The Fiction Editor, the Novel and the Novelist: A Book for Writers, Teachers, Publishers, and Anyone Else Devoted to Fiction

by Thomas McCormack

Book Overview

"Lucid, thoughtful...writers and teachers will learn much from it...Belongs wherever Strunk and White's The Elements of Style finds frequent use."--Booklist

"Writers will actually learn things here."--Los Angeles Times

"Perfect for teachers, critics and general readers."--Library Journal

"Required reading for all those who care about good fiction."--Kirkus Reviews

Drawing upon twenty-eight...

• Format: Paperback
• Language: English
• ISBN: 1589880307
• ISBN13: 9781589880306
• Release Date: October 2006
• Publisher: Paul Dry Books
• Length: 167 Pages
• Weight: 0.40 lbs.
• Dimensions: 0.4" x 5.1" x 8.0"

Customer Reviews

Thinkers and Writers

A former editor, McCormack knows the territory well. He admits that he doesn't have all the solutions (some of which may never exist because of the nature of the current publishing industry), but his grasp of crucial issues is strong. He also examines some of the ways "we"--readers, writers, editors, agents, educators--think about literature, and his debunking of myths is also insightful and provocative. I especially enjoyed his views on the concept of "Theme." The book also gives writers another way to look at their writing for revision, never a bad thing. Two quibbles: first, the aforementioned lack of solutions. McCormack admits that he has none, and I'm not sure that editors can function differently in today's publishing industry. Indeed, if the industry changes enough, editors might become redundant, a truly frightening thought. Second, McCormack's background in philosophy makes some of his style unnecessarily (?) complex. He says that this revised edition cuts through some of the thick language, but he could simplify even more without doing any damage to his ideas or message. I recommend to book to serious writers--and any English Teacher who still makes students answer the questions at the end of the chapter.

A superb handbook for fiction writers

Now in a revised second edition that incorporates author's additional years of experience in the publishing industry since the publication of the first edition, The Fiction Editor, the Novel, and the Novelist: A Book for Writers, Teachers, Publishers, and Anyone Else Devoted to Fiction is a no-nonsense guide to planning, writing, and revising a novel. Written by award-winning publisher Thomas McCormack, The Fiction Editor, the Novel, and the Novelist offers constructive advice for each step of the creative process, from how to structure a novel, choose characters, and drive the story, to identifying common flaws in narratives, and apply appropriate remedies. Written in an amiable tone, often using examples, hypothetical writing scenarios, or dialogue-style discourse between industry professionals to clarify its points, The Fiction Editor, the Novel, and the Novelist is a superb handbook for fiction writers but especially recommended for prospective and professional fiction editors.

Inspiration for Editors and an Eye-opener for Authors and Publishers

I have been around publishing houses, publishers and editors for many years. This is not only the best book I have ever read on the art and the craft of editing, but it is also the best of which I have ever heard. No editor I have known, and there have been many good ones, has described the goals and techniques so clearly. I am inspired by this book, and you will be, too. You will also be left understanding exactly what should be happening between editors and their authors.

A Call-to-Arms for Editing

To be honest, the tone of the book didn't grab me. I had trouble reading this book in one sitting. This is not a bad book. It is just that there many books by editors who lambast their colleagues in front of writers in an effort to sign the writers. At first thought, McCormack seemed to be attacking other editors just to look better.After completing the book, I see that is not the stance the author is taking. He acknowledges that editing is still an art, but avers that a more standard practice and terminology is needed to better the quality of writing today.To this end, he suggests a vocabulary to help editors describe what works or does not work in a novel. One such word is the prelibation, which is the effect the writer is trying to get from the reader. After reading his suggestions, I am inclined to agree. McCormack also points out the contradiction in many fiction textbooks today. No wonder we have a disparity in editing ability.I would recommend this book to writers and editors. This book will help you think about the novel in ways that can only help it become stronger.

Essential critiquing tool.

For every published book, there are many editing steps from rough draft to finished product. If math alone were the determining factor, that should mean there would be many more books on editing than on writing. In fact, there are dozens (perhaps hundreds) of books on writing and only a handful on editing. To be sure, there are stylebooks that concentrate on grammatical and punctuational form. And most respectable writers give shelf space to Strunk & White and Zinnser and a few others. But while their efforts address precision of thought and clarity of form, McCormack takes the plunge and talks about artistic sensibility and the effective use of craft in a way that enlarges and energizes like no other book I've run across. His main premise is that artistic sensibilty is something innate. We like or dislike something because it strikes a chord within or fails to. This resonant characteristic of art doesn't need to be taught. It is simply there. The purpose of craft is NOT to teach the writer how to hit that mark but to help him diagnose the ailment when he doesn't. A writer begins with a vision that drives him. The study of craft, at the outset, may hinder more than it helps. When the attempt falls short, there is plenty of time to apply technique and identify the lack or the excess that caused the work to be less than hoped for. McCormack says there are two basic failures--bad things which have crept in and good things which have not. He demystifies the whole spooky process and makes it seem much more manageable and achievable. He also encourages writers to find, cultivate, and appreciate good critiquers whether they be someone in the industry or astute and articulate readers. He encourages critiquers to focus on reader reaction (I had no sympathy for George at this point) rather than specific item that triggered it (George shouldn't have screamed at Alice). This allows the writer to address the effect of his choices rather than become bogged down and defensive of the choices themselves.This is the best book I have read on the subject although I have to admit, it's not a light read. McCormack has a tendency to invent and run with jargon, a minor distraction but an occasional irritant nonetheless. Still, his obvious respect for writers overall and his passion for the subject matter give this book great value. I return to it every six months or so just to soak it all in again.