From Carrie to Beyond: The Journey and Advice of Stephen King

From Carrie to Beyond: The Journey and Advice of Stephen King
By Katherine Novak

Never in my life have I felt so disconnected with a writer upon opening a book as I was when beginning Stephen King’s On Writing.  However, the disinterested attitude I had towards the highly acclaimed horror, sci-fi, and thriller novelist lasted about five minutes— or as long as it took for me to read past the first couple pages.  Wanting to genuinely gain another perspective on writing, but not having ever even touched a horror book— much less one of King’s famed pieces— I approached On Writing hesitantly.  But I never once felt overwhelmed by references to his works in the horror genre, and I can confess how entertaining and enlightening I found On Writing.

            Combining memoir and how-to, King creates a personal and also realistic perspective “on writing.”  The creation and progression of an author was amazing to witness throughout the first half or so of the book.  King’s extended narrative of his early life into writing his first novel, Carrie, and many subsequent ones displays the moments in his life that King finds imperative to him becoming such a successful author.  King isolates certain events that heavily influenced his writing, like the inspiration for Carrie partly coming from a job as a janitor, or The Shining being written in a drug-aided frenzy in which King barely even realized that he was writing about himself.  Unfortunately for me and other readers, his writing process during this section is described in short snippets, not completely forming a cohesive whole.  The fractured representation of his past and his writing is not unusual in the memoir genre, which generally displays a more selective form of an autobiography, but I always find too much skipping around a little disorienting.  Still, I enjoyed the journey, and every few pages or so I would be presented with a quick sentence or two of advice to writers that actually prompted further thought on my part.  For example, the advice of many editors he submitted work to was shared in these pages and while some were included by King to display their lack of depth, others were incredibly helpful and could be applicable for any writer. 

            While I found it interesting to read dizzying circles about King’s life from his perspective, the meat of the book— the straightforward “on writing” part— is within the back half, the part containing information I couldn’t simply google to find out.  As fascinating as King’s reflection on his life was, I found his advice on the craft of writing much more intriguing.

The end of the book dealt with how writing is in King’s mind and his genuine thoughts on how to do it well.  And throughout, I felt as if I was receiving a personal lesson on how to improve from one of the best.  Some of what King says isn’t necessarily groundbreaking, but the manner in which he presents his tips allow for a more thought provoking stimulation.  My favorite, which King introduces in the beginning and continues for the remainder of the book, is the idea that one should “write with the door closed, [but] rewrite with the door open” (57).

This concept of first writing for yourself and then during revisions allowing the world in was something that I was aware of but had never fully articulated.  Then there it was in King’s writing, as he leans on the literal and figurative connotations of writing with the door closed for the duration of the book.

            King’s advice was, refreshingly, never sugarcoated.  He was brutally honest in how authors deal with certain topics.  He abhors censoring language in dialogue, but adversely, he reflects the opinion of many when agreeing that profanity is for “the ignorant and verbally challenged” (187).  But unlike others, King concedes that “sometimes you’re just stuck with” vulgarity; if a character would realistically react in that way to something frustrating, King asserts that the author has no right to censor those feelings (187).  Honesty and truth-telling is crucial to writers, according to King, and for this stance I applaud him.  He cites many examples of angered readers and groups sending him letters of complaint due to his language or themes offending them, but despite objections, King acknowledges that he will continue to be realistic in his writing.  I, for one, appreciate that, as so many other people and sources try to paint over flaws and cover blemishes that actually exist in the real world.

            While I enjoyed King’s perspectives on writing, some of his advice was presented specifically as it applied to him.  Obviously, the novel was a collection of King’s experiences and advice, but at times I felt as if he was forcing his own process at me, telling me that because he preferred one way that I must then also do something in that particular way.  For instance, King promotes writers to, when reading their first drafts, “concentrate on the mundane housekeeping jobs” (212).  Now clearly, I’m not a bestselling novelist, but I have been taught, as a writing tutor, that spelling and grammatical errors are about the lowest possible on the totem pole of priorities.  If King wants to sit down and focus on small errors, he can, but for me, I found the extent to which he detailed of his approach annoying to read, seeing as I didn’t agree and would never go about editing in that order.

            Although I was at times overwhelmed by the difference between my process and the process King promoted, the majority of On Writing was a pleasure to read.  His story and growth were inspirational and proof of the effort required to successfully embark upon the journey to become a writer.  I’m still not sure if I’ll run to go pick up It anytime soon, but I did leave On Writing satisfied and with many new nuggets of advice to digest.

Works Cited

King, Stephen. On Writing. New York: Scribner, 2000. Print.

You're Welcome for Reading "Thank You for Arguing"

                When you see a dangling carrot on the front of a book’s cover, what comes to mind? Aristotle and Abraham Lincoln? No? Okay, how about Homer Simpson? Yeah, me neither. In fact, I can honestly say that I’ve never held the three figures in the same light, or even in the same stream of thought. At least not until I read Thank You for Arguing by Jay Heinrichs, a handbook centered on the art of persuasion. Aside from the carrot cover, every rhetorical concept he teaches seems to tie together surprisingly and captivatingly well in his book, even the three aforementioned people.

