Editorial Review

• Authors are top game designers
• Aspiring game writers and designers must have this complete bible

There are other books about creating video games out there. Sure, they cover the basics. But The Ultimate Guide to Video Game Writing and Design goes way beyond the basics. The authors, top game designers, focus on creating games that are an involving, emotional experience for the gamer. Topics include integrating story into the game, writing the game script, putting together the game bible, creating the design document, and working on original intellectual property versus working with licenses. Finally, there’s complete information on how to present a visionary new idea to developers and publishers. Got game? Get The Ultimate Guide to Video Game Writing and Design. ... Read more

Reviews

A Real "How To" Direct From the Front Lines, March 2, 2008
When I read The Ultimate Guide to Videogame Writing and Design I was expecting quite a lot from a title like that. As a well read veteran game designer with over 34 million units sold to date, as well as game design professor at USC, I thought I had seen every element and angle in game development. Not only that, at USC we have developed a pretty robust curriculum on how to build great narrative into a solid game. To my amazement, my high expectations were not only met, but exceeded by a wide margin with this book! Ultimate Guide is extremely well thought out and presented in a no nonsense manner, with many excellent examples, points, and tips on not only writing, but also how to survive and prosper in the game industry. I guess it comes as no surprise since this book is practically a FedEx straight from the front lines, as these authors are still writing top games, and have written a number of "Story of the Year" games over the last five years. These guys have written for both film and interactive, and they know how to bring solid storytelling craft into the game space. I recommend this book to all my students as well as colleagues as a must read. You will not find a more straight forward and to the point book packed with real world examples anywhere. This is more than a "how to" book, but also a "how come" as it focuses down precisely on the challenges and pitfalls of game design and writing today from a variety of angles. I guarantee it will provide insights and value to both new and veteran game writers, as well as designers who are looking to bridge the gap between solid storytelling and great gameplay. I wish I'd had this book when I was starting out! But I'm sure glad I have it now!

A book that really explores game writing/design and what the entails, June 4, 2008
Though I've been mostly interested in writing for animation and comics, while playing video games I questioned who came up with it's stories. Many games have little to no stories and focus mostly on mindless entertainment...which isn't always a bad thing. But some video game stories really touch the viewer (Half Life 2, Final Fantasy, Bioshock, etc. come to mind.)

On a whim I bought this book and have enjoyed it immensely. Both the authors provided much more than I was hoping for. Both are seasoned game writers/designers who have worked on many games you know, and are still working on games. Stuff like UNCHARTED - DRAKE'S FORTUNE, CRIMSON SKIES, PROJECT ORIGIN, and FRANK MILLER'S SIN CITY - THE GAME. These guys know what they are doing.

The book breaks down not only how to write for games, but what that entails, hardships you will find along the way (both with writing and people), they provide sheets you can fill out to create your own game bible to pitch. And as an added bonus they occasionally have writing exercises to help you hone your craft or understnad a point better.

Leave no stone unturned and that's what these two have done. It has my highest regards! Buy it and truly educate yourself.

For anyone looking to write/design for video games, August 20, 2008
As a screenwriter, I wanted to dive into the challenges of writing for video games as I believe that it is the future medium of choice for storytelling and entertainment. Taking the advice of the many other consumer reviewers before me on Amazon, I bought this book and I haven't looked back since. It is very complete and helpful covering almost every aspect of game design and writing, but more importantly, how writing for games is a totally different craft than writing for film or literature, and how to tackle the many different challenges involved. The book takes you into the psyche of an average gamer and deconstructs what they're expectations are, and should be.

I believe it helps greatly to have some storytelling experience, preferably screenwriting, to make the most use of this book and to understand it better. Otherwise, you might feel a bit confused and left out if you have never written narrative storytelling before.

A great book for noobs and pros alike!

Introduction to writing for video games, October 8, 2009
Overall, the book is a well written introduction to writing for video games. Calling this book an "ultimate guide" is a bit of an exaggeration, but it's a good jumping-off point for an aspiring game writer.

Unfortunately, the book is lacking in content on design. I can't really fault the authors on this one... their experience is primarily in writing, not game design.

The final part of the book contains realistic advice on breaking in to the industry and surviving once you get in.

The book also contains several creative exercises (called "Action Items") peppered throughout. Although they weren't the focus of the book, the action items were (in my opinion) one of the best parts of this book. If I buy this book, it will be because of the exercises.

I recommend picking up this book at your local public library if you're looking to break into the game industry and work as a script writer for games. If you're already writing for games, then chances are that you already know most of what this book has to teach.

Excellent Book, May 12, 2010
The book is an excellent introduction to the subject of video game writing. And with there being no intermediate or advanced book on the topic, this book is the best on this topic. As some other reviewers pointed out, there is not much about game design in here. So don't be misled by the title.

Dog-Eared and Book-marked, October 19, 2008
I haven't even finished this book yet and already it's in rough shape! It's highlighted, dog-eared, bookmarked, etc. This is a fantastic book to use alongside your first project. It's not just a book, it's a work-study course on the subject. I highly recommend this book for anyone interested in game writing.

Great help, April 13, 2008
As a member of the student team who needed to produce video game in rather short amount of time, I have found this book extremely helpful. I did like one-sheet summary that allowed us to summarize everything. The content was very helpful. Thank you.

great book for both beginners and pros, March 10, 2008
this book is chock-full of incredibly useful information about writing and game design. many of the classic traps in this area of game development can be avoided by following flint and john's advice here. everything is outlined in a very clean and (not surprisingly) fun and witty read.

as a game developer for 10 years now, i found information in this book that i'll be using in the future and i can't recommend this book enough. these guys get it, and so should you.

Not too fair but these are my thoughts, May 7, 2009
First thing I want to say about this book is that it is indeed well written, easy to understand and gives some good hints and practices for the design of a video game. The last section also is very insightful as to how a game scenario idea should be presented ( this last part is at least worth a star out of five ). These were the pros.
About the cons. I think a book like that should give some more information about the differences between the stages of production and some more information on the stages themselves. Anyone interested in gaming programming will feel a bit disappointed as there is barely a mention in this book regarding it (except the occasional remark that we should consider the programming limitations when thinking of a scenario...). The hints though clever, are nothing that an able storyteller won't be able to find for himself after a good night's sleep and some creative thinking and if you don't have the latter you should not consider making video games either way. All in all maybe a four would also be appropriate but considering I couldn't manage to read it all ( some sections I found too boring to read ) I think for me a three would suffice.

Very basic, February 8, 2010
I don't know why they decided to go with "The Ultimate Guide..." rather than "A Basic Introduction to..."

There are really no advanced ideas in this book. Descriptions of the creative process are presented in an imprecise, unhelpful way. The following is an exaggeration and not a direct quote, but this is how the book felt to me:

"First, think about what type of game you want to make. Next, make something that resembles what you were thinking. Finally, change it until it is more like what you want. Take into consideration that your game will change as you make it."

Maybe there is some use here for other people, but I found absolutely no practical advice anywhere in the book. I do not recommend this. ... Read more

Editorial Review

Now includes a subscription to CWIM online (the children?s publishing area of writersmarket.com). The 2011 CWIM offers more than 650 listings for book publishers, magazines, agents, art reps and more. It?s completely updated and is the most trusted source for children?s publishing information. CWIM also contains exclusive interviews with and articles by well-respected and award-winning authors, illustrators, and publishing professionals as well as nuts-and-bolts how-to information. Readers will learn what to do, how to do it, and get loads of information and inspiration. ... Read more

Reviews

A necessary tool for any writer, September 2, 2010
If you write children's books or stories, then you will need this market guide. It gives the information you need to locate potential markets for your work. (Though you will then want to consult the market's website for more detailed and up-to-date information.)

I've been writing for a couple of decades now, and have been buying this book annually for almost as long. And I will confess that I'm beginning to find it quite depressing. The book is about the same size as it was 10-15 years ago, but the page count is misleading. Type is larger and white space more abundant, making it very clear that there are FAR fewer markets for our work than existed a decade ago. And a significant percentage of the listings state that they don't accept unsolicited materials. (Often this info is buried in several paragraphs of detailed description of the type of work they publish. In other cases, there is no info BUT "Submit through agent only.")
I realize that this isn't the fault of Writer's Digest Books, but is a reflection of changes in society and reading practices. Still, it's hard to NOT feel frustrated at paying the same price for access to half the number of markets.

A Great Resource, September 14, 2010
I've bought this book for many years and every year the articles have been extremely informative, helpful, and motivating--for intermediate writers as well as beginners. I especially enjoy the stories behind the debut authors. One nit-picky, little thing: This edition seems plagued by typos, the kind that exist when only spell checking is used instead of proof reading. I think this is odd, since we aspiring authors are told how professional and meticulous WE need to be. My favorite typo is within a publisher's listing where the time from contract to release is listed as 112 YEARS! I've heard publishing works at a snail's pace, but I don't think I have that kind of time.

A highly recommended 'must'!, October 18, 2010
No general lending library should be without the 2011 Children's Writer's & Illustrator's Market! It packs in over 450 updated listings to help writers sell children's stories and illustrations, appears in its 23rd annual edition with extensive updates on publisher listings, and offers nearly 200 pages of articles on everything from blogging to online promotion and writing. A highly recommended 'must'!

Children's Writer's bible, October 29, 2010
Don't even think about trying to write for kids without this essential reference from Writer's Digest books. Every year I eagerly await the new version of this book and am never disappointed. There are articles about various types of children's writing and interviews with both new and famous authors, but the most important part of the book are the listings. You will find literary agents who specialize in children's books, publishers with contact info and what they are looking for, nationally known writing contests, and essential info on how to write a proposal and letter to a publishing company that will get results. This is perfect for both newbies and long time pros.

A whole lot of padding, November 29, 2010
The subtitle of the book is "Over 450 updated listing to help you sell your children's stories and illustrations." And that's why I bought the book. The first 136 pages are articles and interviews (which I found useless). The last part of the book devotes 128 pages to Conferences & Workshops, Contests, and several different types of indexes. That leaves 178 pages devoted to the reason I bought the book. That's less than half! ... Read more

Editorial Review

One of America's most influential writing teachers offers a toolbox from which writers of all kinds can draw practical inspiration.

"Writing is a craft you can learn," says Roy Peter Clark. "You need tools, not rules." His book distills decades of experience into 50 tools that will help any writer become more fluent and effective.

WRITING TOOLS covers everything from the most basic ("Tool 5: Watch those adverbs") to the more complex ("Tool 34: Turn your notebook into a camera") and provides more than 200 examples from literature and journalism to illustrate the concepts. For students, aspiring novelists, and writers of memos, e-mails, PowerPoint presentations, and love letters, here are 50 indispensable, memorable, and usable tools.



"Pull out a favorite novel or short story, and read it with the guidance of Clark's ideas. . . . Readers will find new worlds in familiar places. And writers will be inspired to pick up their pens." -Boston Globe

"For all the aspiring writers out there-whether you're writing a novel or a technical report-a respected scholar pulls back the curtain on the art." -Atlanta Journal-Constitution

"This is a useful tool for writers at all levels of experience, and it's entertainingly written, with plenty of helpful examples." -Booklist ... Read more

Editorial Review

A lot has happened in the world of digital design since the firstedition of this title was published, but one thing remains true: Thereis an ever-growing number of people attempting to design pages with noformal training. This book is the one place they can turn to findquick, non-intimidating, excellent design help from trusted designinstructor Robin Williams. This revised classic--now in fullcolor--includes a new section on the hot topic of Color itself. In The Non-Designer's Design Book, 3rd Edition,Robin turns her attention to the basic principles that govern gooddesign. Readers who follow her clearly explained concepts will producemore sophisticated and professional pages immediately. Humor-infused,jargon-free prose interspersed with design exercises, quizzes, andillustrations make learning a snap--which is just what audiences havecome to expect from this best-selling author. ... Read more

Reviews

A Good Reference to Have, November 24, 2001
As mentioned in the introduction to the text, this book is not for professional designers. This book is intended for those of us who need to put together a flyer, presentation, or newsletter, but we don't have the background in design. The design the author refers to is the design of the printed page.

