Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Saturday, March 19, 2022

How To Write Pulp Fiction by James Scott Bell

How To Write Pulp Fiction by James Scott Bell

How To Write Pulp Fiction

by Bell James Scott


WHAT IS PULP FICTION?


There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands’ necks.

That’s the opening of the classic pulp story “Red Wind” by one of the greatest practitioners of the form, Raymond Chandler. The paragraph sets a tone. It gives you a sense of what’s coming. We know it’ll have at least one dead body and plenty of sharp gab.

Pulp doesn’t bog us down with thematic ambiguity or thick flights of circumlocutory style. (I consulted a thesaurus to get circumlocutory, which is exactly the kind of thing pulp doesn’t do.)

Pulp is escapist and entertaining.

And there’s absolutely nothing wrong with that.

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