                Before I started reading this, my mouth was gaping and I immediately regretted my choice of text – all because of its sheer size. A manual on rhetorical tactics for 328 pages? No thank you. But nevertheless, I had to read it and soon I realized that I had nothing to regret at all! The book was a breeze, and information was craftily laced through the pages in such a way that it felt as though I was going through snippets of a bunch of stories that had no relation to one another. It was a nice break from the typical “Here is how you do this… and here are examples of how to do it.”

            The first thing I noticed about the book’s content was its layout. Contrary to the usual paragraph-by-paragraph, nothing-else-on-the-page look, “Thank You for Arguing” is filled with chapter titles, subheadings, quotes, bolded words, and italicized words scattered about the pages. The book even has sidebars ranging in topics (from running for political office to selling something) to please the reader and to show how the principles that Heinrichs taught can be applied to everyday life. It reminded me of a happy little scrapbook, which is not easy to do with the topic of rhetorical strategies.

                Now, before you read this review any further, you should know that I’m a sixteen-year-old girl that has harbored a not-so-secret disgust towards rhetoric – mostly because I’ve never been able to accomplish it myself. I say this only to show how negatively biased I’ve been about rhetoric and its related techniques and strategies. Somehow, my opinion of its principles has done a complete 180° turn, meaning I now view it as one of the most beneficial tactics a person can use. I think it’s safe to say that Heinrichs’ power to persuade actually persuaded me into realizing the importance of persuasion and how easy it is to be persuasive. That’s a lot of persuasion in one sentence, don’t you think? Well luckily, the author never had sentences like that. He used a wide variety of words; however, he didn't seem pretentious or as though he were trying to show superiority. On the contrary, he came off more as a trusted friend rather than a know-it-all, despite the fact that he truly does appear to know it all.

            Throughout the whole book, he  targeted a myriad of ages, supplemented by phrases like, “even though he rocked my confidence by including Captain Kangaroo among his clients” (53) in which he connects to the older generation of his readers. But I had no idea what Captain Kangaroo was. Heinrichs then uses the example, “Parent: Eat everything on your plate, because kids are starving in [insert impoverished nation]” (165) to introduce and help explain fallacies. I’ve gotten this excuse from my parents countless times, and I know others have too, which makes it relatable and connects the younger generation to his points as well. Early into my read, I understood that he was being persuasive to the reader by appealing to a wide audience and coming across more as an advisor rather than as a teacher. Sure enough, a few sidebars began to show “Persuasion Alert”. He literally tells his audience that he is persuading them, and yet he does it in a way that they (or at least I) didn’t end up feeling betrayed.

            Regardless of the joy this book brought me, the explanations and examples started to feel redundant and his writing style ended up being a bit lackadaisical. What I mean by this is that the latter half of it suffered a sense of repetition of the primary half. So, although the ideas and the persuasive tools were different in each new chapter, I found that I was forcing myself to read it – I wasn’t using it for happy, educational purposes anymore. In addition, the author opens up a bunch of extremely controversial subjects. Abortion, rape, gay/straight marriage equality, and slavery are only a few examples of his array of topics. He could just as easily reach his initial mentoring purpose without these topics, and I felt as though those took away from his personality and voice.

            Nevertheless, Heinrichs discovered a painless way to pave a pathway for people of any age on how to effectively persuade. That alone is a huge accomplishment. I would recommend this read to anybody, especially to those who are taking a class like AP Language and Composition or other analytical courses because this book has benefitted me in so many aspects for those types of subjects. Jay Heinrichs, who has been recognized by Bloomberg BusinessWeek Magazine and has clients such as Walmart and some Ivy League universities, spent 25 years of his life in journalism and marketing. He’s a busy, world-famous man, but if I could say anything to him, it would be either the question of ‘What does the dangling carrot have to do with rhetoric?' or a big “Thank You!” for persuading the world one page at a time.

Works Cited

Heinrichs, Jay. Thank You for Arguing: What Aristotle, Lincoln, and Homer Simpson Can Teach   Us about the Art of Persuasion. New York: Three Rivers, 2013. Print.

"Jay Heinrichs." Jay Heinrichs. N.p., n.d. Web. 21 Nov. 2013.

Writing Anxiety? Worry No More

Writing Anxiety? Worry No More

By: Jack Dominick

An average experience for me whenever I am faced with a writing task: procrastinating as long as I can and try not to think about it, for I am constantly worrying about all the little obstacles and difficulties that arise whenever one has to write. A majority of people can agree with this, and yes, even the proclaimed “good writers” can still agree they hold some aspects of writing in disdain. However, all those who find writing difficult and obscure, worry no more, for I have discovered a font of knowledge that can cure any “I-Hate-Writing Syndrome.” The explanatory and information-filled guide to writing by William Zinsser, On Writing Well, aids in ending any misconceptions or contempt towards the big-bad-writing task. 

