Ron Habeck

[rdhabeck]

Book reports

 

The Art of Fiction by John Gardner

 

How did the book help you as a writer? What overall aspects of it taught you something?

 

This was the last book I read out of the list, so much of it was review of what I had already read. I did learn a great deal from the chapters regarding common writing errors and technique.

 

What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel?

1. The use of active voice vs. passive voice. This may not be news to most writers, but it made me more aware of it in my writing. I had to change a few lines of dialogue because of it.

2. Not to begin sentences with infinite-verb phrases. Again, might not be news to most. I found I did this often in my first draft, of my first novel. Now, when I do use one, I do it for a reason.

3. Avoid using dialogue tags. Phrases like “he yelled” or “she screamed” are not necessary if the dialogue and scene is well written. We must trust the reader’s ability to know what is going on without the distracting use of dialogue tags.

 

Was there anything in the book that obviously conflicted with lessons and readings in our novel writing program? If so, what were they?

 

Nothing comes to mind. It was the only assignment in the whole program I did not thoroughly enjoy.

 

 

Writing the Breakout Novel by Donald Maas

 

How did the book help you as a writer? What overall aspects of it taught you something?

 

A difficult question to answer because it helped me tremendously. I actually read this book twice. My writing became more clear and succinct after reading this book. My approach to every aspect of the plot changed, as I was able to increase the tension in every chapter, scene and paragraph.

 

 

What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel?

1. The idea of bridging conflict. I always looked at the opening lines and scenes as background for the books main conflict. Maas explains that, along with the main conflicts, a writer should use mini conflicts to move the story along and keep the reader interested. This approach also adds to the complexity of the novel.

2. “Places do not speak dialogue…go inside your characters and allow them a moment to discover their feelings about the place into which you have delivered them.” To me, this technique makes the novel richer and makes the setting a character in the story.

3. His chapter on stakes helped me to enhance my story telling. Just asking the question of every scene “how can this be worse for the characters?” is a powerful tool to help increase the tension in the story and the motivation for each character.

 

Was there anything in the book that obviously conflicted with lessons and reading in our novel writing program? If so, what were they?

 

I did not come across anything that seemed to conflict with your program.

 

 

Write Away by Elizabeth George

 

How did the book help you as a writer? What overall aspects of it taught you something?

 

I enjoyed her ability to teach and be honest and vulnerable at the same time. Her emphasis on character development made me go back and use some of her techniques and approach to develop solid characters the people would want to read about.

 

What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel?

1. Relationships take on life through dialogue. While this is obvious, the chapter and examples she wrote made me examine the dialogue between my characters and add some, if needed, to enhance their relationship.

2. “A character without an internal landscape runs the risk of becoming a stereotype or, worse yet, a cardboard character.” (pg. 35) I had a couple of secondary characters that fell into the category of being flat, cardboard and I couldn’t figure out how to enrich them. After reading this section, those characters came to life, and it isn’t a difficult thing to do, but something that can be overlooked.

3. If a writer is doing “her job, no matter what kind of novel she’s writing, it contains suspense because it contains characters the reader cares about.” I took this as a challenge to create strong enough characters that the suspense will automatically be there when the plot rises.

 

Was there anything in the book that obviously conflicted with lessons and reading in our novel writing program? If so, what were they?

 

I was not able to find any obvious conflict with your program.

 

The Writing Life by Annie Dillard

 

How did the book help you as a writer? What overall aspects of it taught you something?

 

It taught me that I wasn’t the only writer who has moments of doubts, frustrations, setbacks and failures. I learned that it is okay to write a couple of pages one day and completely scrap them the next. I also learned that there is no perfect formula to be a writer. We all have our places to sit and focus on writing. I feel the biggest message I got from her is to keep at it. Perseverance is the key to becoming the writer that you are happy to be.

 

What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel?

1. Dillard emphasized not getting too down on yourself nor get too arrogant with what you have written. The story has a life of its own and what you have written may not be the right fit and if you are too attached to what you have written you may not delete what needs to be deleted. Also, if you doubt yourself too much, you may not be willing to take the risks needed to make the story complete.

2. “Probe and search each object in a piece of art. Do not leave it, do not course over it, as if it were understood, but instead follow it down until you see it in the mystery of its own specificity and strength.” (pg.78) I feel if a writer does this, their writing will be so much more rewarding for them and for the reader.

 

Was there anything in the book that obviously conflicted with lessons and readings in our novel writing program? If so, what were they?

 

I did not come across any obvious conflicts.