The author explains simple principles that help us see what makes for a good design like proximity, alignment, repetition, and contrast. There are plenty of before-and-after examples to show you exactly what she means. The explanations are also very understandable. Williams does not preach to you, but rather helps you see the different elements which can make the visual more effective.

There are also some quizzes with answers in the back. Included is a short bibliography so the reader can get more information if he or she chooses.

There are some problems with the book. One, it discusses the use of color, but there are no color pictures to illustrate the point. The author knew the illustrations would no be color so asks you to visualize this in your head. It wasn't the most helpful here.

Also, towards the end, she uses some editing/printing jargon that she never explains. If the reader does not have a design background, why mention leading if not explained?

Overall, I find this book to be very helpful. Knowing the elements I should be looking for ensures that my experimenting with flyers is more productive and effective. I would recommend this book to anyone needing to create newsletters, flyers, and the like.

Sensible and Practical Advice for Layout and Typography, October 28, 2001
Robin Williams provides a practical introduction to the classical principles of design in this pamphlet-sized book. Her discussion of layout is organized around four basic design principles: Contrast, Repetition, Alignment and Proximity. Each is presented in its own chapter with plenty of you-can-do-it-at-home examples. The typography section explains the principles of Concord, Conflict and Contrast, based on Williams'classification of type faces by style (Oldstyle, Modern, Slab Serif, Sans Serif, Script and Decorative), weight (Light, Bold), Shape (Narrow, Wide), and spacing. A discussion of color is notably absent; the roots of this book in early grayscale Macintosh computing show through.

Williams's book should hit the mark for amateurs creating one-page designs such as simple web sites, brochures or business cards. Set aside an hour or two to read it and do the exercises, and your designs should improve immensely. Mine have.

Read this book before you publish anything!, March 10, 2000
If you pick up this book looking for that on-the-edge-physical comedy that made Robin Williams one of the worlds most famous comedians, boy have you got the wrong Robin Williams! This author is one of the leading authorities on visual design and presents her information in a clear, concise, no-nonsense (well almost)kind of way. Her book is a valuable resource even for people who think they are familiar with aspects of design or have been told that they, "have a good eye," so don't be dissuaded by the title. As an experienced journalist, the book brought back a lot of my earlier newspaper layout training. It put into plain language the principles for which I had no name other than, "that just doesn't look right." The principles of proximity, alignment, repetition, and contrast are highlighted and expounded upon in each section. I found the section on typography to be extremely interesting and I find myself looking for examples of contrasting type all around me now.

Visual examples of weak design and what can be done to make the design better are on nearly every page, and make the subject matter very clear. The author maintains that most beginning mistakes in design are tied to mistakes in Contrast Repetition, Alignment, or Proximity (C.R.A.P). That sounds about right. If you are going to publish any document (print or electronic) this should be the first book you read before you do.

Serious design for anyone -- not just beginners!, December 16, 2000
Don't be fooled by the title -- �"The Non-Designer's Design Book" is a serious book that can be useful to anyone. In a slim volume, this book distills to the very essence principles that seasoned design professionals use. This is NOT Design for Dummies, it's Design-for-Wannabe-Designers, and it's not kidding.

Writer Robin Williams delivers a powerful design seminar in fun-book disguise. Her tone is light, encouraging, and creative, and her information is killer. I've read many books on this subject, and I learned many things in "The Non-Designer's Design Book" that have never even been approached in other books.

Williams begins with the basics, using examples and redesigns to illustrate design principles that will teach you how to make an effective newsletter, brochure, business card, or advertisement every time. She then moves into more complicated subjects such as typography (no kidding �-- I've never read anything about typography in any other book) that will serve to further refine your design projects.

This book is not for the casual reader -- it is guaranteed to revolutionize the way you see, think about, and design any print media. Williams has written a clever, incisive lesson on design, while managing to be entertaining and encouraging. This book should undoubtably be a part of your complete designing education!

Solid little introduction to design concepts, March 29, 2001
Being a web designer and not having any formal training as a graphic designer, I was looking for a quick guide on the basic "rules" of design and layout. This book fit the bill nicely.

Definitely a quick read, it covers the foundations of good layout and typography. Each "rule" gets its own chapter, with plenty of examples. It would have been nice, however, if the chapter on "Color" had actually used color images! The entire book is in black & white, so this was a bit of a drawback. Not a fatal flaw, but rather a conscious effort to save printing costs that wound up detracting from one of the chapters.

What I did learn were some obvious techniques and concepts that I needed to understand. The book helps you "notice" good design, and better yet, understand WHY it's good design. You'll also become more conscious of your designs, how to create them, and how to fix them when they're wrong, rather than just playing around with it until it "looks right".

If you're new to designing - no matter what the medium - you'll be well-served by this book. For the price, it's certainly tough to beat.

A Resource for the Non-Professional, December 2, 2001
Robin has written a simple book on design and typographic principles. Her intended audience is the secretary or admin, the church volunteer, the small business owner, the student, or anyone who is occasionally faced with the prospect of designing the written word. Her advice will not make you a professional, nor is it intended to replace a formal education, but will give the novice insight on what works and why. I don't often use phrases like "life-altering" or "eye opening", but this book deserves them. The concepts taught can be used for a newsletter, flyer, brochure, term paper, church bulletin, letterhead, or resume. She includes plenty of good examples as well as bad ones, and little quizzes throughout the book. It's a small book that can easily be read in a weekend, but what you learn will stay with you forever.

The first half of the book is dedicated to CRAP (contrast, repetition, alignment, and proximity), four principles that, once
understood, will turn your so-so document into something that people will want to read. And once you learn CRAP, you'll see
it everywhere (she calls this the Joshua Tree Principle). You'll understand why this magazine article is so visually attractive,
while that newspaper ad has no appeal at all.

The second half of the book focuses on typefaces (fonts), which so many of us love to collect. She describes the six main
categories and, more importantly, teaches us how to successfully mix font styles within a document (yes, even you can successfully
mix three or more fonts on a page, once you know how).

I've been so impressed by Robin's style of writing and the information she reveals that I've purchased two more of her books
(The Non-Designer's Web Book and Robin William's Web Design Workshop), and plan to purchase more.

The first step in teaching yourself graphic design., November 7, 2001
This was my first purchase in Williams's "non-designer" series, and it absolutely transformed the way I understand visual communications. I've always had good verbal skills, but I needed help with the visual part, once I found myself in a job requiring lots of layout and web design.

Williams's approach to teaching is based in principles (like, "Pick an imaginary line running down the page and relate all your visual elements to it."), which she then supports with example after example. It matches my learning style precisely. Once I've grasped the principle, I can apply it again and again, as indeed I have in the past year and a half since I read this book. It serves as a solid foundation for the rest of the series, especially the "Non-Designer's Type Book," which should be the second of her books you read, in my opinion.

I couldn't have accomplished in my job what I have without this book's help. It's not a reference book, but an essential introduction to sound design principles, which, once grasped, stick with you forever.

Primer on typography & design, January 27, 2000
This is an excellent way to learn and understand basic design and typography principles. It is written for the newbie and all the concepts are presented in a clear, consise format. After reading the book, one should have a better understanding of design fundamentals and apply them to print and web projects. This book will also show you how to spot good design from bad -- all Robin Williams says are tried and true design concepts that have been around for ages -- in this day and age of ostentatious design, it's refreshing to go back to the old school.

Some clues for the clueless, January 7, 2002
This book has improved every document I've created for at least half a decade. Computing is my trade, but bookmaking and related paper craft are my hobbies, so I'm awash in text on paper and on the monitor screen. From flyers, signs and term papers to greeting cards, books, web pages and technical documents, I've been applying Williams' techniques to great effect.

Her ideas are so simple, you'll wonder why you didn't think of them instinctively. The first half of the book focuses on four design principles: Alignment, Contrast, Proximity and Repetition. You'll be amazed at how supersizing a heading font or choosing a right side aligment can change a document. The rest of the book focuses on how to select and use fonts/type, emphasizing their use with the design principles. If you've been centering every item on an invitation or webpage or you've thought Times New Roman is the only font you'd ever need, this book will open you eyes and improve your work.

There are great before and after pics and even quizzes on the reading and techniques. Don't worry, answers are included.
I've taken DTP courses and have purchased other graphic design books, but this book has pretty much become my design bible. Beginners and experienced designers alike will benefit from this book. Numerous examples of brochures, flyers, resumes, business cards and other items should spur your creativity for some time to come.

Not the only book you'll ever need, but you do need it!, December 19, 2000
Two gripes first.

1.) I have had difficulty with the book's title. As an editor of a number of different publications over the years, I've had occasion to work with "designers" who couldn't align type to save their lives. I used this book to train them, and the title has been an obstacle. Not quite the level of problem I'd have had with the "* For Dummies" series, but still...

2.) In Williams' intro, she talks about Joshua trees. She received a tree identification book one year, saw a picture of a Joshua tree, and then went outside her parents' house in the San Francisco Peninsula area to find four of the houses in her block had Joshua trees growing in their yards. Wherever she went in the Bay Area after that, she saw Joshua trees growing everywhere. The moral of the story: once you learn about something (eg. design "don'ts"), you see them everywhere. Nice metaphor. Only problem is, the things she saw growing outside in the Bay Area were NOT Joshua trees. They were Cordylines, which resemble Joshua trees only vaguely.

Williams' point is still important, but the truth adds two more lessons: Even an expert can still make mistakes through overconfidence, and it's really hard to find book editors who know anything anymore.

Gripes aside, if you do any kind of page layout -- even if it's only for signs for your lost cat -- find a copy of this book. It won't turn you into an expert typesetter. For that, I suggest a few other books, such as Bringhurst's The Elements of Typographic Style, and years of setting type and seeing what works and what doesn't. But Williams will keep you from making the worst of all possible mistakes, and that will set you apart from the majority of design being done in the US. ... Read more

Editorial Review

With insight, humor, and practicality, Natalie Goldberg inspires writers and would-be writers to take the leap into writing skillfully and creatively. She offers suggestions, encouragement, and solid advice on many aspects of the writer’s craft: on writing from “first thoughts” (keep your hand moving, don’t cross out, just get it on paper), on listening (writing is ninety percent listening; the deeper you listen, the better you write), on using verbs (verbs provide the energy of the sentence), on overcoming doubts (doubt is torture; don’t listen to it)—even on choosing a restaurant in which to write.  Goldberg sees writing as a practice that helps writers comprehend the value of their lives. The advice in her book, provided in short, easy-to-read chapters with titles that reflect the author’s witty approach (“Writing Is Not a McDonald’s Hamburger,” “Man Eats Car,” “Be an Animal”), will inspire anyone who writes—or who longs to. ... Read more

Reviews

A Mixed Bag of Bones, December 5, 2001
I align myself more with the negative reviews of this book. It's easy to get caught up in some of the philosophical warm-fuzzy rhetoric of Ms. Goldberg. Akin to watching Oprah pull at an audience's heartstrings, Ms. Goldberg pulls readers in with story after story trumpeting the same message of writing from the heart. The initial reaction is to feel that there's nothing to question about what Ms. Goldberg says.

When I purchased the book, I saw nothing to indicate that it was specific to one particular form of writing, but after reading it, I feel that the author speaks much more to poetry than other forms of writing. The author on several occasions admonishes us to write in the moment and not dwell on ideas we've had in the past. She relates an experience of one student who had a fully-formed idea while out jogging but couldn't reproduce it when s/he got home to the blank page. Goldberg went into a spiel about how we should just let go of those thoughts that are not inspired or conceived in the moment that we sit down to write. That's where I have a fundamental disagreement with her and feel her philosophy becomes almost destructive to new writers. Perhaps poetry functions that way. Perhaps someone has to have that spontaneous quality about their work in order for it to be fresh and exciting. I don't know. I'm not a poet. However, for novels, short stories, and longer works, you would be a fool to let great ideas get away. Personally, I like to let some of those ideas percolate for weeks and even years. Yes, we mature and our perspectives change, but in a lot of cases that only means that we can approach a subject in a different way as we grow older. It doesn't make the subject any better or worse to write about.