William Zinsser, a journalist since 1946, presents his collection of stunningly helpful guidebook pieces in chapter format, with each chapter focusing on a different aspect of writing. These range from the general, such as style and structure, to the specific, such as how to write a memoir or use humorous language. Breaking the separate ideas into different chapters allows for the readers to go to any specific section they want or need, which is a very efficient and thoughtful approach. Additionally, the way the book is organized, starting from the general to the specific, gives the guide its logical first page to last page system. This made the book that much more enjoyable to read, for it felt as if you were learning a completely new subject from the ground up.  We never think of writing this way, something that can be broken down and examined piece by piece. We usually just assume, unfortunately, that you can either write well or you can’t. The way Zinsser breaks down what writing really is illustrates that anyone, with the proper amount of effort, can become as strong a writer as he or she wants. As Zinsser states, the issue with being afraid of writing isn’t because any of us just aren’t “good” writers, rather it is “rooted in that old bugaboo of American education: fear” (x). 

Whilst reading On Writing Well, I found myself writing down certain tips or techniques that Zinsser presented; I would stop and go, “woah”, because a book (besides a textbook) actually had me engaged to such a point that I was writing things down, which rarely, if ever happens. From the earlier sections that elaborate on Style and Simplicity, to the later sections on Travel and Sports Writing, every point Zinsser makes is surrounded by explanations and examples. Zinsser addresses the reader saying, “Here’s the opening sentence of seven memorable nonfiction books” (63), and then goes on to quote examples such as The Bible and Winston Churchill. This style of presenting a point, and then clarifying and supporting that point with powerful and universal examples makes what Zinsser is portraying all the more impressive. Furthermore, Zinsser’s personable tone acts with this idea hand-in-hand. His style of addressing the reader as a mentor who truly wishes to help in his or her understanding of the principles of writing gives a charming feel to the experience of the book. On Writing Well never becomes inaccessible to the average reader. Zinsser’s choice of words and techniques make his examples and explanations as easy to understand, while still remaining deep in its meaning. Being a high schooler and a writing tutor myself, some of the information was somewhat redundant such as background information behind tone and how to write clearly, but in retrospect, it was only a small amount. A majority of On Writing Well was new, useful, and interesting information for

me. This book can be convenient to writers from all levels of writing skill, for everyone can find something useful for them.

On Writing Well proved to be a book for all writers wishing to learn how to improve their writing on many different scales. I would recommend it to students and teachers alike. Whether it be the struggling eighth grader, desperate for some tips on how to write clearly, or the master journalist, yearning for some insight on how to express their love for another country, Zinsser provides for every reader’s needs. With the help of On Writing Well, I, and everyone else who admits to having having some form of writing anxiety, can kick those fears out the door for good.

An Everlasting Truth: Writing Speaks and Transforms

An Everlasting Truth: Writing Speaks and Transforms

Have you ever realized that “there are many tragedies that could be stopped if only we [could speak] up more often?” (143). These inspiring words from The Freedom Writers Diary by Erin Gruwell and the Freedom Writers resonates through my head even as I write this review.  As one of the most powerful pieces of art ever written, it took me through a journey that has affected me deeply, both in how I view myself  and how I view the world.  The Freedom Writers Diary reveals the true stories of 150 teen students and how their lives are changed forever by their English teacher Erin Gruwell. The book deals with everyday themes of racism, drugs, gangs, abuse and many others but it twists them in such a way that impacts you to see these them at a whole new level. A simple yet inspiring message comes across: “Never give up because others put labels on you, but stand above them for yourself and for others.” Not only is the message of this book encouraging but also the writing style and organization are just brilliant enough to get the point across. When starting the book you may find yourself on shaky ground, as I did because of the profane language you receive in a few pages yet  I warn you to not  LET THIS THROW YOU OFF because behind the curtain lies  a very unique and interesting concept.   

In “Room 203” (271) of Wilson High School,  students whom have been marked as “troubled kids” (8) and “the school’s rejects”(6) clash with first year teacher Erin Gruwell who at first glance seems “odd” (6) and way “too preppy” (1) but has an in-depth personality. Nevertheless, Erin Gruwell puts aside her own labels and realizes the stereotypes and intolerance these kids face each and everyday. Knowing that a regular ninth grade curriculum won’t work with these kids, she stops what she had planned for the whole year and begins to use a curriculum of reading books such as Anne Frank: The Diary of a Young Girl and Zlata’s Diary: A Child’s life in Sarajevo . She believes that these books will help them relate to others who have faced cruelty and intolerance yet were able to overcome their adversities. In a project called “Read-a-thon for Tolerance” (62) the kids read books that deal with how stereotypes have affected the lives of people; they decide to make a “toast for change” (67) to stop stereotyping each other and spread awareness about accepting people for who they are no matter the person's color or race. Throughout the project, the students and Erin Gruwell work hard to invite some of these heroes and they take trips to museums such as the Holocaust Museum. Erin Gruwell then assigns her students Writing projects such as diary entries to help them reflect on their experiences. Performing these projects helps to transform the thinking of the teens  into realizing that they too can change the world, little by little. At the beginning these 150 students are without hope for a future but gradually, the kids --with the help of Erin Gruwell-- overcome their adversities and become “baptized [with the name] Freedom Writers”(270).  This story shows that we are not always alone, for there are people willing to help us if we would allow them. It also shows us that anything is possible even when you feel like the world is against you. These inspiring messages are big part of what contributed to making the book so enjoyable. Also, the need to know what happens to the kids make it a book that is hard to put down.

