Customer Reviews

Many Genres, One Craft: Lessons in Writing Popular Fiction

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I teach a creative writing course and I am always looking for new texts to use. Most of the "How to" books on fiction seem typical and are becoming more and more tedious for today's young writers. When I found this book (a colleague who knows the editor recommended it to me), right away I knew this was different. The chapters are short, practical, realistic and inspiring. They cover topics that I haven't found in other writing texts (at least not compiled in the same text).

The thing that struck me most, though, was the enthusiasm and spirit of the authors. Clearly they were having fun writing this -- such a refreshing tone compared to the typical text -- which ranges from pedantic (full of themselves) to oh-so-serious to bored with themselves. This one puts a smile on my face. And I wasn't wrong to select it. The students in my class this semester "loved" the book (their word, not mine). It's rare for students to tell me they love the textbook; so I'd say this one has something special to offer today's writers. Each chapter gave us insightful talking points which generated a lot of discussion about the writing process and publishing field.

For others thinking of using this in a course, I would note that it is not full of exercises or activities to generate writing -- it's not that kind of text. I supplemented it with a collection of writing prompts. This combination worked well together: one to practice writing and the other to learn about and discuss the process.

I recommend this one.

Brilliantly put together by Michael A. Arnzen and Heidi Ruby Miller, Many Genres, One Craft is a step by step guide to instruct and aide a author in developing their writing skills and genre. This book is wonderful, and I can't gush enough about the thought that went into each section, from writing children's fiction to the heart-stopping romance! Granted, we all need our muse that taunts and teases us with our storylines--sometimes, though, she needs a good push from an excellent guidebook of her own!

If you are a writer, new or seasoned, you know exactly how many different kinds of books are out there to help you with craft. Not only that, but then there are all the books by different authors telling you how they write.

"So, what is special about this book?" I hear you say.

There is a lot that is special about it. First, it is a primer for the experience of a MFA program. Which makes sense as it is a product of the Seton Hill University Writing Popular Fiction program. Every essay is written by either published alums, current or former mentors and teachers of the program, and special guests that visited during a Residency. You can see a whole list of the contributors at the book's website. As you read each of them, you realize that, while you have a succinct essay, the depth of knowledge and understanding in them can in many cases be deeper than whole books written on that same subject. I would almost consider them the teachers notes to a complete course.

Second, while it comes from a genre fiction background, it's a book that any writer will find helpful. The title states this to the reader. The first section of the book is about the craft of writing. No matter what you write, this unifies writers of every ilk. Each essay always goes that small step further than any other on the subjects of style, characters, setting, plot, etc., if not completely original. One such essay of the later is "Don't Be a Bobble-Head, and Other Bits of Guidance" by Timons Esaias. Just reading it over not only will strengthen your own writing, but see how frequently even the best writers of any field make simple mistakes.

The last section of the book is all about the life of the writer. I think this is the most important section of the book, because no one tells you it actually like to be a writer. What you have to do, what you have to think of each day. Most people see writing simply as an art. It is that, but it is also a profession. Just about every other field will teach you consciously or unconsciously teach you about that profession in conjunction with education in that field. A trade mark of the Seton Hill WPF program of teaching it studies about the publishing industry is branded into this book by doing the same for its reader. Tips for promotion, getting an agent, getting reviewed (and dealing with it), finding time to write, and more will help every kind of writer know how to make sure there work gets the attention it deserves in every stage: from idea to published text.

Finally, even it genre section is useful to even those who feel they write "literary" or "contemporary" fiction. Both informative and instructive, each essay explains conventions of all the genres. They are not "how-to write X genre" essays, but even deeper craft essays. Mary SanGiovanni's essay, "Dark and Story Nights: Mood and Atmosphere in Horror," while a terrific treatise on atmosphere key role in horror fiction, can be used in situations outside of horror. Albert Wendland's "Description on the Edge: The Sublime in Science Fiction" can be a key text for any writer on understanding how to describe in a story that feels natural, like the reader feels like they are in the story. Even writers of contemporary fiction have to describe things, places, and more that their readers don't know. They have to be just as effective a science fiction and fantasy writers describing what doesn't exist.

At a time where not everyone can afford numerous books to help there writing, there is a need for an all purpose book. This is it and probably the best one out there. But it is also something else. It is a testament to the fact that no genre is better, more special, or more worthy than any other. Literature is literature and it's practitioners must have all the same skills to be successful and entertaining to the world audience.

I'm always a little skeptical when it comes to books on the art of writing. Each book rarely differs from the next that sits on the same shelf. I purchased this book because I am attending Seton Hill University and Dr. Michael Arnzen is a fascinating man with a successful career in writing horror. Speaking with him about writing is always enjoyable and educational. When he told me he was editing this book, I decided to purchase it and see how much more this could teach about the craft.

It is an exceptional book and when I received it, I couldn't put it down. There is so much useful information in here. Even with my classes I am taking for my bachelors in creative writing, this book supplements them very well. This is an outstanding book for those who want to hone their writing.