Bottom line: I came away from the book with mixed feelings. In my opinion she crossed over the line of reason too often in the book to put forth her spiritual views. It was like a one day seminar that gets you pumped up, but then you get home and review your notes, and realize, sadly, that it was mainly hype with very little substance. I can summarize her tome with three bullet points: Be true to thine ownself. Always observe the world around you. Make writing a habit in your life.

A Writing Classic, April 24, 2004
Natalie Goldberg's insights about writing as a spirtual practice are just as valid today as they were in 1986 when this book was first published. Her suggestions to writers work, both for beginning writers and for writers who depend on words in order to make a living. I recommend this book to the emerging writers I mentor as a must-have reference second only to a good dictionary.

As a professional writer who has written over 20 books and 500 magazine articles, I've given Writing Down the Bones away several times after mistakenly deciding that I'd outgrown it. Just as often I've had to go out and buy another copy to remind myself that there's more to the writing life than rejections, and royalties. Every time I reread it, I find something new. Last year I read Goldberg's memoir, Long Quiet Highway: Waking Up in America, which provides insights about how she came to her beliefs about writing and spirituality. I suggest reading both books.

It's a good book, but overrated., December 28, 1999
A few months ago, around the time when I bought Goldberg's 'Writing Down the Bones', I was just starting to consider myself a serious writer. At first, I was attracted to Goldberg's warm and friendly voice and I felt like a member of her free-spirited writing posse, along for the magic carpet ride, venturing to far away cafes. I once thought of this book in the same frame of mind that so many kind, uncritical reviewers here have; as a kind of 'writer's bible.' Now that I am a few months older and wiser, I am able to see that the book is just a string of well-meaning encouragements that when putting pen-to-paper, are not as instrumental and helpful as you might think. One good thing happened as a result of my reading this book; I have made writing a practice, using notebooks as Natalie suggested.

The best, and if I may say, most fruitful and promising path to good writing is reading the words of those who have walked before us. Read and absorb the styles of others, THEN let the pen write directly and honestly from your heart. Write your own 'writer's bible.'

a guide to releasing your soul, August 23, 2002
I bought this book on recommendations from other writers and journal keepers, but I was openly apprehensive that it would be just another "you can do it" or worse another pontification on the divine art of writing. I couldn't have been more wrong!

Of all the how-to writing books I have read, all the while looking for that one filled with honest, practical advice to help shake loose my creativity free from the confines of English class rules and order, this is the best one out there. Natalie starts out telling you that it isn't an ordered process that fuels creativity. She lets you know up front that all those rules and "regulations" that you learned in every English class you ever took don't apply in real creativity.

She takes you step by step, holding your hand thruout, thru a creative storm complete with exercises designed to frighten and enlighten. In the end you realize that you are, indeed, a creative person when not confined to the traditional definitions of creativity and art.

I felt I could do anything, write anything, and create anything when I was done with this book. I read it straight thru in an afternoon and then went back over the period of a week and did the exercises. I still go back, months later, re-working the exercises, reading favourite chapters, and reminding myself of the wonderful wellspring of creativity in all of us.

I highly recommend this book to anyone frustrated with the traditional "this is how to be creative" books that so many of us have trudged thru in desperate hopes of finding a single grain of enlightenment. Natalie gives it to you in page after page of insight, comfort, and freedom. You won't be disappointed - unless, of course, you really do like all those ridiculous rules and regulations.

So Good I Couldn't Put It Down, August 31, 2001
When I took a creative writing course a few years ago, Natalie Goldberg's "Writing Down the Bones" was a required text. It was so good I couldn't put it down.

Natalie points out that all beginning writers are controlled by their "inner censor" and therefore write what they think other people want to hear, or they put a false face on their writing. Natalie does indeed "free the writer within," by giving us permission to "just write sh--" (her words,not mine). The gist of the book is this: just write. Go for volume, not quality. The quality will come as you gain experience and lose your inhibitions. Natalie says everything you write, not just the good stuff but the bad as well, creates a "compost heap of the mind." It stays in your subconscious and mellows and ripens, ready to fertilize your skills and imagination for future writing projects. I actually put Natalie's suggestions into practice and kept a writer's journal for several years (and still do), and wrote thousands of words. I feel that my writing skills did indeed improve and even shine.

Natalie also discusses some things to try, like writing in different places, and discusses useful topics like metaphor and simile. Her book is not a technical manual, but rather an easy read, a personal insight into the joy and freedom from uninhibited writing. I always recommend this book first to anyone who expresses an interest in learning to write.

A very informative and in your face book., April 10, 2001
Truly this book is going to help every single aspiring author to free the writer within. After you read it, you will want to start writing right away, and I have started doing the exercises before I even finished the book. Ms. Goldberg really has a way of reaching into your fears and anxietys about getting those words on paper, and she is a very real person with some very solid advice. A Buddhist herself, she brings some Zen wisdom into the book also, which is meaningful and helps her to succeed in her attempt to get you to pick up that pen and go! She is successful at giving you the "permission" you need and telling you how to begin. Authors suffering from "writer's block" will even find this book helpful. Those who never had an interest in writing will find they do after reading this. It's informative, there is humor, there is much straight talk, and best of all for me, it comes in an itty bitty pocket size wonder. Hurry up and get this one before word gets out and it sells out everywhere!

Essential for wannabe and already-published writers, January 8, 2004
After years of being told "You have to write a book," I began taking my nagging friends seriously. I bought a few books on the writing process, this being one of them. And then I started writing. Three years later, my memoir, BABY CATCHER, was published by Scribner.
I'm not saying Natalie Goldberg can turn everyone into a published writer. But what I AM saying is that her book can help anyone with the most difficult part of writing: sitting down and actually applying fingers to keyboard. The book has been of concrete and serious help to bazillions of writers. But it. Then apply butt to chair seat and fingers to keyboard, and write. And write. And write.

Writing is an integral part of life, October 4, 2004
The main message of this book is that if you are alive, you can write. Which is one of these zen-like truths that it is easy to understand, but damnably difficult to learn to use in practice.
Ms. Goldberg combines two great scholastic traditions in this book: the jewish and the zen buddhist. She tells us how essential it is to observe and to feel, and then how to just let the urge to write flow trhough you.
As with t'ai ch'i and meditation so it is with writing: we have to relearn a lot, and to go back to the simplistic.
It is a book to read, and tyhen keep at your side to glance in ever so often.

Filled with great advice and ......., October 3, 2001
.....much encouragement for beginning writers. Goldberg's primary piece of advice is to "keep your hand moving", i.e., let yourself keep writing and let your thoughts keep flowing. This exercise is crucial to removing the internal censor within that seeks to control what we attempt to write. It's this "going with the moment" and loss of control over our thoughts that Goldberg says will "free the writer within" as the book's title suggests.

And I agree with this basic premise and have found that it works in my own writing. Goldberg emphasizes how much of oneself a writer offers to his/her writing and it is clear that this self is not to be tapped without the effort of practice and letting your thoughts come through. Once the novice writer has this basic concept down, Goldberg offers helpful hints to actually improve the quality of the writing. She offers examples (often in the form of sharing her own personal experiences as a writer) of how to trust yourself as a writer, how to make your writing more detailed, how to show what you are trying to say (instead of merely telling), how to be specific, among numerous other tips.

I have read many books on writing technique and I believe that what Goldberg offers that many others don't is an acknowledgment that the meaningful events we seek to share and write about can be found deep within us. They merely must be appropriately tapped, which is attainable through some of the exercises she offers. This process gives writers the encouragement they need to actually initiate their writing and will form the basic foundation upon which the writing develops. I recommend this book particularly for those novice writers that have trouble "getting started".

A Review of Writing Down the Bones, May 22, 2005
Natalie Goldberg's book on writing is more a reflection on her life as a writer, than an advice book for beginning writers. While her observations on her experiences provide an interesting glimpse into her life and the life of a writer, it can become quite irritating for the reader expecting a different type of work. The effect is the same as if one were to confuse say Weekend at Bernie's with Schindler's List. A perfectly enjoyable experience ruined by false expectations. At some point you tire of the hi-jinks.
The first chapter discusses materials to use while writing, but it is the second chapter that introduces the one major piece of advice for writer. "First Thoughts," as she calls what I learned as freewriting, is the process of spending a block of time, ten minutes, an hour, or any length, during which to write without pause, in an uninterrupted stream of consciousness. Ms. Goldberg stresses the importance of these first thoughts as a means of getting beyond the anxiety of writing well by writing anything. By doing so, the writer will create a lot of bad material, but possibly some good, and in any case, will at least have written. I agree whole heartedly with Ms. Goldberg on the importance of such practices, and the advice is well taken.
The problem is that although at some point the beginning writer wishes to advance beyond this stage, Ms. Goldberg's advice never really does. Variations on the theme of the First Thoughts, including where to write first thoughts, why to write first thoughts, and with whom to write first thoughts, fill the majority of the book. There are other pieces of advice, but these are mostly small or, at least in my opinion, pointless. In one chapter, she says to freewrite two or three lines of anything, then, using those words, rearrange them at random until you've filled half a page. Finally, add random punctuation. The purpose is to teach the writer to break out of standard syntax by allowing him to create sentences such as "Write I'm an mouth rather cream. Say eat ice and nothing dry! I an write rather say and; my goes cube because an there's." Call me an enemy of the avant garde, but that just doesn't appeal to me.
However, like I said, the majority of the book does not offer writing advice at all, but rather tells of Ms. Goldberg's experiences and thoughts as a writer. Many of her thoughts on the subject are shaped by her conversion to Zen Buddhism. I have a deep respect for the religion and understand that religion can influence a person's view of all things. I even looked forward to seeing an interesting new perspective on the subject of writing. Unfortunately, this perspective quickly becomes tiresome. The author quotes from her Zen teacher Katagiri Roshi way too much, and often on subjects with only the most tenuous connection to writing. By half way through the work, one gets the feeling that she is mainly interested in flaunting her Buddhism, and takes every opportunity to bring it up. Several chapters devolve from discussions of the writing process to ramblings on the interconnectedness of all things. While this is enjoyable in Transcendentalist poetry, it doesn't transfer well to the realm of writing advice.
To be fair, the book does devote two of the last three chapters to the processes of cutting and rewriting. However, after the rest of the book, they seem to be tacked on, added at the last minute, after the author realized she'd forgotten about them. The advice amounts to reread your notebooks, cut out all the stuff that doesn't have energy, and rewrite the piece. In writing about the importance of rereading your notebooks in their entirety, Ms. Goldberg recounts a time her class asked her to prove to them that she was capable of writing poorly. To do so, she opens her notebook to a random page and begins to read. To her surprise, it is not only not bad, but is in fact a deeply moving poem about leaving, and those who have passed out of her life, no doubt written in iambic pentameter and sonnet form, just off the top of her head. The point of the anecdote is that we often miss what's good in our writing at the time, but it just comes off as boastful, from the start with her students doubting that anything she writes could be less than brilliant. If you cannot freewrite for an hour and come up with two sonnets, four haiku, and a dirty limerick, one infers, then you ought not be writing.
After reading Writing Down the Bones, one is tempted to remark that Ms. Goldberg followed her own advice: she sat down for an hour or two and wrote down whatever came to mind, and, if not producing something brilliant, she at least produced something publishable. I, however, would not think of doing such a thing. Rather, I prefer to assume that the books faults are really her way of telling us that there is no piece of advice that can create good writing, no secret to brilliance. All one really can do is write, rewrite, and hope for the best. Either that, or she realized that if she gave up her secrets, she would be ruined by all the emerging new talents. If the latter is the case, I applaud her brilliant scheme, but declare that her secrets shall one day be mine; if the former, well then isn't she just so clever.
... Read more