Erin Gruwell, the trusted mentor of the Freedom Writers, exists today as a unique teacher that has developed a curriculum to help kids across America facing the same problems as the Freedom Writers. She also gives motivational speeches and has founded the nonprofit organization, the  Freedom Writer’s Foundation. Erin constantly fights for the empowerment of each and every student and believes that all students need to be engaged in their education in order to motivate them. (Freedom Writers Outreach--Erin Gruwell). In this book she serves as an “angel” (62) and to the kids, she symbolized a hope for the future.  

I would recommend The Freedom Writers Diary to any mature audience willing to embark on an uplifting and thrilling journey. My purpose for  targeting this particular audience is because the beginning of the book contains some profane language; however,  don’t let this sidetrack you from the main goal of finishing the book. The interesting concept behind is that as you progress along, the use of profane language decreases to almost nothing. In this book, profanity is used as a symbol to illustrate the growth and maturity that the characters experience progressively. This book is not only projected towards teens but the message also applies to adults. English teachers, especially, may enjoy learning about the teaching style of Erin Gruwell.

My immense enjoyment of this book stems from both its writing style and organization. I have never encountered anything like it! The whole book is basically a series of different diary entries from the 150 students in Erin Gruwell’s classes. Diary entries permitted the use of less formal language, which established emotional connections with the reader as the reader experienced first hand view of the lives of the students. This effect was dampened a little by the anonymity of the diary entries, for instead of a name each diary was labeled with a number such as “Diary 29” (58); however, Erin Gruwell explains that  “ since their fears [of people finding out who they are] are legitimate, [she] [needs] to let them keep their anonymity” (140). Her explanation of their fears helps  readers understand the situation of these kids and we come to accept and love the characters even more.  

Despite the fact that we never learn the people associated with each entry,  the organization the diary entries was very effective in helping to follow the story.  The diary entries are organized in a chronological order from the freshman year of these students to their senior year. This makes the book unique, because throughout 271 pages you grow and experience four years of the lives of different students. Every student is different from another so it makes the book a collection of 150 stories each with a different viewpoint.  What I found most fascinating is that you may get several perspective on an event, which gives you a fuller image of what happened. For example when the students go to a field trip to the Museum of Tolerance, they meet several panelists; from Diary 20, I learned about the panelist “Mas Okui….[who was] forced into internment camps” (40); from Diary 21, I gained the viewpoint of one student that “of all the panelists, Renee’s story affected [her] the most” (42). This characteristic of the book of made it pleasant to read because of how each event was well rounded.

In the middle of the book there is an excerpt of pictures which make readers realize the truthfulness of what they are reading. As a reader, I was deeply affected by them, for even though I had been touched by the previous diary entries, the pictures jolted me into realizing the reality of the story. The entries after that transfixed me and before I realized it I had come to the end of my journey.

Everyone is different, so the message I obtained from this work of art may not be what you acquire when you read this book however know that there is a gift awaiting you at the end. After I ended my journey I thought that the book had traveled a long way, not only to show that “Silence will get you nowhere in life” (142) but also to tell you that it is possible to overcome stereotypes and the low expectations of others.

Work Cited

Erin Gruwell and Freedom Writers. The Freedom Writer's Diary. 2nd ed. New York: Broadway, 2007. Print.

Freedom Writers. "Freedom Writers Outreach--Erin Gruwell." Freedom Writers Foundation. Freedom Writers, n.d. Web. 21 Nov. 2013.

 Nick Russell

On Writing Well

I was disappointed with On Writing Well by William Zinzer, yet I can’t remember a book that both pleased and helped me as much as this book has. Although Zinzer’s highly praised book unfortunately fell so short of my expectations, Zinzer writes with such mastery and clarity that I cannot -and do not even want to- disregard any part of this book. The incredibly elusive points of writing, that I have never been able to grasp myself, have been so clearly and logically laid out in On Writing Well that proficiency in the craft of writing is finally obtainable to the everyday writer, including myself. Zinzer has brought us a book not only worth reading, but also worth believing. Taken for what it is, and nothing more, On Writing Well has shown itself to simply be the demystification of writing that students and adults alike desperately need.

While I believe that the lessons of this book can be found almost anywhere else in the writing world, I don’t think that any other author I know of has conveyed them better than Zinzer has. Somehow, he managed to take the basic rules of writing that students, and even some teachers, have simply not be able to understand and made these concepts understandable for anyone with enough money to pay for the book. The book is organized in such a logical, big-to-small manner that each idea naturally builds on the previous one. This is really what allowed me to read this book without noticing the passage of time until my clock chimed. Because of On Writing Well, I have not only understood the ideas presented in the book, but also have applied them (a truth that I find much more impressive for the book than the former).