OMG! This book is like my personal mentor, straight talk what to do what not to do and permission to just do it all in one!! It is now my bible.

For many writers, attending graduate school or a writing conference to work on their craft is simply not possible. The point of Many Genres, One Craft: Lessons in Writing Popular Fiction is that one can get much of that knowledge from this book. Editors Michael A. Arnzen and Heidi Ruby Miller assembled over sixty expert contributors, many of them connected to Seton Hill University's MFA program in Writing Popular Fiction for this over 350 page textbook. A book full of wisdom that you can work through at your own pace.

Published in 2011 by Headline Books, Inc., the book is broken into roughly three sections titled "Craft "and "Genre," and "The Writer's Life." Each section has several sub-sections related to the main topic of the section. This design allows readers to move back and forth through each section or the book as a whole to find the information they need at the time they need it.

The "Craft" section opens the book with a sub-section on "Style Ad Process." Information on opening lines, how to handle point of view and how not to information dump is here among other items of interest. Each article is of several pages and features a brief author bio at the end. This same format is used throughout the book.

"Character And Dialogue" is the next sub-section starting on page 64. This section is all about making your characters realistic, making them suffer, and in the end, making them as well as your writing and the story stronger.

"Plot And Structure" follows next with interesting pieces such as "Demystifying What Editor's Want" by Venessa Giunta. Now that you have strong characters and know what the editors want in them, it is time to put your characters into a good story. A good story is made up of a lot of elements such as pacing, characters that can save themselves, find romance when warranted, as well as the setting they are placed into for the story.

In the novels by James Lee Burke, the setting is as important as the characters. The sub-section on "Setting" comes next starting on page 111. While Susan Crandall does not reference Burke in her piece "Setting as a Character: It's More than a Backdrop" she uses plenty of other references to make the same point while also explaining how to do it. She isn't the only author to discuss setting as there is a lot more information here on this key part of your tale.

Starting on page 129 with "Genre" it is on to specifies. After a general sub section on "Genre and Originality" which makes the point there are certain expectations for each genre, their limitations, and how to deal with those while pursuing originality, it is on to the various genres with each section getting their own detailed sub section.

"Romance And Women's Fiction" begins on page 150. While some are arguing for a clear distinction between the two, in this book they are grouped together. In a poignant and inspirational essay by Crystal B. Bright titled "Write from the Heart" she explains how she pursued her dream and the novel she wanted to write despite the "no's." Her inspirational story does not apply just to romance novelists, but to all writers in all genres. That fact ties into a key point noted in the introduction of the book and constantly reinforced though many examples throughout Many Genres, One Craft: Lessons in Writing Popular Fiction. Regardless of the genre you write in, you can learn from those in other genres because there are universal principals that link all types of writing together.

Following the essays on many types of romance is the subsection titled "Science Fiction And Fantasy." Pieces on world building, cyberpunk, using myths, realism and more are here and provide a lot of interesting reading.

Then it is on to those of us who want to kill people for fun and profit, have no underworld connections, and don`t want to be arrested. "Horror, Mystery and Suspense Thrillers" begin on page 196 with essays on plotting, getting the dialogue correct, surprising readers and lots of other good information. Along with an excellent piece on plotting by Victoria Thompson there is an excellent advice piece by David Morrell about thrillers.

"Children's And Young Adult Fiction" are their own deal and have a section starting on page 227. Getting those readers into your work and how not to lose them is the point of this section. It is not just about those teen readers either. How to properly do picture book illustrations based on the text and other information is present here.

While the book is primarily about novels it also explores other approaches in the sub-section "Alternative Approaches." Prolific author Michael Bracken leads off this section with his essay, "I Write Short Stories" that begins on page 264. He makes the point that short stories can be more lucrative than novels while also making you a stronger writer. He also helpfully explains how to find those short story markets, how to write for them, and how to be productive. As he points out on page 249 - "Writing short fiction requires the same skills as writing novels: the ability to create coherent plots, to develop believable characters, to write realistic dialogue, and to mesmerize readers into suspending disbelief for the length of a story."

Also included in this section are essays on topics such as magical realism, how magna is gaining in popularity and how to write for that market, and movie tie in books.

Having moved through the genres and then some it is back to advice that will definitely help all with "The Writer's Life." Starting on page 269 this nearly 90 page section is devoted to sub sections on. "Learning" and "Working" and Promoting.

"Learning" as a writer never ends and can come in many forms. This can be from graduate school, brutal critique, workshops, or just about anything. Even TV shows that are hated in the beginning as Catherine Mulvany explains in "Lessons from the Vampire Slayer."