Editorial Review

What to read next is every book lover's greatest dilemma. Nancy Pearl comes to the rescue with this wide-ranging and fun guide to the best reading new and old. Pearl, who inspired legions of litterateurs with "What If All (name the city) Read the Same Book," has devised 170 thematic reading lists that cater to every mood, occasion, and personality. These annotated lists cover such topics as mother-daughter relationships, science for nonscientists, mysteries of all stripes, African-American fiction from a female point of view, must-reads for kids, books on bicycling, "chick-lit," and many more. Pearl's enthusiasm and taste shine throughout in this lively and informative illustrated guide. ... Read more

Reviews

Of all to choose from, how to pick a good book?, November 30, 2003
Answer: Take the advice of Nancy Pearl, librarian, reviewer and reader par excellence. Paired with Sara Nelson's So Many Books, So Little Time, you're set up with super reading for the next few years, at a minimum. These two authors approach their craft differently, however: Nelson discusses how books affect her, while Pearl is more inclined to discuss choosing a book based on her already-present mood. Together, you're covered for every eventuality.
And here's permission from an expert to do what many of us cannot give ourselves permission to do: quit reading a book after 50 pages if we're not enjoying ourselves. As hard as that is to act upon ("but surely it'll get better in another few pages..."), think about how many more books you'd have time to read if you skip the last 250 pages of every book you're really not loving.
Perhaps Nancy Pearl's most innovative and imitated accomplishment was to suggest that all the readers within a certain group (hometown, college, newspaper subscribers, PTA, etc.) read the same book and join discussion groups about it. Making this task easier is Pearl's division of her books into about 200 categories, including some unusual groupings such as "Shrinks and Shrinkees." Also invaluable to booklovers are the several "Too Good to Miss" sections in which Pearl discusses particular writers, why they are unique, and what specific books of theirs she would recommend. In this section are authors such as Iris Murdoch as well as many whom Pearl considers inadequately appreciated.
Buy this book. And then begin looking forward to the sequel.

So Many Books, So Many Moods, December 31, 2003
A Christmas present well worth while. Nancy Pearl, a Seattle librarian, and local NPR celebrity where she discusses books, has
written a book that is recommended reading for every mood, moment and reason. She has organized these books into 175 useful,creative and humorous lists. These lists are quite specific and the Table of Contents lists them in alphabetical order. The one critique is that not enough information is given about the books, but maybe that was her intent. Just maybe she wants us to find out that information for ourselves.

I have gone through each list and found enough books that interest me to give me reading material for the next couple of years. I have purchased several.

Some of my favorites are:

Action Heroines-the usual VI Warshawski and Kinsey Milhorne but several new ones like Susan Van Meter and Paul Flint.

Adventure by the Book- Fiction and Non-fiction-Huckleberry Finn and National Geographic.

Hamilton Basso: Too Good To Miss-New Orleans Southern writer like "View From Pompeii's Head".

Bird Brains- books for and by birders

Fathers and Daughters and Fathers and Sons-Solomon's Daughter and Gambler's Rose

First Lines Too Remember-"First I had to get his body into the boat".

First Novels-Virgin Suicides, Stern Men, Biggest Elvis

The Islamic World-Islam: A Short History

The Moon's My Destination-Apollo- Epic Journey to the Moon

Shrinks and Shrinkees-I Never Promised You A Rose garden

Three Hanky Reads-A Lesson Before Dying

Texas, A Lone Star State of Mind-The Last Picture Show

Zero: This Will Mean Nothing To You-The Hole in the Universe

All together, 256 pages of books organized into themes that make sense. I really liked this book. I found it light reading, but full of great information.I will use this as a reference book for the times when I need a book of a particular theme, or a need for a book I can't quite put my finger on.

If you are just starting out on a reading life, this book is for you. Or, if you are looking for something to read, but don't know what will strike your fancy, this book is for you. A book for everyone, for any mood or for every mood. prisrob

Great Resource For Book Lovers, August 30, 2003
This book is the first of its kind: a nearly infinite resource for people who are always looking for something good to read. I will never again be at a loss for a good book. I highly recommend it as a purchase or gift for any avid reader.

A must for book discussion group leaders, October 19, 2003
I lead and advise book discussion groups in the San Francisco Bay Area and think this book is a jewel for creating reading lists! The author, Seattle public librarian Nancy Pearl, has well honed personal and professional instincts for quality books with broad appeal.

For one thing, she serves as the Director of the Washington Center for the Book, where she created the program, "If All of Seattle Read the Same Book." This program became a model for programs like the California Council for the Humanities statewide promotion of John Steinbeck's The Grapes of Wrath. (Isabel Allende will be Seattle's featured author for 2004.)

Book group leaders will appreciate Pearl's historical context for different genres including the experiences of different ethnic groups in America, and a list of 100 good reads, decade by decade for the 20th century. (Ten books are listed for each decade.) Imagine immersing your book group in one book for each decade over the course of a year. Or just reading the 1940's with picks like Hemingway's For Whom the Bell Tolls, Richard Wright's Native Son and Marjorie Kinman Rawling's Cross Creek. The 1950's picks include Salinger's Catcher in the Rye and Ralph Ellison's Invisible Man.

Book group leaders may also appreciate her section on Companion Reads--books that can be linked sequentially to broaden the understanding of each. For example, she suggests three "moving memoirs about growing up Hispanic in America: Down these Mean Streets by Piri Thomas, and When I was Puerto Rican and Almost a Woman by Esmeralda Santiago." Another interesting idea: pairing two novels about single women, written almost one hundred years apart, one by a man and one by a woman: The Odd Women by George Gissing and The Odd Woman by Gail Godwin. There's also a list of books about Elvis for those so inclined.

One caveat: some of the books that she recommends are now out of print--which might mean more interlibrary loan work or asking your bookstore for a special order.

not perfect, but definitely helpful, September 23, 2004
When I pick up a book like this, I look for two kinds of lists: those in which I have an interest but no knowledge, and those that are my areas of knowledge. I use the latter to gauge my trust in the former, and I have to say I was mildly disappointed with the lists about which I am knowledgable, such as Academic Satires and Historical Fiction, which neglected to mention essential authors and books. That tells me that the other lists, those in which I have no first-hand knowledge, will probably get me started but will be neither authoritative nor complete.

Secondly, I was not enamored of the format, which devotes approximately one page to each topic and is set up as commentary with book titles in bold face type. There are a wide variety of topics, from Australian Fiction to Epistolary Novels and Pawns of History, however there is usually no information about the year of publication. The general commentary is interesting but inconsistent, while the sentence devoted to each recommended work is helpful and informative, as if a friend in a hurry was telling you about the item.

This is a fun book and it will get you started in areas of interest to you; however, for a more comprehensive and authoritative list there is The List of Books (sadly out-of-print and dated, but available used) by Frederic Raphael and Kenneth McLeish and, for a guide to specific authors, which are covered idiosyncratically here, you might try About the Author by Alfred and Emily Glossbrenner.

The book concludes with a good index that lists all of the books and authors mentioned.

This will not be your most valuable guide to other books, but it will be useful.

If you're looking for something new to read, November 5, 2003
If you love to read, then you'll love this gem of a book by Nancy Pearl. Pearl is the book-loving friend you wish you had. She'd be the one who reads the New York Times Book Review every Sunday and highlights the good finds for you. She's definitely given me some reading suggestions that I've thoroughly enjoyed.

Her book is categorized in interesting chapters that seems to fit reading moods. Categories range from Ecofiction, Presidential Biographies, Civil War Fiction to Great Dogs in Fiction. She even has a section on Elvis. It's actually a fun way to look at books.

In the section on Presidential Biographies, she references David McCollough. She mentions his best-selling books on Truman and John Adams, but what she actually recommends is his book about Teddy Roosevelt, Mornings on Horseback (which I'm ashamed to admit that I didn't know existed).

My only complaint (and it's a really small one) is she really doesn't go into great length or depth about most recommendations. One to three sentences and she's already moved on. Which is fine with me. I'm able to make note of what looks interesting and then go and do a little further research on my own to see if it really looks like a book worth my time and money.

I'd like to thank Pearl for introducing me to the following books:

Sahara: A Natural History
Andersonville
The Beak of the Finch
Zarafa
Measuring America: How an Untamed Wilderness Shaped the United States and Fulfilled the Promise of Democracy

And oh yeah - I'm currently reading Mornings on Horseback and love it.

Great little guide, August 12, 2004
I'm a reader who never runs out of things to read. But when I occasionally do run out of things to read, I simply turn to this delicious guide to books from a seasoned librarian and longtime reader.

The great thing about this book is you can reader it cover to cover, or simply to have on hand on your nightstand should you ever be in need something great to read. Nancy Pearl gives the reader many lists of genres to choose from: from Chick Lit to Russian Heavies, from Romances to Science fiction, plus some favorite authors you shouldn't miss out on (I was pleased to note that Eleanor Lipman made the list). Its all in there- Pearl's guide to everything worth reading. Of course, its not definitive, but this book is a great guide for seasoned readers and non-readers alike. Also recomended: How Reading Changed My Life, by Anna Quindlen, and So Many Books, So Little Time, by Sarah Nelson.

Nancy Pearl: A woman after my own heart!, February 24, 2006
If you love books, are a compulsive reader and, most important, are not a book snob, you will love this list by librarian Nancy Pearl. See also the Nancy Pearl librarian action figure (she raises her finger to shush noisy visitors). I have not read all the books mentioned in Book Lust, and she has not read all the books I adore, but there is plenty of common meeting ground--and a lot of good ideas. Read it. Enjoy. I liked it so much I immediately bought "More Book Lust".

Never to be in want of what to read again, May 4, 2005
_Book Lust_, as a previous reviewer mentioned, is a bibliophiles dream, whetting the appetite and challenging readers to venture beyond their comfort zone in genre. Pearl's vivid descriptions and tantalizing summaries provide just enough information to pique your interest without giving the plot of the book away. It is a delightful read, and I highly recommend it.

So much fun!, July 11, 2004
Any list of book recommendations that gives Barbara Pym her own category is likely to rate highly with me. I very much enjoyed reading "Book Lust" and now have a very long list of books that I want to tackle. While some of Pearls suggestions were, in my opinion, duds, that's just part of the fun. On the one hand, Book Lust has led me to read the works of writers I would never have chosen for myself, such as Percival Everett--I enjoyed his novel "Erasure". On the other hand, Book Lust has helped me to find more books in the style that I like most. I particularly enjoyed Elizabeth Taylor's "Mrs. Palfrey at the Claremont"--before reading Book Lust I had never heard of Elizabeth Taylor. I've recommended Book Lust to several people, prompting someone to present me with the Nancy Pearl action figure (complete with shushing action) as a gift. ... Read more

Editorial Review

Includes access to WritersMarket.com online database of more than 6,000 listings updated daily. This is the writer?s bible to freelance success,providing the updated information writers need to get published and get paid for their work. Features include: more than 3,500 completely updated listings from the previous edition; exclusive interviews with successful writers, such as Charlaine Harris, Gwendolyn Heasley, and Cliff Dorfman; completely updated ?How Much Should I Charge?? rate chart for freelancers; and new articles on topics such as how to use social media and online freelance writing. ... Read more

Editorial Review

With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built--meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, the Pulitzer Prize and National Book Award winner imparts an extraordinary amount of information in a short space. ... Read more

Reviews

A solid text for readers and writers, May 20, 2002
"A Poetry Handbook," by Mary Oliver, is a nonfiction prose text about the art of writing poetry. In the book Oliver, herself an excellent poet, gives a clear and painless introduction to some structural aspects of poetry. She defines many technical terms: alliteration, onomatopoeia, alexandrine, caesura, quatrain, persona, etc. She also discusses various poetic forms: sonnet, free verse, etc. Other topics addressed include imagery and diction. Throughout the book, Oliver illustrates her points with poetry by some of the greatest practitioners of the craft: Robert Frost, Walt Whitman, William Carlos Williams, Elizabeth Bishop, etc.

