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The Lie That Tells a Truth: A Guide to Writing Fiction

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John Dufresne's "The Lie That Tells A Truth" is one of the best books on writing that I own, rivaling even Steven King's "On Writing." From the start, TLTTAT gets you writing, the most obvious and ironically overlooked aspect of being a writer.

The introduction starts, "I'll assume that if you're reading this introduction, then you must want to write. Why else would you be loitering around the Writing/Publishing section of the bookstore when all the really interesting and dangerous people are over in the Self-Help/Addiction aisle?" The book is laden with a self-aware humor, knowing writers are in a desperate state, completely miserable when they are not writing yet so prone to finding other things to fill their time.

TLTTAT is divided into three main sections that logically break the writing process down. The first section, "The Process," covers the basics of getting it in gear and writing a story. He repeats again and again that a writer writes, and if you're not writing every day then you are "inviting madness." I could relate to this deeply. There's nothing more frustrating than wanting to write but for some reason not doing it. Dufresne's solution is simple - just do it. And he gives you plenty of exercises to get you going. In this first section he also discusses rewriting, clearly driving the point home that rewriting is the essence of writing. In fact, he's able to show, in what might be the only book I know of that does this, the real process of writing a novel or screenplay or short story or poem, or any work of creativity. He tells you to disallow your critical self to sit down at the desk with you while writing the first draft, to write from the heart. Get to know your characters and then allow them to lead you through their story (and he provides exercises to encourage this). Then, discussing the revision process, he specifically outlines several steps you can take to produce stronger writing, such as eliminating adverbs, eliminating most adjectives, avoiding the passive voice. These things may seem obvious, but he presents them in a lucid way, with actual examples of revision, that will improve your overall writing quality.

The second section deals with the specifics of plot development, dialogue, character growth, point of view, beginnings and endings, and settings. Taking what you know from how the writing of a story actually occurs (from the first section) you now learn the mechanics of developing that story.

The last section is primarily about how to glean the most from the work of others.

I can't recommend this book highly enough. If you are an aspiring writer, buy this book today, along with Steven King's "On Writing" and Linda Seger's "Making a Good Writer Great." In a library full of writing books, "The Lie That Tells a Truth" shines brightly.

I procrastinated writing this review for weeks because it meant so much to me.
The great gift this book offers is its infinite passion for writing. You feel it from the author and from all the great authors whose quotes are included. Being immersed in this love of literature for the time it took me to read and reread this book was a pleasure.
The book also provides great insights into creating characters, starting stories, writing dialogue, "borrowing from other writers", and common mistakes made by authors.
The following two points helped me the most. First, don't be discouraged by flawed first drafts and scenes that don't match the images you had in your head when you decided to write them. All writers experience this. Rewriting is where the magic occurs.
Second, only include writing that advances the story or reveals something important about the charactor. No matter how much you love a scene you wrote, remove it if it doesn't meet this criteria.
I can't recommend this book enough.

For any student of fiction(i.e. writer), John Dufresne's The Lie that Tells a Truth is simply indispensable.
In Dufresne's book, you will find valuable information about pre-writing, writing, and revision along with the thoughts of writers such as Flannery O'Connor, John Gardner, and Caryll Phillips.
Read especially "Sitting Alone In a Quiet Room" and his "Ten Commandments of Writing Fiction."
He has also included a "Writer's Toolbox" at the end of the book.
All of the things you've ever done as a writer--the cameras, the writing on napkins, hanging around the self-help section of the bookstore for snippets of conversation for your next short story or novel--are unmasked by a writer with a great sense of humor and generosity.
If you want to be a writer, read this book first, and then--if you must--read the others.

The Lie That Tells a Truth: A Guide to Writing Fiction is a rich resource for teachers of any fiction course (high school to graduate level), aspiring writers, or veteran writers seeking inspiration or the decadal refresher. Regardless of level or need, Dufresne has something for everyone. He covers the gamut, from the creative writing process (freewriting, first drafts, the habit of writing, your writing room, etc.) to the fundamentals of story craft (plot, dialogue, character, etc.).

There are three main parts: Process, Product, and Other Matters. Process addresses every obstacle an aspiring writer faces, from finding time to write to revising for clichés. Many points in this section bear mentioning, but I'll limit it to a few: Dufresne suggests harvesting material for stories from your own life, while minding the ethics of such theft (His mantra: First do no harm). He also notes that expecting too much from a first draft is a common beginning writer's mistake. And finally he prompts the writer to see, "to look at (the world) an inch at a time," so that our writing can light up with such details. In the Product section, Dufresne tackles the elements of craft. His chapters flow from openings/endings to plot to character to dialogue. In the section, The Queen Died of Grief, Dufresne explains the difference between a story and a plot, championing that a plot contains cause and effect, while story, in its rawest form, is simply news. And finally, in Other Matters, Dufresne discusses the necessity of writers to be readers and suggests that writers begin compiling catalogues (Sears, office supplies, lingerie, etc.) for imagining setting and details in your stories.