One of the greatest aspects of Zinzer’s writing is that I believe I could’ve read any one of his other books and learned the lessons of On Writing Well simply by studying his style. Zinzer writes in such a way that there is no doubt of his identity, or of his impressive skill on the craft. His writing in any one chapter displays the lessons of every chapter, and I respect that. Not only did it make reading this book easy and enjoyable, it made the ideas simpler and comprehensible.

Yet, I believe it’s worth saying that Zinzer did not (and perhaps cannot) achieve a memorable voice in this book. He is an expert in conveying his point, but little more is conveyed than that. While I understand that tone is exactly what Zinzer was gunning for, I will not be adapting his ideas of how voice and style should actually flow.

I was honestly impressed with the scope of topics covered in the book, but I also found them lacking in depth that I expected from this book. From interview writing to humor, Zinzer was knowledgeable and understandable with little deviation from whatever point he was making at the time. Also, Zinzer used each topic to reveal another part of his overall message a little better. By the end of the book, I felt like I had discovered Zinzer’s main idea one section at a time. Yet, I will say that these chapters, despite how clear and applicable they were, did not go into as much detail as I had expected out of such a well renowned book. Zinzer’s writing felt more like good advice rather than detailed instruction. Perhaps my feelings about this fact reflect my own need for concrete guidance rather than subjective advice, so it’s entirely possible that another person would love this aspect of the book. Nevertheless, I found it off putting, and it’s one of the reasons this book disappointed me.

While I may not have been entirely pleased with On Writing Well, I would without any hesitation recommend this book to any aspiring writer (or anyone who has to write at all, for that matter). The comprehensibility of Zinzer’s writing was impressive, and I consider its lessons to be an important addition to my writing. Zinzer is clearly a master of his craft, and his advice is not only worth listening to, but also applying to your own writing. The only advice I would give to potential readers of this book would be to take it for what it is, not for what its build up to be. For what it is, On Writing Well is an incredible read. My disappointment in this book has not stopped me from taking in Zinzer’s advice, and it will not stop me from pondering it more as I grow as a writer. Zinzer has graced the writing community with his brilliant and comprehensive book, and I feel it’s the responsibility of every writer to pick it up and read it cover to cover.

Ralph Fletchers Guide to the Galaxy (Writing Well)

Ralph Fletchers Guide to the Galaxy (Writing Well)

 

          

               Ever wonder how authors make characters feel as if they are actually alive? Ever want to make your dialogue flow like waves rolling in and out of the ocean shore? Maybe you just want to know how to begin what could be an amazing trilogy like The Hunger Games. In this well written book, Live Writing: Breathing Life into Your Words, by Ralph Fletcher you will learn how to do all of these things!

            Before we jump right into discussing the positive aspects of this book; a little background information on the author may be a little helpful. Ralph Fletcher was the oldest brother to eight siblings; safe to say he came from a big family. He always enjoyed reading as a child; in fact he was very passionate about books and stories; therefore, it is no surprise that his career revolves around it. He graduated high school in in Marshfield Massachusetts, and attended college at Dartmouth College and then received an additional degree from Columbia University. When he discovered his brother had passed away he used this tragedy as a major stepping-stone to his dream of becoming a writer. He had always loved poetry and used the death of his brother as the inspiration he had always been desperately seeking. His success from there just traveled uphill with a fast momentum. He is now an author to 4 picture books, 2 books filled with poetry and 5 chapter books at the adult level. Alongside of those publications he finds a lot of joy in writing books about how to write, hoping to help those who would like to advance their skills. I enjoyed, and found his book helpful and informative. There was many pointers he gives on how to become a great writer and they are helpful no matter what stage of a writer you may be.

            I found the setup of this book to be a quick and easy process to receive the help you were seeking. Each chapter is about a different stage in the writing process so it is easy to skip over the sections you are confident in and focus on the other areas. One area I thought he did a great job in explaining was dialogue. Dialogue can be a complicated and confusing to know when and how much you should include in a piece of writing. His tone throughout the entire book is simple and very personal. Once example on how we makes his writing seem personal is, “As you write, imagine yourself on the morning after a sleepover with your best friend. You’re sitting… put to paper”(34). His writing style has realistic good examples that help you really understand and feel as if you can actually do it, not just a professional writer!

            Fletcher did a great job at creating a short and easy read about how to write. A lot of times I may have questions about how to write and want a different view point then my teacher, friends and fellow classmates but don’t necessarily trust Wikipedia and don’t want to spend hours reading an insanely long book. This book is the great alternate decision to this. His goal in writing this book was, “ Most of us have read (and written!) The opposite kind of writing- dull. Writing come alive” (3). No more spending hours reading, or wondering if what you are looking up is accurate information. Roger Fletcher not only wrote a brief and concise book about helpful tips, but he also did a fabulous job at explaining everything quickly and correctly. I was afraid when I first choose this book that it would be jumbled and maybe have unclear directions or thoughts, but it is the exact opposite! It is organized in a very strategic way, and gets the point across quickly and left me with absolutely no confusion. I would recommend this book to anyone who wants to advance his or her writing and who is possibly looking to make a career or living from writing. I found it helpful, but not necessarily directed to a high school audience. Nonetheless it was an informative book and I definitely recommend it to anyone looking for this type of reading.