The book is aimed at both readers and writers of poetry. For the latter, Oliver reflects on such practical issues as revision and participation in poetry workshops. The book reflects Oliver's own philosophy of poetry. She stresses that poetry is a craft that requires work and discipline, and encourages the reader to think of poets as constituting a "tribe" that transcends all geographic and cultural boundaries.

The book is not without flaws. I found it quite Eurocentric; she never discusses the haiku, a Japanese verse form that has been embraced by many in the English-speaking world. Other non-Western forms are similarly neglected.

Some of her opinionated pronouncements also seem open to debate. She notes that a poem "gives pleasure through the authority and sweetness of the language," but I think some poems are effective conduits of rage or outrage and make use of unpleasant language to shake up the reader. Regarding the revision process, she notes that sometimes "it is simply best to throw a poem away" -- but, I ask, who is to make that decision? Something a poet might want to discard may in fact be a great poem in another's eyes.

Also, although she gives many good examples of good poems, it might have been interesting if she had included some bad ones to illustrate her points further.

Despite its flaws, however, I think that "A Poetry Handbook" would be a solid text for both individual reading and classroom use. And I think that some of Oliver's questionable statements could trigger productive discussion! Ultimately, I appreciate Oliver's declaration that poetry "is a life-cherishing force [...] as necessary as bread in the pockets of the hungry." Recommended as companion texts: Audre Lorde's essay "Poetry Is Not a Luxury," from her collection "Sister Outsider," and Pablo Neruda's prose collection "Passions and Impressions."

an inspiring guide to writing poetry, December 31, 1997
Mary Oliver's poetry itself can do some teaching on its own, but we can be grateful she's chosen to articulate the writing process so richly in this book. The book will almost certainly will wring some writing out of you; it will also inspire you to examine your work habits and technique. Oliver's intelligence shines through, and will make you a better reader of poetry. Small note on the previous review: Mary Oliver does, indeed, teach, at Bennington College currently. If you can't enroll there, this book is your next best choice.

The "Elements of Style" for poetry, September 2, 1999
The book is a concise, brilliant guide for anyone interested in writing poetry or in understanding it better.

An Indispensable Guide, March 9, 2006

Say what you will about her poetry, Mary Oliver clearly understands the technical aspects of the craft and in this small tome she conveys them brilliantly. With a clear voice and plenty of examples drawn from the masters of poetry, Oliver is able to bring great insights to the beginner or amateur poetry writer.

It may be going just a bit far to say that Oliver's book is to poetry what Strunk & White's is to prose, but for the non-expert it feels awful close.

Poetry Handbooks written by poets, January 11, 2009
Mary Oliver is a well-known, distinguished poet. Her book "A Poetry Handbook" was recommended to me by a professor from my current MFA Poetry program and it has been both a surprise, and a confirmation that poets themselves (not academics and critics) have the deepest insight into how to write a good poem. Oliver suggests that poetry is like a current ready to flow through you. It is not merely "an acquisition," a skill, or something outside yourself - but more a combination of punctuality in "showing up" to do the work, and an opening of the heart (or,as Oliver calls it: "that shy factory of the emotion.")

Each chapter addresses component parts of poetry writing: line, sound, diction, imagery, voice and more. Oliver's choice of poets: Whitman, Bishop, James Wright, Frost, Pound, are all strong choices, their poems providing supportive examples of her discussion of craft.

Most importantly, however, she provides the best piece of advise in her opening chapters: read, read, read poems. To be a good poet, you must read a range of poetry, spanning history and geography and style. And after that, Oliver provides the surprise (a heady permission I learned in my very early years of writing which has held fast through many moments of flagging confidence and motivation) "Imitate." We read, we imitate, and from this process we find our own voice and style. As Oliver tells us: "It demands finally, a thrust of our own imagination - a force, a new idea - to make sure that we don't merely copy, but inherit, and proceed from what we have learned."

Though beautifully simple and straightforward, I would not categorize this book as being for any particular level of writer: beginner, or accomplished. The beginner will learn well and happily, and the more accomplished writer will find again and again, much needed resonance for the continuing passion of writing poetry.

A Lasting Contribution To Poetry, November 26, 2002
With _A Poetry Handbook_, Mary Oliver does for poetry what Strunk and White did for prose. This book is elementary, not in the sense of being remedial, but as a clear introduction to the fundimental principles of poetic criticism and craft. This is a book you will reference repeatedly, whose pages you will yellow with delight throughout your career -- however casual or professional -- in poetry.

great inspiration, October 24, 2005
After having written a dozen or so poems, I decided to get some professional insight with this and a few other books. I was most impressed with this book, what a great guide Mary is on this adventure. Wonderful examples, and very "matter of fact" approach.

Simply the best short book for writers of poetry, January 29, 1997
Mary Oliver chose to avoid teaching so she could concentrate on her poetry. Too bad for students. Here, however, she gives students and accomplished poets alike a sensible and sensitive handbook that conveys not only the craft of poetry but its power, its mystery, and its magic. Readers who say they don't like poetry should give Oliver a chance to change their minds and hearts

Great for the experienced and uninitiated, April 19, 2002
What Oliver manages to do is speak to both the experienced and just-initiated poets. While I've been writing poetry since grade school, I wouldn't truly consider my poet as before reading this book, the most I could tell you about a sonnet was that it rhymed and the most about a haiku is that you had to write it in a certain amount of syllables. Oliver's book is quite an inspiration to get the creative juices following and is quite a manual on the process. Don't get me wrong, Oliver takes care of explaining the technical aspect of the poet's craft, but her book was more of a 'creative matchbox' than a classbook.

I don't even like poetry! I write stories., April 2, 2002
I'll be the first to admit that my poetry reeks in a very teen-aged angst-heavy metal lyric-mushy kind of way. I thought that maybe I could find a way to string words together without using all that pesky grammar so I picked this one up at random. My story writing drastically improved. My poetry, well, let's just say that even Douglas Adams's Vogons would be mortally offended.

What do poets know that the average storyteller doesn't? Words have sound. Imagine that. They have a feel that goes beyond connotation. There is a rhythm. And a sort of Dr. Suessian alilteration is available for 9.95 call within the next 10 minutes and shipping is free!

Ms. Oliver would be hard pressed to find anything redeeming in my poetry. She'd probably wonder if I even read her book or if I pulled the ol' never touched the intern routine. I did-- not the intern, the book! I even learned that "dipthong" is not a dirty word. Darn it. ... Read more

Editorial Review

"This book is a wonderful addition to a graduate course on professional writing, to a writers' group in need of some structure, or even to the lone writer who needs assistance becoming an academic writer."
-Chronicle of Higher Education

Wendy Laura Belcher’s Writing Your Journal Article in Twelve Weeks: A Guide to Academic Publishing Success is a revolutionary approach to enabling academic authors to overcome their anxieties and produce the publications that are essential to succeeding in their fields. Each week, readers learn a particular feature of strong articles and work on revising theirs accordingly. At the end of twelve weeks, they send their article to a journal. This invaluable resource is the only guide that focuses specifically on publishing humanities and social science journal articles.

Key Features

• Has a proven record of helping graduate students and professors get published: This workbook, developed over a decade of teaching scholarly writers in a range of disciplines at UCLA and around the world, has already helped hundreds to publish their articles in peer-reviewed journals.
• Demystifies the academic publishing process: This workbook is based on actual research about faculty productivity and peer review, students’ writing triumphs and failures, as well as the author’s experiences as a journal editor and award-winning author.
• Proceeds step by manageable step: Within the context of clear deadlines, the workbook provides the instruction, exercises, and structure needed to revise a classroom essay, conference paper, dissertation chapter, master’s thesis, or unfinished draft into a journal article and send it to a suitable journal.
• Targets the biggest writing challenges: This workbook focuses squarely on the most difficult tasks facing scholarly writers, such as getting motivated, making an argument, and creating a logical whole.

Writing Your Journal Article in Twelve Weeks can be used individually or in groups, and is particularly appropriate for graduate student professional development courses, junior faculty orientation workshops, post-doc groups, and journal article writing courses.

Wendy Laura Belcher is assistant professor of African literature at Princeton University in the Department of Comparative Literature and Center for African American Studies. She has taught journal article writing workshops in North America, Europe, and Africa.

Praise for Wendy Belcher and Writing Your Journal Article in Twelve Weeks

"A comprehensive, well-written and beautifully organized book on publishing articles in the humanities and social sciences that will help its readers write forward with a first-rate guide as good company."
-Joan Bolker, author of Writing Your Dissertation in Fifteen Minutes a Day

“Humorous, direct, authentic … a seamless weave of experience, anecdote, and research.”
-Kathleen McHugh, professor and director of the UCLA Center for the Study of Women

“A useful text that will be an excellent resource for any writer attempting to publish their work.”
-Larry Chandler, Graduate Student

“Wendy Belcher's book is revolutionizing the way younger scholars perceive academic publishing and radically transforming their level of access to it (and consequently to the profession). It is by far the most readable or practical guide to academic writing on the market.”
-Beth Goodhue, UCLA

“Wendy's guidance has been a tremendous help to me, and the book is great for grad students, junior faculty, or anyone who wants to learn how to write and publish more effectively.”
-Jake Dorman, The University of Kansas

“Your book struck such a nerve because there is a long chain of assumptions in academia that scholars should just know how to do certain things. The relief among faculty is palpable when I explain in groups that few of us -- even those who have been published in journals -- were ever taught properly. And although it helps everyone who cracks it, your book is especially a godsend for faculty from other cultures.” -Carole Sargent, Georgetown University

“Thanks for your wonderful book!”
-Georgina Green, Graduate Student

“Absolutely LOVE the book!”
-Karra Bikson, Graduate Student

Reviews

Writing your Journal Article in 12 Weeks: a Guide to Academic Publishing Success, February 15, 2009
Professor Wendy Belcher has written a tour de force that compiles a series of detailed steps for publishing an academic article. Her methods for writing, revising, submitting, and responding to editorial decisions are straight forward, organized, and well supported by carefully collected data gained through years of experience talking with writers and teaching scholarly writing around the world.
The book has one strength not usually found in such "how to" books on writing. Writing your Journal Article in 12 Weeks provides academic writers with what we have been waiting for: the tools to address our anxieties about writing and being evaluated by other scholars. Belcher successfully demystifies the process for submitting manuscripts and understanding editors' decisions regarding revision and rejection. At the same time, she bolsters academic writers' confidence with the assurance that the paper can be published. I cannot think of any book on academic writing that is as helpful and encouraging as this one. I plan on sharing it with all of my professional colleagues who deal with the ongoing challenges of scholarly writing and publishing.

Great Teaching Tool, May 31, 2009
Just wanted to chime in here. None of the reviews thus far have mentioned the fact that the author has organized this book in such a way that it could be used to teach a grad class on academic writing, or research methods. While it doesn't deal with "research methods" in any discernible way, it would provide a useful framework (covering topics like how to write a literature review) to teach a semester-long class for university seniors or master's level students seeking to write an article in the social sciences. And of course it will help you with your own writing as well. However, it's really written for beginners. I was hoping for a guide for more seasoned pro's which might help you identify tricks and shortcuts to write more productively, but it doesn't really do that.

A must for academics seeking tenure, July 7, 2009
This hefty book (350 letter-sized pages) takes the reader through designing a writing plan, starting the article, selecting a journal, reviewing the literature, writing the article, getting feedback, editing the article and sending it out. Week X, which happens when you get the response back from the journal, is about dealing with the journal's response to your submission. Each chapter presents a lot of information in the instruction section along with workbook questions to fill in. The Daily Tasks section that follows tells the article writer what to do on a day by day basis. While this book may be too structured for successful academic writers, it's a good starting point for new writers and academics having trouble getting articles accepted.

