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Product Review Summary: Bits of good info in a sea of rambling As an editor, not a writer, Hills brings an unusual perspective to the subject. Sadly, he's quite a rambler and I occasionally found his style to be impenetrable. (Dare I say an editor needed an editor?)
There are some good thought provoking bits throughout the book, but they are weighed down by a disproportionate (and evenly distributed) amount of needless chatter and reiteration. The sections are pleasingly short (generally 2-4 pages) but many of them could have been even shorter. In some cases, I felt a section did little to expand upon what was stated in its title. An example being "Knowing a Character," over half of which is made up of arbitrary needling questions.
I did find Hills' talk of "slick fiction" (a term for cliche pulp fiction) and how it has moved from the magazine short story to the modern television show interesting. Unfortunately, I found his instructive voice less informative than his recollection of history.
If you're looking for insight into what makes the short story tick, Hills' book may get the job done but it is at times arduous and frustrating. I would instead recommend a book like Damon Knight's Creating Short Fiction: The Classic Guide to Writing Short Fiction.
Product Review Summary: Finally, a book on plot Written for short story writers, this literary book gave me a lot to think about. There are many good writing guides on description, character, dialogue, etc., but none had addressed my struggles with plot. Originally published in 1977.
Product Review Summary: Disparaging cynicism Writing in General and the Short Story in Particular' is directed at writers rather than readers. Yet in the introduction, Hills says "Everyone seems to know that, even those thousands all across the country sitting in creative writing workshops right this minute, either being paid to do the impossible or paying to have it done to them." (P. Viii).
This sentence is typical of Rust's writing. It is riddled with long, meandering sentences, that often start with 'And' or 'But', have parenthesis in the middle, and are often incomplete. They choke the enthusiasm of the reader like indigestible food.
The book has nearly 60 paragraphs in its 200 pages. Short stucco and poorly linked, they irritate the readers eye like dust from a sand storm. The book's structure does not appear to reflect the structure or skills of writing. The content is often repetitious. If a 'How to.." book has value then it will become a reference for writers. For that it needs an index.
Everyone knows that if a writer has a good story to tell, then the reader will often forgive the writing to gain the story. Especially a reader seeking to learn. Hills does not have a story worth the effort. All that he has to say can be found in a number of excellent texts 'on writing' some like King's 'On writing' are also also entertaining. "Writing ....the Short Story in Particular' contains little that is of help for that particularly.
"Even then," writes Rust "it wouldn't be a short story. I don't know what it would be." (P.81). The disparaging sentiment of the introduction is a theme continued throughout the book. If the lesson of Rust's years of editing short stories is that creative writing cannot be taught, then what was the point in Rust putting pen to paper to writers?
just Jack
Product Review Summary: Best in field Once read, twice read, an aspiring writer of short stories (or other) will not be needing another how-to book of its ilk.
Product Review Summary: Covers a lot in a slim volume I think I've read all I need to know or want to know for now on writing the literary short story. I learnt a lot from this book and liked the way Hills talks straight about the high-flown stuff. I found that his commentary was based a little too much on Henry James--for, against, etc. And in one too many areas I was irritated by his saying one thing and saying that the contrary works, too.
The reading is sometimes arduous, but mostly it's worth reading this book and absorbing all the advice and good inputs that a writer may never receive otherwise.
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