Writing for Story: Craft Secrets of Dramatic Nonfiction (Reference) (Paperback)

~ Jon Franklin (Author)
Key Phrases: interlinked complication, preparatory narrative, complicating focus, The Ballad of Old Man Peters, Wilk Peters, River City (more...)

Editorial Reviews

Amazon.com Review

One of Ludwig Miës van der Rohe's favorite aphorisms was that "God is in the details." Jon Franklin would beg to differ. A pretty turn of phrase is no use at all, says he, if you don't have a firm structure on which to hang it. Franklin pioneered the field of creative nonfiction by applying fiction's classical complication-resolution form to standard nonfiction (specifically to news stories, most of which, he states, are generally "endings without beginnings attached"). Instead of focusing on style, grammar, and word use, as do many books on writing, Writing for Story provides a rigorous lesson in building a nonfiction story (short or long) that has structural integrity. Franklin advocates starting with an outline, writing the climax first, and engaging in other grueling tasks that seem like hard work because they are.

Product Description

Jon Franklin, an undisputed master of the great American nonfiction short story, shares the secrets of his success. This lively, easy-to-follow guide combines readability and excitement with the best of expository prose and illuminates the techniques that beginning journalists will find to be immensely helpful.

Product Details

• Paperback: 288 pages
• Publisher: Plume (September 1, 1994)
• Language: English
• ISBN-10: 0452272955
• ISBN-13: 978-0452272958
• Product Dimensions: 7.9 x 5.3 x 0.8 inches
• Shipping Weight: 8 ounces (View shipping rates and policies)
• Average Customer Review: 4.2 out of 5 stars  See all reviews (27 customer reviews)
• Amazon.com Sales Rank: #46,661 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

65 of 71 people found the following review helpful:

5.0 out of 5 stars The Real Write-Stuff, October 23, 1998

By	Gloria E. Salavarria ([e-mail]) (Middlebury, IN) - See all my reviews

How to Write books are irresistible to the novice writer: 'Read me and I'll tell you what you need to know to be famous, or at least published.' At first the reader is thrilled when he or she recognizes a kindred spirit in the author, then the reader tries to apply what he or she learned. More often than not the lessons of the book are little more than a collection of the author's war stories. The novice writer suspects that writing is an art form, not subject to the laws of physics. Jon Franklin says: 'No, good short stories have form, structure and behavior patterns that can be analyzed.'

The workaday world of journalism, not academia, honed Franklin's skills. He served his apprenticeship under a quintessential irascible old editor, G. Vern Blasdell. The young Franklin learned his craft by squirming in his seat while awaiting the old man's verdict. Now it's his turn to teach but he's at a disadvantage Blasdell never faced. The reader doesn't work for him and won't oblige by twitching so much as one butt muscle. Franklin must win the reader's attention by the pure utility of his method.

Unlike most writers, Franklin has something in common with good mathematicians. He realizes that a formula can be memorized but if one doesn't understand the assumptions on which the formula is derived, one can never apply the formula successfully. This is as true in writing as it is in mathematics.

Franklin builds his case for formula carefully. He demonstrates the nature of each assumption-a complication must be significant to the human condition; if you can't see the complication, look for the action and work your way back to the motivation, etc. Once the reader understands the assumptions, the formula becomes a useful tool in the hand of the writer, not some abstract theory laid to rust in a forgotten corner of the mind.

Once the reader is hooked, Franklin introduces the outline. More than a butt muscle twitches here; the reader squirms as visions of that Roman numerated nemesis of junior high come to mind. But this is not what Franklin has in mind. Franklin talks of a simple three-word, five-sentence form called the conflict-resolution outline. Character-action verb-direct object, what could be simpler? Diving in and writing first and thinking later, but this would be less productive in the long run.

The conflict-resolution outline forces the writer to think though the elements of good story first and make sure these elements are present before the writing begins. This method means survival for a journalist faced with a deadline. This method insures a more satisfying and successful writing experience for any writer.

Franklin teaches the 'work smarter, not harder' principles of current business practice. The importance of this to writers can not be understated. Ultimately, all writing is business if one wants to be a successful writer. The writer must produce a good product that sells itself to the editor and in turn, the reader; otherwise the writer will be unpaid. In this book, Franklin earned his pay.

20 of 20 people found the following review helpful:

5.0 out of 5 stars Good writing is no accident, September 8, 2000

By	Cathleen M. Walker "geminiwalker" (Massachusetts) - See all my reviews (TOP 1000 REVIEWER)

This book makes it very clear that good writing is no accident. Now I understand the difference between writing that is clear and readable and writing that is not. Too much work? I think not. I like to read writing I don't have to decipher to try to figure out what the writer meant, and I would rather not have my own writing misinterpreted. Jon Franklin makes it very clear how a writer can make that difference with a little bit...okay, a lot...of effort. Effort that can only pay off in true communication between the author and his/her reader...and isn't that what it's all about?

15 of 15 people found the following review helpful:

5.0 out of 5 stars One of the best: for fiction writers too!, April 1, 1999

By A Customer

Franklin does what may be the best job anywhere of inviting a reader to "get inside a writer's mind." And if you're going to get so intimate with the mental gyrations of an author, why not a two-time Pulitzer Prize winner? Here you will find both award-winning stories, in their "natural state" as well as heavily annotated versions as appendices. But you will also find page after page of sound advice on how to structure, pace, and otherwise "craft" a piece of non-fiction so it has dramatic appeal. While it may seem a bit of a formulaic approach, Franklin offers persuasive rationale for every writing step he outlines. I would highly recommend this book for fiction writers as well as those who are interested in journalistic challenges. While the "inspiration" books, such as Goldberg's "Writing Down the Bones" and Lamotte's "Bird by Bird" are certainly vital for fueling imagination and motivation, Franklin's "Writing for Story" is the necessary complimentary work for putting all those creative forces into an effective structure. Should be a standard reference book for every aspiring (and experienced) author!