What makes this guide unique is Dufresne's voice, tone, and candor. He exposes his life and his writing mishaps in an attempt to demystify the writing process. For example, in the chapter titled, Doing It Again (And Again [And Again]), during a list of inspirational revision tips, Dufresne breaks the prose to write, "(I just wrote two lines here, and then I took them out. Here they are [or were]: Visualize your characters..." Dufresne goes on to share a long, nonsensical, and clunky sentence. By giving us his raw revision, we see it in contrast to his inspirational prose and the point of revision is hammered home. The guide is practical and straightforward, peppered by thought-provoking quotes by fiction greats. Dufresne diffuses the reader's writing fears by offering systematic advice for every possible writing obstacle or blunder. And at the end of each chapter there are exercises that reinforce the chapter's lesson.


Some quotable/referenceable moments: "The worst thing you can do in writing a first draft is to let your critical self (the boss) sit down at the writing table with your creative self" (page 72). Later, when discussing revision, Dufresne offers 15 editing/polishing tips on pages 87 through 90, including Challenge every adjective, Challenge the first and last paragraph, Cut every nonessential dialogue tag, and Challenge every line that you love.

The greatest strength of this guide is Dufresne's view of the first draft. In the brilliant section, Getting Black on White, he argues that the true first draft is the exploratory/discovery draft. Here the author is painting the set, from the rug to the roof. Dufresne suggests freewriting the set until the room is alive in your mind and on the paper. Then do the same for the characters. The first draft can go on for days, notebooks even, until the world you've created and its characters become clear. Dufresne writes of his first draft, "I answered the questions for days, writing away in my notebook" (page 74). The story you will start to tell in your second draft will be born of this first draft, but in the first draft there is no story yet. Here you are simply exploring.

As Breton might have fought with Greenberg, so might I fight with Dufresne. Dufresne subscribes to the freewriting school of thought, frowning on thoughtful plotting before the pen has met the page, or even after the first draft. It is not until many drafts into your story that Dufresne suggests you ask the story (page 85), "What is my story about?" While I plan on trying to leave the critic at home during my first draft, I think the content critic should creep in much sooner that Dufresne suggests. I am not sure this is a weakness of the guide, though, but rather a difference of opinion.

Urgency rating:
-Drop everything and read right now. Okay, well not right now, but definitely the next time you are stuck on a story, experiencing writer's block, or are just about to teach an introduction to fiction class. Then, yes--drop everything (unless you're carrying something fragile, like a baby or a melon.)

You'll be moved to laugh, you'll be moved to write.

A nice change of pace from most writing guides. Witty and insightful, Dufresne's book offers guidance on both the creative aspects as well as the more nitty gritty side of writing. He also provides concrete examples, demonstrating the story behind the story with specific references to his own work--an invaluable chance to get into the head of a published author. My only critique was that Dufresne tended to be a bit long-winded, sometimes belaboring points he had already covered thoroughly. I felt the book suffered a bit from a lack of editing, perhaps because Dufresne was in teaching mode (and felt the need to emphasize through repetition) instead of "murder your darlings" writing mode.

Includes a helpful list of potential resources for writers at the end.

I guess if you name your book THE LIE THAT TELLS A TRUTH, then you better tell the truth. Dufresne's book is an in your face, what it means to write, what story, character, theme is all about, and whatever you do don't do this (his section on the Ten Commandments) kind of writing book that is inspiring and igniting all at once. What is evident is his passion, and for a profeesor over the age of 30, that's a downright miracle. He basically says, "If you've got the guts, then write." And for those of us crazy enough to try, this book is a must.

Each evening for the past two weeks, it has been my great joy to end the day by reading a chapter or two of John Dufresne's sensible, sensitive, and sometimes funny book. Dufresne, a novelist and college teacher, has written a wonderful volume about writing well. I went through two containers of Post-It flags in order to mark the wise and witty spots that I want to reflect upon further for my own writing and use in teaching my classes.

But this book is not necessarily a book for teachers. It's a guide for writing fiction that writers at all levels would benefit by reading. Dufresne has split the book into two major sections: The Process and The Product, with a follow-up section containing advice about reading and craft, and a bibliography as well. Using common sense and a breadth of knowledge about the life and writing of authors throughout the ages, the author gives solid advice and often laugh-out-loud observations. Each section provides wonderful exercises--some of the best ideas for prompting writing that I have ever encountered.

