Books : How Fiction Works
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Binding: Hardcover
Dewey Decimal Number: 808.3
EAN: 9780374173401
ISBN: 0374173400
Label: Farrar, Straus and Giroux
Manufacturer: Farrar, Straus and Giroux
Number Of Items: 1
Number Of Pages: 288
Publication Date: July 22, 2008
Publisher: Farrar, Straus and Giroux
Release Date: July 22, 2008
Sales Rank: 3983
Studio: Farrar, Straus and Giroux
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Editorial Review:
Product Description:
What makes a story a story? What is style? What’s the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for Ducklings—Wood takes the reader through the basic elements of the art, step by step.
The result is nothing less than a philosophy of the novel—plainspoken, funny, blunt—in the traditions of E. M. Forster’s Aspects of the Novel and Strunk and White’s The Elements of Style. It sums up two decades of insight with wit and concision. It will change the way you read.
Amazon.com Review:
Amazon Best of the Month, July 2008: The first thing you'll notice about How Fiction Works is its size. At 252 pages, it's a marvel of economy for a book that asks such a huge question and right away you'll want to know (as you might at the start of a new novel) what the author has in store. James Wood takes only his own bookshelves as his literary terrain for this study, and that in itself is the most delightful gift: he joins his audience as a reader, citing his chosen texts judiciously--ranging from Henry James (from whom he takes the best epigraph to a book I've ever read) to Nabokov, Joyce, Updike, and more--to explore not just how fiction works, mechanically speaking, but to reflect on how a novelist's choices make us feel that a novel ultimately works ... or doesn't. Wood remarks that you have to "read enough literature to be taught by it how to read it." His terrific bibliography will surely be a boon to anyone's education, but it's his masterful writing that you'll want to keep reading over the course of your life. --Anne Bartholomew
Average Rating: 
Rating:  -
I first discovered this book while perusing the the lit-crit section of the local book store. Although my arms were full, I put down what I had and picked up 'How Fiction Works' and gave it a try.
A few moments later, I put the book down. Perhaps, I thought, it was because of my already-busy day, or the fact that I already had several books that I was more interested in reading. But I couldn't get into this book.
A few weeks later, I was back at the bookstore and decided to give it another try. Again, nothing.
Yesterday it was more of the same. Nothing about this book 'popped' for me. It was over-written and self-indulgent (a sign of which is surely the acclaim by the so-called literary community). It appears that this book was written for the sole purpose of being written. It does not, in any way, come close to the beauty and simplistic complexity of Forster's 'Aspects of the Novel.' (I realize that 'Aspects' was a series of lectures and 'How Fiction' is a book, but that should change very little.
This book is extremely impossible to grasp. Overwrought and confusing, 'How Fiction..' is successful only in that alienates itself from the reading public and certainly does not belong in the same discussion with 'Aspects of the Novel.'
Two Stars
Rating:  -
James Wood is one of the clearest, and most insightful of contemporary literature critics. This little volume is an extraordinary little to guide to creative writing from an obviously well read author. Wood privileges the modern realism of Flaubert and Tolstoy over more avant-garde approaches to literature. But nevertheless he is more than balanced in assessing the various perspectives on voice, detail, and character. He often emphasizes the importance of the inner tension between the voice of the author and the voice of the character, and assesses various authors in their successes (Joyce), and failures (Updike) with this perennial question. This is a truly intelligent and well written literary guide.
Rating: -
Breathtaking exposition on the development of the novel over the last few centuries, in particular the "realist" style. Brilliant non-fiction gem about fiction. Opinionated rather than encyclopedic, but a great touchstone for further reading.
The design of the book is particularly inviting--its modest weight, friendly typeface, and wide margins make this book a pleasant evening companion--a book you aren't afraid to ask out on a second date. I plan to re-read it once or twice if I ever get it back.
Bracing, memorable writing. If you want to add another dimension to your appreciation of the novel, this gorgeously edited book is ideal. If, like me, you are a writer of non-fiction, this book is a model.
If, on the other hand, you want cheerleading or technical tips for writing a novel--if you want reinforcement of your personal idea of what's Good in fiction--this book may not be right for you.
Rating:  -
I am enjoying this book, but am not enough of a scholar to give a serious or creditable evaluation. Wood talks about the author's aesthetic distance, and wonders if such a thing is even possible, because all the voices of narration are ultimately the author's voice, and all characters are ultimately aspects of the author as well. He devotes some pages to characters that are either flat, caricatures, or rounded and full. He cites many writers to illustrate, which I enjoy.I haven't finished the book, but I would recommend it to anyone who loves fiction and wants a deeper understanding of the elements that make it either work or not.
Rating:  -
I had hoped to learn from this book how to read and write fiction better. This is not a good reason to read this book. I learned little. The book is a defense of common literary realism against the attacks of avant garde experimentalists. Wood defends it by interpreting examples drawn from classic traditional novels (Flaubert, Tolstoy,... Bellow, Updike). I found his examples well chosen and expertly interpreted, but if you already understand that good writing involves narration, telling details, vivid characters, sympathy for characters different from you, language that is powerful, economical, and musical, and that literature should give delight as well as truth, you won't learn much. You'll find some great illustrations of writers accomplishing these things well, but if you read fiction, you'll already have your own examples.
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