"Working" starting on page 289 is all about productivity. Writing more, pleasing readers in multiple genres, and time management among other topics are covered here. As Lee McClain points out in her essay "Time Management: Creative Paths to Productivity." . . . unlike literary fiction, genre fiction requires you to be prolific. Stephanie Meyer wouldn't have had the same success if she'd waited two years before bringing the second Twilight novel to completion." (Page 297) As a genre writer, you simply have to be productive and get a lot of work out because readers expect and demand it. Her informative essay is about how to be productive in terms of novels, but this piece also ties in nicely to Michael Bracken's essay referenced above about why he chose to pursue short stories over novels and editing anthologies.

Also in this section are excellent essays by Shelly Bates titled "The Seven Habits That Got Me Published" and "How to Get an Agent" by Ginger Clark among other very informative pieces. Professionalism in how you act and your work is a key part of both pieces and the others. That includes adjusting to the rise of e-books as well as being dumped by your publishing house. A very informative section and one that will help you no matter where you are as a writer.

Marketing your own work is a job many of us dread and hate. After all, the book should sell itself, right? These days, if it ever did, things don't work that way which is why a section titled "Promoting" is necessary. With essays on the basics of author bios, contact information, press releases, book reviews and more, this section gives you the framework to tell the world about your book. Getting information on your book out there so readers/buyers know about it is key here with lots of basic yet very good information.

The book closes with a detailed "Resources And References" section that covers where to go for more information imprint and online.

An extensive and inspirational book filled with lots of practical advice for any writer at any stage in his or her career, Many Genres, One Craft: Lesson in Writing Popular Fiction is one of those books that writers just have to have on their shelves. Unlike many of the courses and books bandied about online, this book features practical and realistic advice and tips from writers who have managed to build prolific and solid careers stretching back decades. No matter your particular writing interest, the information in this book will not only be specific to that interest, but to the craft of writing as a whole. Simply put --this is an excellent book that you must have and use.

Material supplied by the publisher quite some time ago in exchange for my objective review.

Kevin R. Tipple ©2012

This book taught me a lot. It fills a much needed area for writers who enjoy writing popular fiction! Must-have for those serious about their craft.

Writers, if you only buy one book on wordsmithing, make it this one. The MA/MFA program in Writing Popular Fiction at Seton Hill University has a well-earned reputation for graduating story craftsmen, writers who wow, and this engaging textbook includes excellent writerly advice, not only from instructors but also from numerous published graduates. You can check the full list above, but it includes four-time Bram Stoker winner Michael A. Arnzen, Maria V. Snyder (Poison Study), mystery writing with Victoria Thompson (the Gaslight series), Kaye Dacus (Ransome's Honor (The Ransome Trilogy)), and some amazing indie writers such as Heidi Ruby Miller and Jason Jack Miller (magical realism).

[Disclaimer: yep, I'm a graduate. So sue me.]

Writing's a massive topic. Many Genres, One Craft breaks it down into short, manageable chapters, each a comfortable read, and I've spent the last year reading a chapter every few days and thinking it over in between. Did I absorb it all? Shoot. Who could? And while I don't necessarily agree with everything I've learned (bobble-headism is occasionally useful and shouldn't be written off entirely, IMO), there's no doubt what I have absorbed will only help my writing. Besides, it was like the greatest reunion ever.

Five strong stars.

This fine volume is essentially a condensed MFA in Writing between two covers. Those contributing to this anthology of writing advice are affiliated with the MFA program at Seton Hill University. Professors, graduates and visiting lecturers all added their articles of the best writing advice. If you believe that they cobbled together some obscure academics and graduates whose greatest accomplishment is their MFA to slap together some quick articles, you are quite wrong. Among the authors are many award winners and a number of highly acclaimed writers you would be familiar with. Names such as: Tess Gerritsen (Rizzolli & Isles), David Morrell (First Blood/Rambo) and Lawrence C. Connolly (Borderlands), as well as many others; fill out this book.

This is a must have for all who take up the pen - or keyboard - whether it be for a living or as an impassioned hobby. Many articles fill out sections on style, characterization, plotting and setting about the craft of writing as well as sections on the many genres. Romance, Science Fiction, Horror, Mystery, Thrillers and Childrens' books are all covered. Then to complete the volume, the subjects that leave writers wondering where to start or asking what to do next are covered. Learning, Working and Promoting are all worthwhile sections.

I have barely scratched the surface of all this book covers. I highly recommend that you pick up a copy of this and keep it handy. Any time you feel weak in any area of your writing, a quick thumb-through will yield an article that will almost certainly strengthen your efforts.

Reviewed by J. Keith Jones
Author of "In Due Time" & "The Boys of Diamond Hill"

Let me be clear up front. Many of the authors of this compilation of genre writing advice are colleagues of mine. I certainly know the editors. But this is a true and honest review of a book that I keep on the shelf next to Stephen King's On Writing.

As an independent publisher for Grit City Publications, the Emotobooks Revolution, I work with writers and editors on a regular basis. Not only do I encourage them to read this book, but I include it as a listing on the handouts and free handbook we give to each prospective author or editor. Inside this book are articles on some of the most practical advice and moral support any genre writer could hope for in one edition.

I highly recommend it.