Amazingly helpful for junior faculty, June 6, 2009
This book is incredibly helpful. I have used it myself and assigned it to students. Excellent for graduate students or assistant professors who need a clear practical plan to get papers out for publication. It has many helpful hints that even those of us lurking in academia for a long time can learn from. Written in a very comforting and encouraging tone.

If you need to write for school, get it, March 11, 2010
I bought this book because I have checked it out from the library six times already. It's well-organized, although you may decide to use a different order. It's got good hints for organizing your writing and your life.

This is NOT a book about how to force yourself to write for eight hours a day, six days a week. It is NOT a book about how to do research. It IS a book about how to write up the research you've done.

I'm a grad student, so my needs are for current classes and future professional writing. Everyone I have shown it to in school immediately writes down a citation so they can get it, too.

I'm a big believer in her methods, and I highly recommend this book to anyone who needs to write in an academic setting.

Very good guide, June 20, 2010
I think this book's greatest strength is the writer's ability to break down writing tasks for you each day in order to get your article out in twelve weeks while still juggling other responsibilities. I think most people tend to overload themselves, then feel stress when they don't meet their writing goals. Belcher presents very simple, hourlong, meet-able goals for each day. Each week has 5 days' worth of tasks that you can spread out as needed. It's great to not have to think too hard about scheduling an hour's work for myself every day -- I can just look at the book, do what is suggested, and move on with my other work. Would recommend to anyone trying to balance teaching and publication, and especially to anyone who stops writing when the grading comes in.

I used it to teach a grad class, August 15, 2010
I actually did use it to teach a graduate seminar on how to write a publishable article (or really, how to revise a seminar paper into a journal article, since it takes much longer than 12 weeks to write a humanities article from scratch). It would be perfect for a 15-week semester, as I would recommend at least 2 weeks for the literature review section. I teach on the quarter system so it was a bit of a tight squeeze. But in my evaluations the grads said that the book was enormously helpful, if somewhat patronizing in tone. Out of 9 students, I had 4 sending articles out, 4 decide (correctly, I think) that their piece wasn't worth sending out but happy to have changed their writing habits for the future, and 1 realize with horror when he did the literature review chapter that he'd plagiarized substantially through poor note-taking.

So overall, this book really demystifies the writing process, and makes writing into something you do daily, like showering or getting dressed, rather than an occasion for drama and self-doubt. She builds in accountability charts, which are great -- this time around I think I will pair students and have them turn in their charts to one another rather than to me.

One of the Most Valuable Workbooks I've Ever Used, February 2, 2009
Wendy Belcher's workbook is one of the most valuable I've ever used. It is concise, incredibly helpful, and to-the-point! If you follow it, you will definitely create a publishable article in 12 weeks. I have a new, terrific, successfully peer-reviewed article as a result. You will too. ... Read more

Editorial Review

A special 10th anniversary edition of Stephen King’s critically lauded, million-copy bestseller about the craft of writing. ... Read more

Reviews

Uncovering the Fossil, October 17, 2000
For the legions of Stephen King fans out there (which is to say a lot), the first third of the book containing his short memoir is truly a gift. One can't help wanting to read about his/her favorite writer after being transported to fantastic worlds countless times in Mr. King's prolific career. Some fans would have paid... gladly for the first 101 pages of the memoir ("C.V." he calls it), which includes heartfelt tidbits about his brother, mother and his long battles with alcohol and drug addiction.

The second part, "On Writing," is where the aspiring novelists will find inspiration. Assuming you're a serious writer (or wanting to be a published one), you'd no doubt would have read the countless manuals on the mechanics of writing. With Mr. King, you do get short lessons in the mechanics of prose here and there. What he mostly offers to the aspiring writer is the inspiration, the cheerleading, and as some have already suggested, after reading it makes you want to sit and write something. He actually allows you into his writing routine, when and where he writes, how many months it takes to write the first draft, and even how he goes about editing the second draft.

Some very original thoughts I found quite interesting:

1. Story is a fossil you find on the ground, and you gradually dig it out slowly.

2. He doesn't plot his stories. He puts "a group of characters in some sort of predicament and then watch them try to work themselves free." In fact he even goes as far as to say, "plot is shift, and best kept under house arrest."

3. Write first draft with the "door" closed, and the second draft with it open.

There are truly gems here for writers, simple, direct, to the point. As always, he doesn't talk down to you. There is even advice on finding agents.

The final section elaborates his near-death experience in summer of 1999, when he was hit by a van driven by Bryan Smith. The book is actually a sandwich: two slices of autobigraphy with the writing advice as the meat of the book.

Though the thin volume was not your edge-of-the-seat thriller or horror, I found myself reading the darn thing in one seating. A pretty good deal for a non-fiction book. This may sound funny, too, but I felt like the book became a good friend of mine. In a word, this is book is intimate. As a fan, and perhaps a writer, that might be worth something.

For writers and readers -- get inside King's mind, September 15, 2000
The cover shows an inviting scene, a country house with a warm light glowing in the living room window, a set of double doors leading down to the cellar, the house lined with pink and white flowers. "Come on in," the picture seems to say. "I have a story to tell."

It generally takes Stephen King about three months to finish the first draft of a book. He began "On Writing" at the end of 1997, but put it aside a few months later, unsure how to finish it. Over a year later, in mid-1999, King decided to spend the summer "finishing the damn writing book."

The events of late-June, 1999 interfered with those plans. King spent three weeks in the hospital after he was struck by a van. In late July he decided it was time to start writing again, and it was "On Writing" that he chose for his return to work. The finished product, "On Writing: A Memoir of the Craft" will be released by Scribner in early October, 2000.

It was a discussion with Amy Tan while on tour with the Rock Bottom Remainders that inspired King to write this book. "No one ever asks about the language," Tan said in response to King's query about the sorts of questions that she doesn't get at author appearances. "Serious" authors get asked that but they don't ask the popular novelists who, he says "care about language in our humble way, and care passionately about the art and craft of telling stories on paper."

King opens with a lengthy memoir that "attempted to show some of the incidents and life-situations which made me into the sort of writer I turned out to be." He calls this section "C.V," as in "curriculum vitae," his list of accomplishments and job skills. Some of the story is familiar, though many of the details are new. He works his way through his stages as a writer from childhood to novice to apprentice to worldwide success.

For the first time in any detail, King addresses his battle with alcohol and drug abuse, when it started, how it evolved and how he eventually was forced to confront his problem. He reveals that he has little memory of writing "Cujo" ("I wish I could remember enjoying the good parts as I put them down on the page"), that he hadn't realized that when he was writing "The Shining" he was writing about himself, and how Annie Wilkes in "Misery" could well be seen as a symbol for coke and alcohol. "I decided I was tired of being Annie's pet writer," King says.

King is more revealing of his life in this book than ever before. He is frank in discussing the merits and deficiencies of many of his books. Of "Rose Madder" and "Insomnia" he says: "These are (much as I hate to admit it) stiff, trying-too-hard novels." He talks about how he reached a point in "The Stand" where he had to set the novel aside for several weeks until he could figure out how to go on. If he had written a couple of hundred pages less at that point he probably would have abandoned the book completely. Also described in some depth are the issues he had to deal with in writing "Carrie," "The Dead Zone" and "The Green Mile." He spends some time relating an event that inspired him to write the upcoming novel "From a Buick Eight" and the research required for the second draft that had to be deferred after his accident - a couple of weeks riding with the Pennsylvania State Police.

"But I'm not a writer," the prospective reader of "On Writing" might cry. "Why should I want to read this book?" While a substantial section of the book is about writing, King's approach to it and his advice to writers at all levels of the art, there is much here for the non-writer as well. King's success has made him a high-profile personality, more so than many other authors, and the level of public interest in his life is easily demonstrated by the overwhelming number of requests for updates on his condition received by his office and official web site in the weeks following his accident. Here is the opportunity to read King on King, and on his books. He describes the symbolism in many of his novels, rarely planted intentionally on the first draft but uncovered, as an archaeologist uncovers a ruin, during the writing of the second draft.

For writers, though, the book is chock full of advice, some of it common sense, some of it uniquely King's. His taboos of writing: adverbs (especially those in dialog attributes) and the passive voice. His description of the writer's toolbox: Common tools on the top shelf (vocabulary and grammar), elements of grammar and style on the second level, along with an understanding of the paragraph as the basic element in fiction, and a synthesis of all of these along with innate and developed skills at the bottom.

"If you want to be a writer," King says, "you must do two things above all others: read a lot and write a lot." King calls reading the creative center of a writer's life. He advocates reading in small sips as well as long drinks - in waiting rooms, in line at the theater, in the checkout line at the grocery store, on the treadmill at the gym and in the john.

When it comes to writing, though, King is more selective. "We do best in a place of our own," he advises. The most important feature of this place: a door that you can and are willing to shut. No TV, no phone and no video games. Curtains closed. Write first with the door closed. Write for yourself without worry about theme, symbolism or accuracy of details. Those are for the second draft, which is usually written with the door open, after he has sent the book to a select group of critical readers.

King includes examples of both good and bad writing, sometimes taken from his own work, sometimes taken from such writers as Elmore Leonard and John Katzenbach. The final chapter of the book is an annotated rewrite of his first draft of the opening section of "1408," one of the three stories in the recent "Blood and Smoke" audio release. This section should silence critics who suggest that King doesn't rewrite his work. It is an interesting look at the creative process and what an author should look for when editing his or her own material.

He also describes his approach to research. It's all about back story, he says. "What I'm looking for is nothing but a touch of verisimilitude, like the handful of spices you chuck into a really good spaghetti sauce to really finish her off."

Toward the end of the book, King tackles the subject of his accident. This section, called "On Living," is partly a bully platform for him to get his version of the story down, as well as his opinion about how the legal system handled the case of driver Bryan Smith. It also describes how an otherwise ideal day went wrong, the minute details of his injuries and some of the challenges of his recovery process. "Life isn't a support system for art - it's the other way around," he concludes.

Throughout the book, but especially in this chapter, King pays tribute to wife, Tabitha. She is King's "Ideal Reader," the person for whom he writes all of his books, the one who he wants to make laugh or cry through his writing. His love and admiration for her shines through, from a touching scene in their early courtship where he sits at her feet as she reads her poetry in a workshop, his hand on her calf, to her organization of a group intervention to make him confront his addiction problems, and all the way through to her support and encouragement of him during his convalescence.

At the end, King includes a list of nearly a hundred novels that he considers the best that he's read in the last three or four years. "A good many of these might show you some new ways of doing your work. Even if they don't, they're apt to entertain you," he concludes.

The same might be said of "On Writing."

Get out your notebooks, sharpen your pencils...and learn., September 18, 2000
Though far from the definitive writer's guideline, this book shines a unique perspective on the craft. Stephen King lays down the law and then teaches it. He shares his techniques, his pet peeves, and his own personal horrific experiences - both as child and adult - and he does it all within the cerebral classroom of the printed page. He wraps a juicy filling of personal tragedy, growth and experience within a tight covering of his famous story telling style.

As a human, I was touched by his childhood anecdotes and often laughed with him about his insecurities. I am still in awe at what he has recently had to overcome physically. I mean, damn.

As a writer, I am grateful for a brief glimpse into his vocational world. I gained confidence from learning about things I have been doing right and have changed many bad habits (may the adverb rest in peace). I've read several tomes on the subject and believe his reigns as the most complete.

I've been a fan of King's since the seventh grade when I was given The Dead Zone and Cujo as an Easter present. A year later I had read every book he'd published (with the exception of the dreaded Limited Editions of which I could opine negatively for hours - suffice it to say that writing should be for everyone to read, not just the rich). I've read or listened to all his books since. I can honestly say, that this is my favorite.

Sometimes the coldest hands to wrap around your neck are the true ones.

The only bad thing I can say about this book is that it's too short, something one rarely has the opportunity to state regarding the beloved author.

A huge thank you to Mr. King for a brief indulgence into the life of a genius.