Dufresne approaches fiction--the "lies" we write that tell the truth--by focusing on the importance of the story and of the characters who people our stories. He tells us we "crave a person's story. You want meaning, but not answers. Fiction writers understand that there are no answers, simple or otherwise. The point is not to answer, but to question, not to solve, but to seek, not to preach, but to explore, not to assure, but to agitate" (p. 61). In the Introduction, when Dufresne says, "Well the _idea_ of writing is overwhelming; the act of writing, however, is simplicity itself," he is right on. And everything he tells us throughout the rest of the book is aimed toward encouraging each writer to get past being overwhelmed to focus on the act of writing.

I loved this book! It is one to which I will return again and again, both as a writer and as a teacher. John Dufresne does a marvelous job making the process and experience of writing understandable. His sage take on things and his witty, educated style make this volume a joy to read. Whether you are already an author or are contemplating writing, this lively, clever, and entertaining book will speak to you. This one gets my highest recommendation. ~Lori L. Lake, (...)

According to writer/teacher Dufresne, those who buy this book have the desire to write. In keeping with that premise, the author wastes no time and the reader is given specific directions, immediately assigned a writing exercise. Although geared toward the fiction writer, most of Dufresne's suggestions are applicable to any style.

The following chapters are sprinkled with quotes, each of which can serve as the basis for another exercise and it is in the actual exercise, pushing past "the burn" that one becomes a focused writer, able to sit for long periods without exhaustion. Specific daily writing tasks serve to clear away emotional detritus and concerns, eventually allowing the writer to compose on a moment's notice. Two procedures are suggested for the first two weeks of the writing regimen and are non-negotiable: three pages of "morning" writing and fifteen minutes of writing by appointment (with yourself). These practices teach how to write, and, in the process, how to be a writer.

The following are but a few observations, valuable notes that define the process: create powerful emotional moments to draw the reader into active participation; be comfortable with ambiguity; understand that writing demands limits and nothing paralyzes the imagination like too much freedom; don't break the seam in the reader's mind with bad technique; never use the words "once upon a time" or "they all lived happily ever after".

This is no brief treatise on the art of writing. It is a thoughtfully structured lesson plan, fine-tuned to meet every situation, where the writer will experience by doing, each phase honing more skills, more refinement in the process. If you trust this successful author, and I do, by virtue of his simple approach, following direction will allow the writing experience to evolve.

Peruse the chapter headings, which clearly lay out the path ahead into two main categories, the process and the product. Under the section dealing with the process, Dufresne walks the writer through the beginning pangs, the pitfalls and the too-easy solutions, stressing the importance of rewriting. The product section moves into the next important phase, the actual creation of plot, characters, dialog and point of view. The entire book, replete with quotes and writing exercises, is clearly a map toward successful, self-fulfilling creativity. Not to be taken lightly, this book is not a quick read, nor is it intended to be. The learning is in the doing and the author has taken the time to lay it all out, demystifying and personalizing an intimate process.

Of all the books on writing I own, this is one of the few that has piqued my curiosity and awakened my interest. I plan on putting in my two weeks, one day (three pages plus fifteen minutes) at a time, with an eye toward finally reaching my goal. For anyone who has been intimidated by that blank page, this is the place to begin, with Dufresne as an encouraging, accessible guide. Time to get started. Luan Gaines/2004.

John Dufresne, author of "Love Warps the Mind a Little," has produced a worthy writing guide for those serious about the craft. He immediately grabs one's attention through an entertaining, laid-back manner. His tone is friendly, but stern enough to be didactic and forceful enough to move the procrastinator or silence the internal editor of a struggling writer.

Catchy quotes from famous writers such as Anton Chekhov and other notables are strategically placed alongside the text, thereby strengthening Dufresne's current topic lesson on such points as character, conflict, plot, and dialog. The book's main foundation is common sense, direct directions and most importantly, the infectious tone of a caring mentor who helps you get excited about the writing process. "The Lie That Tells a Truth" may have no revolutionary passages about writing fiction, but it is honest enough to be on the same bookshelf as the recent how-to writing classics, "On Writing" by Stephen King and "Bird by Bird" by Anne Lamott.

In the end, the text reminds writers to not be so overly critical of their tepid writing or lack of masterpiece productions. For if Joseph Heller can say, "Every writer I know has trouble writing." Then we all can breath a little easier and begin to pound the typewriter keys once again with a renewed vigor.

Bohdan Kot

The book is written in an unusually lively, intimate and candid style, as if he's speaking directly to you in a fiction workshop. ("Those of you" and "some/most/a few of you" are peeves of mine in how-to books, particularly those on writing. The relationship between author and reader should be one-to-one, not a classroom lecture crammed between bookcovers, and authors of "how-to-write" books should be particularly aware of that.)

There's also a lot of guided idea-generating exercises that are intriguing as well. The emphasis is on short fiction but many of the exercises could easily lend themselves as the basis for larger works. A must-have!