 

 

 

Works Cited

                Fletcher, Ralph. Live Writing: Breathing Life Into Your Words. N.p.: Avon Camelot, 1999. Print. Live Writing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

On Writing:A Memoir of the Craft by Stephen King - A Manual for Success?

Stephen King once said, “Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end, it's about enriching the lives of those who will read your work, and enriching your own life, as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy”(275).

Some of the greatest horror books (and ultimately movies) of the modern world were created by Stephen King; Carrie, The Shining, It, The Green Mile, and The Stand are some of his more well-known works, in both book and movie form. He began his career as a child, writing short stories for his mother and other family members in his spare time.  This led to him submitting stories to some magazines he used to read, only to receive numerous rejection letters. How could one of the most prominent horror and science fiction authors of all time have received even a single rejection letter? King is an amazing author, but he was not born with an immense ability to write captivating adventures with surprises around every turn; he had to develop his skills in order to become the successful author he is today.

            The first half of this memoir On Writing, was primarily King’s autobiography of his journey to writing. His humorous and sarcastically charged tone makes what could be a dry, informative account of his life a hilarious read. For example, he could have said, “I developed my creativity before television was able to do it for me,” but instead he claimed that he was only one of a “handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit”(22). King’s colloquialisms add to his frank nature, allowing this distinctive style to not only characterize, but enhance the reader’s experience.

The fact that he was able to possess such a unique imagination, unlike any of the authors today, greatly contributed to the extraordinary level of creativity presented in many of his novels. He takes the reader through the process of how he conjured up the story line of Carrie. One summer while working as a janitor at a high school, King was cleaning the girls’ locker room and suddenly had an idea that became one of the most memorable scenes of the book – when Carrie gets her period while showering in the girls’ locker room and the girls around her throw pads at her for entertainment. He then remembered an article in Life magazine on telekinesis, and these two ideas unexpectedly became the entire plot of his most famous book. I loved how he was able to explain the circumstances behind the books he writes; these explanations will alter any views a reader may have on what Stephen King is like and how a man could think of such terrifying stories. He is an average guy, as these books actually stemmed from events he endured, but he has an extraordinary talent.

            He also depicts the difficult and discouraging parts of his writing career. King had a fair share of criticism of his books and ideas. He even stated that he “was forty before [he] realized that almost every writer of fiction and poetry who as ever published a line has been accused by someone of wasting his or her God-given talent”(39). He was told he was “writing junk”(38), from one of his teachers, as most of his stories revolved around his science-fiction imagination that was not yet popular in the literary world. However, through this dispiriting experience, he described how he was able to overcome it, and ultimately provided the readers with a feeling of optimism toward some obstacle they may have been told they could not accomplish. I greatly enjoyed this, as the passage to a successful writer or any very successful profession seemed more relatable and achievable, and the way he treated his accomplishments with such humility added a more personal relationship between the reader and him.

            However, as a guide for writing, it was insufficient. Stephen King should stick to writing stories. The second portion of his novel focuses more on his writing style as a horror and science-fiction author and all of the lessons he learned from the editing and publishing processes. If one actually wanted to learn more on general tips for writing, they should look elsewhere. The information he gives is the information he received from many publishers and editors, and information about his personal style. However, the point of writing is not to replicate another author’s signature; one needs to develop their own style. He states that for his style, “less is more”(207). However, if one wanted to go into more elaborate detail because that is their vision for their work, the fact that Stephen King follows a different style pattern should not prevent that. Nonetheless, if one greatly enjoyed one of King’s pieces of work and wanted to gain insight into his style to inspire or direct them in a certain way, one should definitely see what King has to share.

As a book for entertainment purposes, I would definitely recommend the first half of this book. The wild antics of his incredible life are stated in ways that will captivate every type of audience within five pages. However, the second half is not as stylistically charged as it focuses more on a didactic topic, rather than a personal account. If one wanted to actually learn about King’s writing process, I would encourage them to read it, but not to forget that imitation is not a style.

                                                     

Works Cited:

King, Stephen. On Writing: A Memoir of the Craft. New York: Scribner, 2000. Print.

"StephenKing.com - On Writing: A Memoir of the Craft." StephenKing.com - On Writing: A Memoir of the Craft. Stephen King, n.d. Web. 28 Jan. 2014.

On Writing Well: Helping to Sharpen Your Writing

On Writing Well: Helping to Sharpen Your Writing

While sitting at my desk staring at a blank piece of paper, I patiently waited for ideas to form in my head. I was assigned to write a story about myself and coming from an average person, I always thought I could not write something exciting that took place in my life. I am always afraid readers would feel disinterested in my pieces of writing. On Writing Well, by William Zinsser, is packed with many useful tips for various types of writing, which includes writing memoirs. If I only had that book at the time, Zinsser’s advice would have helped me realize that I should not be “eager to please... [because] if you consciously write for a teacher or for an editor, you’ll end up not writing for anybody. If you write for yourself, you’ll reach the people you want to write for” (135). Writing about oneself is a hard task to do, but I was greatly encouraged by Zinsser’s advice.