Aspiring Writers (& Me), You Could Do Worse, November 27, 2000
Stephen King has sold a gazillion books. Along with Tom Clancy, John Grisham, he is a member of the trifecta of modern pop-literature. It seems every book is a potential movie. So why did he write this book now? Why write a book on writing? Is it necessary? Is it even worth buying? C'mon, folks, he's "got it" and 99.9% of aspiring writers don't. Right?

I think Stephen King wrote this simply because he can. He knows it is a select audience that is going to read it. Those fans who don't ever care to be writers won't read this book. Well, actually they might, thinking to themselves that they might gain some secret insight into the mind of their idol. They will be disappointed. In not so many words, Mr. King says exactly the same thing himself. There is no secret to his storytelling. It just is what it is...lots of hard work.

The first part of this 280+ page book is autobiography. He expounds on a few of his life "snapshots" that may or may not have influenced particular characters or scenes throughout his collection of works. But if you desire to buy this book just to uncover those snippets of Stephen King trivia, be my guest. It will only make him more money. I think the author was only trying to open up a bit more directly to his readers--instead of doing it via a fictional charcter (which he asserts every character he has created is a part of himself) within his stories.

The other part of this book is, of course, on writing. He answers questions often asked him in book signings and semanars ("Where do you get your ideas? etc etc") as well as questions he wishes people would ask. He analogizes writers as having multi-leveled "toolboxes." Important things like vocabulary and grammar go on top of the tool box where they are most accessible. Elements of style and dialogue and paragraph structure go elsewhere along with theme and symbolism, etc. This analogy is a fantastic discription that I hope to use with my own students some day (whenever I go back to teaching). I also enjoyed the expert lessons on discipling one's self towards writing. Of course, what works for him may not work for everyone, but I think many hopeful writers reading this will find commonalities with someone who is making a living, and the rest of us doing it for now as a hobby. As he says, "you could do worse" in following some of his examples.

Some of the lessons on style and grammar could be learned in a couple of writing courses in any college in the country. However, it would would be a lot less efficient and lot less interesting. This book isn't going to give you credit hours, but it will give you helpful tips. Sometimes a car only needs a jump start, not an engine overhaul.

I could describe everything about this book that will keep it prominantly on my bookshelf (dog-eared, loaded with post-it notes and little penciled notes in the margins, no doubt), but the gist is this: If you love to write and feel you may be pretty good at it, read this book. If you just "like" Stephen King as a novelist and don't think about the intricacies of writing then go to the library. Check out this book and skim the auto-bio section and return the book after 2 weeks. You won't be bored and then someone else can use the book to do the same.

I have always held that you can extract a ton of information about a person by what they read everyday. (Ernest Hemingway vs. Robert James Waller; Wall Street Journal vs. Field and Stream etc). In the last 3 pages Stephen King submits his private reading list that have influenced him in some way in the last 3 years. Wonderful list! I photocopied it so I can keep it in my wallet so whenever I am at a bookstore I can look for a few of the titles. It WAS a boost to my ego though, when I realized out of the 100 or so books he lists, I have read about 30 of them. Nice to know that a bestselling author and myself are on a similar mindset.

Already after I finished, I began going through some of my own journals form college and looking for ideas I had started, but never finished. I have already set aside more hours to read (and turning of the TV, which he recommends) and to write. With a couple more readings of this book I may ever become encouraged to submit some stories for publication.

PS: one more thing. The last section that he wrote describing his near-death accident in 1999, when he was run-over by a van being driven by someone messing with his dog, is a real sobering account. For anyone who has thought not to continue writing due to something tragic in their life (because they don't know how to keep creative, etc) this account will tug on your heart.

Advice best suited to accomplished writers, November 8, 2005
I enjoy reading Stephen King and I love writing, so I bought a copy with great expectations. I found it disappointing in both structure and advice. The first 100 or so pages are almost pure biography. Labeled "C.V.," this long section describes how King developed as a writer. Unlike the biographical sections of other such works (Norman Mailer's The Spooky Art, for example), most of the biographical stories have only the merest connection to learning the craft of writing. I couldn't help thinking that King desired to write an autobiography to immortalize friends and family, but didn't take the plunge and so instead lumped it into his book on writing.

The latter part of the book provides his advice on fiction writing, much of which is excellent and compelling. However, some of the advice understandably mirrors weaknesses that appear in King's own writing. I remember a high school friend commenting (he'd just finished The Mist, I believe) that King couldn't "write a good ending to save his life." This failing is well explained by his dislike for outlining and pre-conceived conclusions.

An English professor of mine called it "grooming your own thicket." When writing without a clear idea of the conclusion, most writers have a snarled mess by the time they reach page 50. The branches of unresolved plot, so clear in the beginning, have grown out of control and enmeshed the writer in chaos.

If you're a beginning writer, realize that Stephen King is a one in a million writer (as proven by his incredible success) and what works for him may not work for you.

An Amazing Look Into The Mind Of An Amazing Author, September 29, 2000
Being a huge Stephen King fan I knew that I would enjoy this book. What surprised me was just how good this book was. It provides valuable insight not only into the mind of King but on the writing process itself. You will find yourself inspired to actually sit down at the computer yourself and finally put down those ideas that have been floating around in your head. However, King does make it clear that writing is a serious job and that it is not for anyone. His insight into the business side of the craft will prove to be valuable to any aspiring writer. I always enjoy the "note to the reader" section that King often includes in his novels. On Writing reads like one long "note to the reader" and is often funny and at other times quite touching. King is amazingly honest about his own troubles and faults and the section of the book detailing his accident and road to recovery are inspiring. Most of all the best thing about this book is that King's love of writing, reading and all things about books comes shining through. What an amazing man.

The Entertainer, September 25, 2000
When faced with a King book, no matter its subject matter, expect to be fully entertained. Though On Writing may be a how-to book, there's plenty of stuff in here that many non-writers would be interested in. The first half the book is a loose autobiography, perhaps more accurately described as a scattered collection of anecdotes (I believe this is something close to what King calls it, too) than a complete dossier. Many of the stories are quite funny, especially the interaction between King and his brother. The most surprising part of this section is King's drinking/drug problems -- I had no idea, though I must say, I always wondered about his monumental production in the late 80's. I think in one year, 3 books came out basically all at the same time -- Misery, Eyes of the Dragon, and Dark Tower II: Drawing of the Three. Throw in the Tommyknockers, too, and what you have there is King's second renaissance, thanks to beer and blow. Of course drugs almost killed him, but hey, you have to admit, those were some pretty damn good books.

The second part of the book is all about writing, and I must say, I'm not so sure King imparts such illuminating wisdom. He says outrageous stuff like how all first drafts of books should be written in three months (Hey, Mr. King, not everybody can do what you do!), or that you should average something like 2000 words a day. Those are King-sized goals to say the least. Outside of the unusual quantitative requirements, everything else he says has been said before: leave out the adverbs, second draft should be smaller than the first draft, blah blah blah. Don't expect anything earth-shattering, but do expect to have fun.

The last part of the book is his account of his run-in with a truck that almost killed him. This was printed in The New Yorker in its entirety a couple of months ago. And then there are a couple of appendices, both pertaining to writing. Actually, I think the first appendix here might be the best part of the book -- King shows us a draft of a story, then an edited version of it, complete with proofreading marks. Studying and learning this section would no doubt greatly benefit a writer. The second part is a list of recommended books.

Climbing out of a pidgeon-hole., February 14, 2001
First of all, I should probably mention that I had never read a Stephen King book in my entire life. I've never had much interest in horror or mystery or suspense. Naturally, I wasn't sure what to expect, and I was a little wary. Another motivation for picking up this book was the fact that I've been writing for the vast majority of my life, and I was curious to see if I was on the right track. I received 'On Writing' for Christmas and read it through a week in January.

I was absolutely stunned. Sure, I respected Mr. King as a successful novelist, and knew a little of his personal life; after this book, I felt like I'd known him personally for years. As many others have mentioned, this book is really divided into three parts: a short memoir, a manual of writing technique, and the now well-publicized accident.

The first part, "C.V.", was really glimpses into Mr. King's life, interesting little episodes that he considered life lessons or things that sparked his sense of humor. It also provides a very important part of a good writer: He grew up loving to read, and reading frequently. He also started writing and submitting his work at an early age. "C.V." paints the picture of a real-life struggling novelist: how he had to work at several different crummy (though interesting) jobs while supporting a family, a drug habit, and a hefty manuscript.

The second part was "On Writing". In this, Mr. King takes almost no credit for what he's saying. He constantly refers back to 'The Elements of Style' by Strunk & White. He also gives you, flat-out but not in a patronizing tone, what you need to succeed as a decent writer. The best way to summarize how I felt about the section as a whole is this: when he revealed that he taught high school English for several years before the success of 'Carrie', I was desperately jealous of those students. He'd teach an *awesome* class.

I was most impressed by the last section of the book, where he explores his painful memories of the accident and his slow road to recovery. It literally wrenched my heart when he talked of his wife setting up a table in the stuffy hall that he sat at to write for the first time. It was obvious that writing is more than just a business occupation--it's obvious Mr. King has a true passion for the craft.

I applaud him for it--such people come few and far between.

Read this book. You won't regret it.

A teacher who's actually done it., October 28, 2000
I have never read Stephen King's work, but being an aspiring writer, I bought this one simply because the reviews were too good to ignore.

I'll add to this pile now.

The biographical first part is written in a smooth and flowing style that keeps you turning the pages late into the hours. It details King's journey to becoming a published author, as well as his battle with substance abuse. All the humour, heartbreak, and hardship shine through to inspire anyone who is unlucky enough to want to write.

The second part contains the truth about the craft. The work, sacrifice, and the suggestion that writing is something you just might *not* be able to do. In addition, it contains helpful sections pertaining to building good writing habits, things to avoid, exercises, etc. There are some things I don't agree with, such as avoiding adverbs if possible, but it takes nothing away. The information in this part of the book is something you'll be hard pressed to find anywhere else. To some, it'll be ugly, to those who really do want to write, it'll be comforting to know that everyone doing it is fighting the same battle.

The third part is King's view on his close brush with death and how it's affected his life.

The two "And Furthermore" sections at the end contain a fully corrected piece of fiction that is an invaluable lesson, and a recommended reading list.

If you want to be a writer, buy this book. Whether you read King's work or not.

Instant Classic, December 1, 2002
Stephen King has produced what I believe will long be considered one of the greatest instructional works on fiction writing. If you are an aspiring creative writer, there is no excuse - you need this book.

"On Writing" is divided into two sections. The first comprises a series of essays, relating everything from his childhood to the publication of Carrie. This is entertaining writing within and of itself, and really shows King's ability to engage a reader. In the second section King tells us what he's learned in a lifetime of being one of the world's top writers. This is what you're paying your money for.

Unlike the many other books of this sort I've read, "On Writing" doesn't pull any punches and isn't afraid to state it plainly. King has something that most other instructional writer's don't have - about 8 zillion sales to back up anything he writes - and therefore isn't afraid to tell us that "the road to hell is paved with adverbs" and "it's impossible to make a competent writer out of a bad one." There are several examples given of both good and bad writing, laced with King's observations on many of the authors he has read over the years.

I can't recommend "On Writing" high enough. This line alone was worth the price of the book - "...You must not come lightly to the page..." - and it's only a fraction of the wisdom you're sure to encounter. ... Read more

Editorial Review

The musical adventure of a lifetime. The most exciting book on music in years. A book of treasure, a book of discovery, a book to open your ears to new worlds of pleasure. Doing for music what Patricia Schultz—author of the phenomenal 1,000 Places to See Before You Die—does for travel, Tom Moon recommends 1,000 recordings guaranteed to give listeners the joy, the mystery, the revelation, the sheer fun of great music.

This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It's arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners’ horizons— it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the '80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos.

Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote—"Your collection could be filled with nothing but music from Ray Charles," said Tom Waits, "and you'd have a completely balanced diet." Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions. ... Read more

Reviews

Some reviewers are missing the point, October 28, 2008
What most readers/reviewers fail to recognize is that this book is not about the BEST 1000 recordings it is about recordings you should HEAR. Those who complain that some really great music is missing are missing the point. Buy this book for education and enjoyment not to see how close Moon comes to your top 1000 music recordings ratings of all time.

Mission Impossible? Mission Accomplished!, August 28, 2008

Encouraged by author's specialties, somewhat confused by non-specialities...., September 17, 2008

Useful and Diverse, August 29, 2008

Organization of Listings Limits Use., September 5, 2008

Encyclopedic in scope--rich in detail, September 5, 2008

Only 1000?, November 14, 2008
The author makes some good recommendations, but it seems even he was at odds with himself in picking just 1000 recordings. (it's more like 5000 with all the "what to listen to next" rubbish, which clutters the book with too much; complete overload. It really takes away from the integrity of the real classics & it makes it seems as though he was not that sure of his main choices.)

And I'm sorry, I like pop music but I do not think Brittany Spears is essential to listen to; even after I die. Really, whose going to be pulling out a Brittany Spears CD 20 years from now calling it a classic and listing it as essential music like a Beatles album? Hear anyone singing the praises of Tiffany, the late 80s pop sensation? Didn't think so.

Mr. Moon you can't appeal to everyone, your book tries too hard to do so.

Great Book!, September 9, 2008

From ABBA to ZZ Top, September 7, 2008

Ants On a Layer Cake, September 25, 2008
10,000 Recordings To Hear Before You Die
A Listener's Life List
By Tom Moon

When confronted with an achievement this Olympian in scale, we mortals tend to respond like ants on a layer cake, reflexively searching for crumbs we can pick at to bring the whole thing down to size. We'll start by flipping frenetically through its 890 pages, lamenting every omission and disdaining every inclusion that doesn't pass our personal smell test. All the while, of course, weighing Moon's selections against the imaginary catalogue of vital recordings we ourselves would compile, had we the time, talent or tenacity to undertake such a quest.

So before we move onto the acceptance phase, let's pause to mourn our losses.

In the interest of completeness, Moon's selections are weighted heavily toward acknowledged masterworks and distributed carefully across genres. Although this quest for balance throws us some unforeseen curveballs (dude--Alice Cooper and Pantera ?) it also takes some of the fun out of the enterprise--what kind of Rock n Roll heaven would have no space for The Cars, Kool and The Gang or World Party? If you're going to suck up your dignity and concede entry to the likes of Boston and Bob Seger, is it really fair to leave Tom Petty and Billy Joel standing out on the curb? What misbehavior did the Ians, Anderson, Hunter and McLagan, commit to get bumped off this flight? Baroque composer Georg Phillip Telemann, flamenco guitar god Paco DeLucia and jazz drumming visionary Jack DeJohnette will perhaps be inspired to form a power trio to work out their collective rejection issues in the next life. And those seeking to settle once and for all whether Blur or Pulp was the better band will be surprised to learn that, at least according to this book, the answer is neither.

Of course Moon is cagy enough to anticipate and deflect many such objections by cross-referencing almost every record ever made in the notes that accompany each selection. These musings constitute one of the book's great pleasures, as Moon's recommendations of a "catalog" recording by each artist and a "next stop" for the curious listener reveal the sensitivity of his ear and the eclectic depths of his knowledge in ways the basic listings can't. He also cheats the count by appending a list of 108 also-rans which he obviously regrets having had to cut from the final list.

Then there are the choices within the choices. With the exception of the most monumental giants, Moon confines himself to one recording per artist. This disciplined approach, in many cases, drives his selections toward the iconic rather than the merely excellent. By choosing, for instance, Springsteen's "Born To Run" over "The Wild, The Innocent and the E Street Shuffle," Joni Mitchell's "Court And Spark" over "Blue" or Steely Dan's "Aja" over "Countdown To Ecstasy," Moon favors self-consciously momentous statements over more heartfelt works of art.

Another hedge Moon employs occasionally, particularly for "legacy" artists is to select a "greatest hits" compilation or live recording over a studio release. Understandable though this is--how indeed is a guy supposed to choose a single recording by Django Reinhardt, Andres Segovia , Hank Williams, or the Staples Singers--the effect is a kind of distillation of the body of work, like preserving the music behind a pane of museum glass.

But enough whining; let's get on to the good stuff. And there sure is a lot of it. This being, after all, a reference book, the real question of importance is, does it have things to teach us? And does it ever.

The first test is to read Moon's description of a recording you think you know and experience his rare gift for expressing music in words. Here he is on Miles Davis's "KInd of Blue': "A single shift of the harmony--on "So What," for example, the tonality moves up just half a step--changes the weather, making it feel like galaxies are realigning." Of Glenn Gould's landmark recording of Bach's Goldberg Variations, Moon observes: "He makes the connective tissue that links major themes almost float along. Seizing upon little bits of counterpoints that other pianists obscured, he calls attention to the almost cryptic multilayered logic Bach embedded into the initial aria and the thirty subsequent variations, which are presented in ten groups ot three."

Unlike so much of the lazy writing that is pervasive in pop criticism, Moon's prose rarely lapses into portentous generalizations, insider jargon, or smug allusions. He tells you what the music sounds like, not whom. And unless your ear is as good as his (in which case please write your own damn book) Moon's explanations will enrich both your understanding and appreciation of your own record collection. Here he is, for example, on Jimi Hendrix's "Are You Experienced:" Throughout this most essential rock document, (Hendrix) plays as though handling fire. It's right on his fingertips, pulsing through his wrists, and as long as he keeps moving, he won't get burned. His lines sear the wires that carry them. "

Compression is also a virtue. In these encapsulated listings Moon packs his language into a potent shorthand, providing an illuminating and cannily accurate snapshot of each recording and placing it deftly in the context of its time and place. "Revolver" is "the big hinge in the discography of the Beatles...It has the plaintive earnestness of the early band and the radical curiosity--about sound, subject matter, composition--that defined everything after."

But the true value of this collection--and of Moon's writing--will come fully to light when you read his take on a record you've never heard or heard of. This, pardon the expression, is where Moon shines. Lo Borges, a "criminally overlooked" Brazilian singer and guitarist, released a self-titled album in 1973, consisting, in Moon's words, of "pieces built on slurpy rock/ funk rhythm patterns and languid, almost mystical vocal melodies, with lyrics about unrequited and rediscovered love." The songs on the 1968 release "Oar" by ex Moby Grape multi-instrumentalist Alexander "Skip" Spence are "feats of great loner reflection, with ethereal vocals that hang heavily in the air and tangles of overlapping guitar carrying on their own conversation." These might or might not be records you'd like to own, and through close reading of these entries you will come to know the difference.

Although his hipster credentials are impeccable, and maybe even because of it, Moon is never a snob. He addresses such unfashionable forms as progressive rock, top 40 and `60s folk with respect and affection. Usher, Madonna and Brittany get their due alongside Ravi Shankar, Arthur Rubinstein and Ray Charles. He even deigns to touch on jazz-rock fusion (albeit with rubber gloves and a forceps,) he embraces show tunes, hiphop, hardcore and the avant garde with the same curious interest, and bravely ventures into the uncharted backwaters of Chinese traditional music, Hungarian folk, Jewish Incantation and Bollywood soundtracks.

As a final gift to the reader, Moon includes a selection of recommended play lists in which he bundles his selections into groupings such as "Get the party started," "Sunday Morning," "Headphone journey" and "Superman's Earbuds." This lighthearted coda to what has been an exhaustive journey serves to put the whole thing back into perspective. Music, after all, is for listening. For most of us, it's rarely a "full-brain" activity, but a welcome distraction, a mood-setter or a cocoon we can climb into to escape our social universe.

"1,000 Recordings" is a worthy addition to an outstanding series.
Previous quibbles aside, it is hard to find a great record or artist that isn't acknowledged and incisively described in these pages. Indeed in some cases Moon's reviews contain more consideration and craftsmanship than the records they describe. And in every case they do what criticism is supposed to do--tell you just enough to inspire you to want to know more. ... Read more

Editorial Review

Reviews

An indispensable history, September 18, 2010
A sweeping survey of the first 150 years of the European printed book ("book" here covers all printed texts including pamphlets and single leaf broadsides), from its invention by Gutenberg in 1450-55 to the end of the sixteenth century. During that time, printing spread from a single location in southern Germany to every corner of Europe and beyond, resulting in an estimated 350,000 different editions. The focus of the book is on the book as a business - "Printers were businessmen, and books were a commercial venture" (p. 129) - and, as the book progresses, on the Reformation (which resulted in an explosion of printing of Luther's pamphlets) and the subsequent wars, political conflicts and intrigues. Pettegree discusses what was printed, where and why; how the books were distributed and marketed, etc., tying this to the important historical and religious events of the sixteenth century. Along the way, he covers the expansion of printing to provide news and entertainment, the increase in printing in the vernacular, the birth of literary salons and women authors, the early printing of popular music, renaissance schools, emblem books, scientific works, botanical illustration, maps, printing in England, Scotland, Spain, Scandanavia, Eastern Europe, and Mexico, censorship and the Index, and a variety of other topics. Seemingly, nothing significant is omitted.

In his analysis, Pettegree provides numerous important and new insights into the history of the early printed book. The book is dense with facts and specific examples. It includes many excellent illustrations of early printed books, including fine title pages. It contains extensive footnotes to sources, although unfortunately they are not at the bottom of pages of text, but at the back, indexed by page runs.

Surprisingly, the author starts off the book with a significant error. He states that Gutenberg may have based his invention on the "model" of block books, short religious works in which both the text and images were printed from single woodcuts (p. 23). In fact, scholars have rejected the idea that block books were precursors of movable type books and have confirmed (through analysis of watermarks and owners' annotations) that virtually all surviving block books had been printed in the 1460s and later and none predate work on the Gutenberg Bible (1450). (See Allan Stevenson's "The Problem of the Blockbooks" and the other articles included in Blockb�cher des Mittlealters, Gutenberg-Museum, Mainz (1991)). The illustrated "block book Bible" shown in fig. 4 and supposedly printed "c. 1430" actually is known as an "Apocalypse" and was printed c. 1465-70. The author also suggests that work on mechanical printing may have begun in the 1430s (p. 21), without mentioning that the early sources on which that is based are problematic and have been the subject of lengthy and inconclusive debate.

Although I saw no other major errors, I did note a few minor ones. For example, type was inked using stuffed leather balls or pads with attached handles, and not "soft sponges" as the book states (Fig. 6). (See, e.g., Philip Gaskell, A New Introduction to Bibliography (1972), p. 126.) The statement that the sixteenth century Giunta printing business in Florence "was a branch office of the family's Venice business" (p. 254) is incorrect; the two businesses were separately formed in the fifteenth century by a pair of brothers from Florence and were independently operated by them and their respective heirs following distinct strategies, devotional works in Venice and humanistic works in Florence. Although the two businesses entered into several partnerships, "direct participation of the Florentine firm in partnership with the Giunti of Venice ended in 1517." (Pettas, The Giunti of Florence, p. 112.) The reference to "Bohemia (now the Czech Republic)" (p. 112) is awkward, seemingly suggesting that Bohemia simply changed its name; something like "Bohemia (roughly the western part of today's Czech Republic)" would have been more accurate. And, although he discusses Aldus' famous small octavo editions (p. 61), he neglects to mention that Aldus began their printing in 1501, leaving their chronology unclear to the reader.

Notwithstanding these small imperfections, this is a major addition to the early history of the book and clearly the most comprehensive study (in English at least) of the inter-relation of sixteenth century printing with the Reformation and religious turmoil of that period Pettegree's work will be indispensable to those fields.

Wonderful book, but not in Kindle version, August 21, 2010
This is a wonderful book, the the Kindle edition, aside from being overpriced, does not include any of the many pictures from the book. Amazon should have a warning about this. ... Read more