The Making of a Story: A Norton Guide to Writing Fiction and Nonfiction

This book has great insight into what it takes to be a creative author. My only complaint is the content of some of the sample stories. I realize they are very well written and serve the intended purpose. However, when limited pieces of suspense and crime stories are included it leaves the readers (who are simply trying to to get an education) with a terrible feeling in the pit of their stomach.

The Making of a Story by Alice LaPlante is the BEST BOOK I have read on creative writing--a truly "modern" version of older books like Janet Burroway's Writing Fiction and John Gardner's The Art of Fiction. The book is broader and deeper than previous books: for example it contains information on writing creative nonfiction as well as fiction; it describes the traditional models of shaping a story (conflict-crisis-resolution model, epiphany and change models) but is inclusive, allows for a wider, organic, more creative definition (stories must surprise us and convince us at the same time Alice says); it contains 26 complete short stories from outstanding writers (Baldwin, Carver, Cheever, Chekhov, Cooper, Didion, Ehrenreich, Hemingway, Johnson, Lamott, Oates, O'Brien, Packer, Sharma, and others) AND has exercises for writers at the end of each chapter--and examples of each exercise completed by students from Alice LaPlante's classes whose writing excellence is equal in many cases to that of the published authors in the book. What is really helpful is the ability of these exercises, or "constraints" as she explains, to help writers (beginners or advanced) access their personal, authentic, most inspirational material. This book teaches how to combine method (craft) with madness (inspiration) and is fascinating to read! I recommend it to anyone who loves stories--readers and writers.

As a former student of Ms. LaPlante's, I have first-hand knowledge of her teaching talent. She has somehow managed to get her priceless lectures into a book that is thorough and accessible. Teachers and writers of all shapes and sizes will find a way into their material with Alice LaPlante's guide. Not all teachers are excellent writers and not all writers are excellent teachers. Alice is uniquely both. Lucky us that Alice decided to write this book. Enjoy!

Alice LaPlante's "The Making of a Story" is textbook-length (well over six hundred pages), and should appeal not only to serious writing students, but also to teachers and readers who would like more insight into how writers create. Creative writing is not for the faint-hearted; that is clear from the outset. It is easy to feel overwhelmed when staring at a blank page or screen, trying to come with original ideas and fresh ways to express them. LaPlante gently and slowly guides her readers through the entire process from getting off the ground to putting the finishing touches on the final draft.

LaPlante's scope is encyclopedic. She includes such topics as: making the ordinary extraordinary, employing imagery effectively, writing a good opening, developing plot and characters, choosing a point of view, writing believable dialogue, generating suspense, and revising one's work. She also discusses the strengths and limitations of writing workshops. The author emphasizes that there are no hard and fast rules; rather, she is passing on "conventions" that have worked for many but not all writers.

How does this work differ from others of its type? "The Making of a Story" covers more territory than most writing handbooks. Part of the book's length results from the inclusion of quite a few full-length classic stories, such as Tim O'Brien's "The Things They Carried," John Cheever's "The Swimmer," James Baldwin's "Sonny's Blues," and a non-fiction piece, Barbara Ehrenreich's "Welcome to Cancerland." Each work is followed by thought questions such as "How do the opening paragraphs set the tone for the story?" and "Can you point to some sections of narration that are convincing because of their specificity?" There are also dozens of exercises sprinkled throughout the book. For example, the student should pretend that she is a camera and record everything that she sees in a place rich with visual stimulation.

"Reading Like a Writer" by Francine Prose is another excellent work of this type; in fact, LaPlante quotes Prose and even uses the phrase "Reading as a Writer" repeatedly. "The Making of a Story" is well organized into fourteen carefully constructed chapters. There is a useful table of contents, a glossary of literary terms, a bibliography, a list of stories, and a thorough index. This guide cannot be absorbed in one sitting. It should be savored slowly and kept as a ready reference book. Used judiciously, it can serve as a source of inspiration to help writers bring out the best in themselves.

Alice LaPlante's THE MAKING OF A STORY: A PRIMER lucidly explains the craft basics of fiction and creative nonfiction, presenting numerous examples from both genres. However, this massive book's subtitle, " a primer," led me to expect a multi-genre approach as in Burroway's IMAGINATIVE WRITING: THE ELEMENTS OF CRAFT, which covers not only fiction and creative nonfiction but also drama and poetry. (See my Amazon review of the second edition of Burroway.)

Several of the illustrative short stories LaPlante includes are the same as in the classic WRITING FICTION: A GUIDE TO NARRATIVE CRAFT by Janet Burroway and in Tom Bailey's ON WRITING SHORT STORIES.

For introductory writing courses that discuss fiction and creative nonfiction (but exclude drama and poetry) LaPlante's detailed primer could well be a better choice as it is relatively cheap, nearly one-fourth the price of the two Burroway books. For teaching yourself the basic craft aspects of creative writing, I recommend Burrroway's concurrent multi-genre IMAGINATIVE WRITING as the best primer. For the beginning short-story writer, I recommend Tom Bailey's ON WRITING SHORT STORIES & SHORT-STORY WRITER'S COMANION.

-- C J Singh