            This book is a “how to” guide for writing. Having experience in teaching a writing course at Yale University, Zinsser implemented his expert guidelines into his book, which allows him to be viewed as a credible source to readers (Tennore). He constructed the book into four major parts: “Principles,” “Methods,” “Forms,” and “Attitudes” of writing. Throughout On Writing Well, Zinsser provides specific examples to illustrate and reinforce his points. The examples that are provided are useful, because it allows readers to understand the tips he proposes in many ways.  This is a good way of making sure the audience will be supplied with the given concept Zinsser introduces.  For example, in the chapter “A Writer’s Decisions”, Zinsser reveals the helpful ways decisions can be made when writing. He uses one of his pieces to exemplify process:

What struck me most powerfully when I got to Timbuktu was that the streets were of sand. I suddenly realized that sand is very different from dirt. Every town starts with dirt streets that eventually get paved as the inhabitants prosper and subdue their environment. But sand represents defeat. A city with streets of sand is a city at the edge (267).

He supplies readers with the above excerpt exemplify how an author’s choice, in this case about sentence structure, is important while writing. Zinsser sheds light upon “how simple those five sentences are: plain declarative sentences, not a comma in sight. Each sentence contains one thought--- and only one. Readers can process only one idea at a time” (266). By analyzing given excerpts, Zinsser promotes improvement in a reader’s piece of wring with his clear and direct tips. This ultimately leads me to believe that On Writing Well is a virtual teaching lesson for writers.

            On Writing Well has supplemented me with valuable lessons in writing. As I try to be a perfectionist at everything, time is my number one enemy. I consider myself a slow writer, because I feel that if I take my time with anything, then the outcome will be outstanding. I now know that it is okay to take time with writing, because “writing is hard work…very few sentences come out right the first time, or even the third time” (12). Zinsser presents a motivational tone for readers while instructing the audience about the fundamentals of writing.

            Reading this valuable book, I now acknowledge many ways I can improve myself as I writer, because I am equipped with significant information presented in On Writing Well. It is simple and clear which makes it more effective for learning and also enjoyable to read. All in all, I think this book is primarily useful to enhance one’s writing; these individuals can range from students to teachers and to adults employed in a variety of fields.

Tennore, Mallary. "William Zinsser's 5 tip for becoming a better writer” Poytner. N.p., n.d. Web. 13 Nov. 2013. 

Zinsser, William. On writing well: an informal guide to writing nonfiction. New York: Harper & Row, 1976. Print.

The Bedrock of Brilliance

 

 

The Bedrock of Brilliance

Stuffy air, the press of bodies, flames spouting in the corner, just a bit too confined for you too feel at ease. This is a kitchen in all its glory. Here, at the Culinary Institute of America (or CIA), America’s oldest culinary school, foodies and kitchen acolytes from the across the globe come to gain the skills necessary for their futures in the food industry. I don’t need to analyze the level of food-ed, however.  As can be expected, many differing styles of leadership exist within the bounds of the Culinary, all of which have been reflected in the expert reporting of Michael Ruhlman’s The Making of a Chef. This is what is what designates The Making of a Chef as a truly great report.

Leadership is a fickle thing. It cavorts about one day and ferments, depressed the next. Everyone does it differently, so to report and instruct on leadership is rather a recount of various techniques and how they intersect in an ephemeral grand scheme. Ruhlman, as he progresses through the CIA’s curriculum, refers back to his first instructor, Chef Pardus. Pardus is a figure of order, especially in this hectic profession. He is short, though not diminutive, with a solid posture and wire-rimmed glasses that make him not an ostentatious leader, but a trusted one. Without ever truly dominating a student’s course, Pardus establishes himself as one who can act as a foundation.

Ruhlman starts in Pardus’ basic skills class. By the time he finishes the Culinary’s curriculum, in the kitchens of the CIA’s many restaurants,  Pardus moves from the role of instructor to counselor. Whenever Ruhlman has a tough decision on his shoulders, he consults Pardus; whenever he has a question about technique, he goes to Pardus; whenever he is having difficulty in the restaurant, he consults Chef Pardus. Pardus’ instruction, counseling, and even companionship, serve to ground Ruhlman’s efforts at the Culinary. Pardus, more than every other mentor--desired or not--that Ruhlman operate under, serves as a platform for his expansion. The bedrock of his potential brilliance.

I found a surprising amount of insight in The Making of a Chef, having picked it up originally on the recommendation from my grandfather, himself deeply embedded in the culinary world. He’d been teaching me the culinary arts for several months at that point, and referenced this book as a source for growth of understanding of the food industry. I thought, I love to cook, I love reading, so this sounds fantastic! I never expected the wealth of information regarding leadership. I seldom fail to connect information with an ability to lead, be it in film, literature, or sports. The fact that The Making of a Chef, a book about culinary school, could provide so much wisdom on leading was a, to a point, astounding. I’d known the food industry a wonderful place for the blooming of both creative spirit and the ascendancy of the professional and social hierarchy, and this book expanded on that knowledge to a fully applicable extent.

Ruhlman, at the end of his fifth week at the CIA, interviews Pardus on how he became a chef, and how it shaped his philosophy. Pardus, reflecting on his hard-won education at the hands of a French immigrant, states that “the first thing I learned...was how to make brown sauce” (112). Brown sauce, according to Escoffier, the father of modern French cuisine (and therefore cuisine in general), is the base sauce for all other classical sauces, be they a demi-glace or a roux. In being taught this, Pardus relates, he was taught the skill from which he could derive all others. He was taught one thing, and from that one thing he could expand autonomously to others. This is the essence of good leadership. Instead of teaching someone many independent techniques with no interaction, to teach one overarching technique reduces time and increases both the pupil’s competence and confidence. It is, in general, more fulfilling to derive techniques for oneself than to be taught them by one more skilled than you.

Michael Ruhlman’s experience at the Culinary Institute of America is a rare viewport into the mercurial world of culinary school and professional cooking. “To know a mountain, you don’t take a helicopter to the top and look down at it; you start at the bottom and climb up” (261), Ruhlman says in retrospection. Culinary school is not an endeavor for people lacking drive; culinary students are known for their workaholism, necessary first for an incredibly regimented schooling, then for a career without vacation. Chefs work when everyone else is off; on Christmas, Easter, Mother’s Day, and all the rest. It is a frenzied passion that drives people in this profession, a passion for food and for people. With impassioned, perhaps even visionary leaders, acolytes of cuisine ascend the mountain of culinary mastery, becoming themselves leaders to others. This journey, and the passion driving it, are what Ruhlman so truly portrays. Leaders in the food industry, as everywhere else, must push themselves to be personable, intelligent, eloquent, and masters of their skill. Without these four things a leader is not a leader, a leader is a waste of everyone’s effort.

Bird by Bird by Anne Lamott

Anne Lamott is a writing teacher advises her students not to focus on getting their works published but to concentrate on the art of writing and tells her pupils to let the story flow rather than use a set structure. She teaches more about life than she does about her subject. She warns students against writing for the glory of publishing just as one should not live life simply to please others. As she tells them to let the story flow from itself and from its characters, so should each of us let our life stories come naturally and not force anything upon ourselves that will not bring us happiness or peace.

While reading Bird by Bird by Anne Lamott, I felt like one of her students, listening to wise anecdotes and words of advice in a crowded classroom. She said something in particular that really stuck with me and will help me write in the future: let your story flow from your characters and never force the story upon the characters. When I was younger I would always try to write by thinking of a plot first and adding characters later, which produced unnatural, awkward stories. Her advice of letting work guide itself and going with the flow of the story changed my point of view and sparked my interest. Writing with this mindset would be interesting, watching characters interact and grow as an observer rather than forcing it upon them as an all-powerful god.

The author’s words have also impacted the way I expect to write school assignments or essays. I expect this book to affect my process by influencing me to try to let my paper flow more than force it together as I admit to having done many times in the past, whether I was sick of trying to make it better or I tried my best but it still came out awkward. As the author reinforces, writing is an art and one should always try their best to make every word count. Readers of some of my not-so-great papers are usually able to tell that my thoughts did not really connect. An example of how her advice can help me personally with my writing in the future, she writes that everyone writes “shitty first drafts” (21) and that we should let this happen and go back and fix it later. In her words, knowing what you don’t want gets you closer to the final product, therefore it is okay to rewrite drafts and revise parts you may have liked or thought were important before.

Another thing I really enjoyed about the book was the organization. Split into chapters labeled with what Lamott is addressing specifically, there are no tedious repeats in information or stories she keeps coming back to. Each chapter is just as informative as the last but stocked with completely new information taken from life experiences. Although the book mainly addresses the art of writing, many times while I was reading I drew conclusions about the author’s observations about life which make the book as meaningful and special as it is. It is not merely a book about writing; it is an experienced, wise woman’s life guide, which holds many noble and beautiful truths about life. Each chapter contains a few new, insightful ways to perceive each day. Informative not only on an educational level but on a spiritual level as well, Bird by Bird can be transcending to those open to new ideas and thoughts.

Although Bird by Bird is not the kind of book I would probably have chosen to read on my own, I enjoyed reading it much more than I thought I would and found myself learning lessons about both writing and life. I would recommend it to any friend who is interested in writing. In the words of Anne Lamott, “you can’t stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship” (237), meaning that no matter how much you toil and dwell on different aspects that need to be fixed about your life or the ending of a writing piece, it will still be chaos, so just enjoy it while it lasts, relax, and let it happen.

Lamott, Anne. Bird by Bird: Some Instructions on Writing and Life. New

York: Anchor Books, 1995. Print.